Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.2 9/5/84; site angband.UUCP Path: utzoo!watmath!clyde!burl!ulysses!mhuxr!mhuxt!houxm!mtuxo!mtunh!mtung!mtunf!ariel!vax135!cornell!uw-beaver!tektronix!hplabs!qantel!dual!mordor!angband!sjc From: sjc@angband.UUCP (Steve Correll) Newsgroups: net.audio Subject: CD reviews Message-ID: <66@angband.UUCP> Date: Fri, 5-Jul-85 20:27:42 EDT Article-I.D.: angband.66 Posted: Fri Jul 5 20:27:42 1985 Date-Received: Thu, 11-Jul-85 05:26:27 EDT Distribution: net Organization: S-1 Project, LLNL Lines: 40 ---Bach: Magnificat; Cantata "Jauchzet Gott in allen Landen"; Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner conducting, Emma Kirkby soprano; Philips 411 458-2 The Magnificat is one of my favorite pieces of music, and this is the most exciting performance of it that I've ever heard. It combines the bracing vigor of the authentic baroque performance style (e.g. detached notes, quick tempos, and small ensembles) with exceptional musicianship, and the performance and recording emphasize all kinds of details that you don't usually notice, as for example the bass and organ chugging away at the beginning of "Quia fecit mihi magna". The male alto is also pretty remarkable, and somehow Gardiner and his band get perfect intonation out of period instruments, in contrast with Hogwood and the Academy of Ancient Music, who usually have some tuning problems. The cantata is not quite in the same league in terms of composition, and the playing is not as pristine, but very good nevertheless. Philips provides a nice booklet with texts and illustrations, including a list of the date and maker of each instrument used in the performance, for the edification of the unbearably curious. ---Ravel: Ma Mere l'Oye, Pavane pour une infance defunte, Le Tombeau de Couperin, Valses nobles et sentimentales; Orchestre symphonique do Montreal, Charles Dutoit conducting London 410 254-2 Nice performances, flawless orchestral playing, a remarkably real-sounding recording, and well over 60 minutes of it, too. ---Mozart: Concerti Nos. 5 and 25 for Piano; Murry Perahia; Columbia This one disappointed me, because I can't get over the tinny sound of the orchestra. At the end of Concerto 25, I braced myself for the onslaught of the strings in the first movement of number 5, and a good thing it was that I did: the orchestral sound of the latter is distinctly different, and even worse. -- --Steve Correll sjc@s1-b.ARPA, ...!decvax!decwrl!mordor!sjc, or ...!ucbvax!dual!mordor!sjc