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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