Bruckner's early string quartet is more a composition exercise than a full-fledged work of art, but the quintet is something else entirely: a chamber music masterpiece to rank with the great symphonies in expressive intensity and sheer musical grandeur. Indeed, there are a few places where Bruckner seems to demand an almost orchestral volume of tone, and the slow movement has been successful performed (and recorded) by a full string orchestra. The Intermezzo is none other than an alternative scherzo for the quintet, composed because the original players at the premier found Bruckner's first thoughts too difficult. Well, the members of L'Archibudelli certainly don't find the music too difficult–you won't find better performances anywhere.
This superb disc of music by one of Spain's most talented early 16th century composers is exactly the sort of boost that the less well-known repertoire needs in its search for a place in today's CD collection. It is in every way a model of what a recording of Renaissance polyphony ought to be… The all male vocal ensemble sings with enormous conviction as well as firm control of rhythm and phrasing. Combining the voices with energetically played sackbuts produces a rich and dark-hued sound that feels authentically Spanish, and does full justice to this very fine music.
It's great to see the music of Nino Rota getting so much attention. He was a wonderful composer, and the ballet suite from La strada may be his orchestral masterpiece (just a quick note: the French language title identifies this as a suite from the eponymous film; it is in fact the more familiar arrangement of the later ballet). There are now four competitive recordings of this piece, the least interesting of which is on Chandos with the Teatro Massimo orchestra: not bad, but not as well played or recorded as either Muti's slightly stiff version with the excellent La Scala forces, or Atma's brilliant recent release featuring the Greater Montréal Metropolitan Symphony Orchestra under Yannick Nézet-Séguin. All of the couplings differ in various ways, though Muti also has the dances from Il gattopardo (The Leopard).
¿Cómo vemos el mundo? y ¿cómo vemos a los demás y a nosotros mismos? Vivir en la era de la tecnología no sólo supone disponer de sofisticados artefactos y estar inmerso en complejos sistemas de información, implica también, y cada vez más, estar bajo el influjo de una determinada manera de enfocar y de entender las cosas. …
Partly composed on cantus firmus derived from plainchant, the Missa Rex Virginum is one of two that have survived from the pen of Juan de Anchieta, composer to the Catholic Monarchs, and is a typcial representative of the new style that Josep Cabré likes to call 'late Gothic', already at the dawn of the Renaissance. Anchieta, an emblematic yet still little-known figure of Basque music, had considerable influence in his own time thanks to his close relationship with the Castilian crown.
If you missed this on its original issue back in 1996, here’s your chance to acquire one of the better orchestral tango recordings of music by the inimitable Astor Piazzolla. What’s more, the reissue comes in a hardbound, 96-page “deluxe edition” CD-size book containing detailed information on the music, Piazzolla, and the tango, comments by conductor Josep Pons, and pages of artsy, sexy, sepia-toned photographs of various tango-dancing couples…
The Iberian performers deliver superbly authentic versions of all four works and HM delivers rich and transparent sound.
For this 2017 CSO-Resound release, Riccardo Muti and the Chicago Symphony Orchestra present Anton Bruckner's unfinished Symphony No. 9 in D minor in a monumental performance that impresses with its marmoreal weight, poignant lyricism, and brutal volatility. Not widely known for his few Bruckner recordings, Muti nonetheless delivers this symphony with the passion and sensitivity of an experienced Brucknerian, and possibly because he hasn't recorded it before, this live rendition of the Ninth seems like an attempt to make up for lost time. Muti's intensity and the orchestra's ferocious power combine to make a memorable reading that may remind listeners of performances by such greats as Günter Wand, Eugen Jochum, and particularly Carlo Maria Giulini, whose recordings of the Ninth are recognized benchmarks. While Muti only performs the three completed movements, and eschews any attempted reconstructions of the surviving Finale sketches, the performance has a genuine feeling of wholeness, and the Adagio particularly has the grandeur and pathos that make it feel like a convincing ending, albeit one that the composer did not intend.