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Couperin's works for violin and assorted instruments generally make for good entertainment but I always found him slightly lacking substance. Yes, same as with CPE Bach and I've come round on him, too. And here it is Amandine Beyer and her unknown crew who give - spectacular - performances. They play on period instruments but they croon, swoon, vibrate, beguile, play really slow or fast and in short do everything that the old avant garde of old musicke told us not to. Great stuff - and likely to be my disc of the year.
Found a (debatable streaming) sample of perhaps my favorite Schumann symphony moment, the end of "Spring" 's exposition, on Arkivmusic.
The first moments were auspicious enough, but then the all important percussion became quite weak towards the end.
On his new disc, Hantai returns to Bach in a programme that includes two of the English suites. He's lost none of his dexterity and has only gained in musicality. Excellently recorded, too
While I have not yet got it, (most european labels' physical products arrive a bit later here), I believe it should be "worth the trip". Gli Incogniti (which are not that "unknown" any more) under the leadership of this strangely interesting violinst, Mrs. Amandine Bayer, have established a name in Zig-Zag with few intriguing (though not that profoundly impressive) recordings (obviously their crowning achievement is Corelli's Concerto Grossi, Op.6).
In the Apotheoses, Pilippe Pierlot and the Ricercar Consort, on Mirare, have done a great -almost brilliant- rendition of these works. To a great extent, London Baroque too, on BIS.
As for the substance of these works, with French composers, one may trace a "lack" of it . However, I cannot see any comparison with C.P.E. Bach's great output. His Music is quite substantive in almost any way and, almost, anywhere. We should not forget what his immediate "descendant"-composers, like Mozart and Beethoven, have said about him...
Tjh, in a proper equipment, I am sure Ticciati's Schumann won't fail you. The recordings of Linn are the very best possible in the market. So, do not rely on "debatable streaming" facilities. Try the real thing...(obviously in the proper equipment).
The "Spring" deficit is not rare. Perhaps I shall look forward to a live opportunity, for a even more proper, with-price, experience.
Had a friend over earlier tonight to go over some recent issues - we were both amazed again at how realistic some piano recordings have become. In particular, the 2013 Messiaen recording by Marie Vermeulin (on Paraty; 24/48) is fantastic both in terms of performance and sound. Linn scored well with the recent Chopin concerto recording with Ingrid Fliter, and the Ticciati Schumann (both 24/192 studio master recordings).
Korobeinikov made (somewhat of) a name for himself as a Scriabin specialist, and here he tackles the summit: the etudes (which are more consistently inspired than for instance the sonatas, IMO). At first hearing, I very much like his way with this music. Piano sound is excellent. On Mirare.
The Messiaen/Vermeulin recital, on Paraty, has been very well-received by the most reliable French magazines as well. I admire the excellent sound and the overall production of the CD, although the program is not my cup of tea.
Linn's Chopin Piano Concertos with Fliter and Schumann's Symphonies with Ticciati are, so far, the best produced in the field with a most realistic and well-projected sound, in splendid SACD.
I have not yet reveived this disc by Korobeinikov. From his previous endeavours, Beethoven's Sonatas were not that bright but the Shostakovich's Concertos were much better served (with satsfactory support by Lahti S.O. and O. Kamu). Very good his collaboration with Charlie Siem on the Violin Sonatas by Elgar and Grieg, on Challenge (very warm and realistic accoustics).
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