My usual explanation in this space: I am especially interested in piano and choral music, plus symphonies, so that’s what I get the most promos of. Other stuff obviously gets through my filters, but the percentages of what comes in inevitably affect what comes out, i.e. this list. That said, in terms of number of centuries spanned, rather than genres or formats or whatever, I think I'm covering as much or more musical territory than most critics. By the way, look for a shorter list of my favorite classical reissues of 2012, to follow in a day or two.
1. Tokyo String Quartet, Jon Manasse, Jon Nakamatsu Brahms: Piano Quintet, Clarinet Quintet (Harmonia Mundi) There were recordings this year that were more important in terms of bringing new repertoire to light, or featuring young artists, or bringing classical into the 21st century, or being more controversially newsworthy. Examples of all of those follow.
1. Tokyo String Quartet, Jon Manasse, Jon Nakamatsu Brahms: Piano Quintet, Clarinet Quintet (Harmonia Mundi) There were recordings this year that were more important in terms of bringing new repertoire to light, or featuring young artists, or bringing classical into the 21st century, or being more controversially newsworthy. Examples of all of those follow.
- 1/2/2013
- by SteveHoltje
- www.culturecatch.com
I Fagiolini/Robert Hollingworth: 1612 Italian Vespers (Decca)
Here's a gimmick I can get behind. Last year, I Fagiolini's Decca debut presented the first recording of Striggio's Mass in 40 Parts and was quite successful by the standards of Renaissance choral albums. In a world where conductors record the same symphony four or five times, focusing on "new" old repertoire is quite refreshing. For their follow-up, the group and founder/director Robert Hollingworth give some more major works their recording premieres, this time focusing on Venetian composers on the cusp between the Renaissance and the Baroque.
The more famous composer to have works returned to the light of day is Giovanni Gabrieli (c.1554/7-1617), whose Magnificat for seven choirs and motet In ecclesiis have been reconstructed by Hugh Keyte from incomplete or truncated sources. They are presented in the context of a Vespers service mostly otherwise drawn from five previously unrecorded four-choir Vesper Psalms,...
Here's a gimmick I can get behind. Last year, I Fagiolini's Decca debut presented the first recording of Striggio's Mass in 40 Parts and was quite successful by the standards of Renaissance choral albums. In a world where conductors record the same symphony four or five times, focusing on "new" old repertoire is quite refreshing. For their follow-up, the group and founder/director Robert Hollingworth give some more major works their recording premieres, this time focusing on Venetian composers on the cusp between the Renaissance and the Baroque.
The more famous composer to have works returned to the light of day is Giovanni Gabrieli (c.1554/7-1617), whose Magnificat for seven choirs and motet In ecclesiis have been reconstructed by Hugh Keyte from incomplete or truncated sources. They are presented in the context of a Vespers service mostly otherwise drawn from five previously unrecorded four-choir Vesper Psalms,...
- 7/28/2012
- by SteveHoltje
- www.culturecatch.com
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