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Our newsletter highlighting the latest highly reviewed recordings available at ClassicsOnline.

Sunday, October 6, 2013
Byrd, W.: Mass a 4 / Plummer, J.: Missa Sine nomine / Tallis, T.: Mass for 4 Voices (Times Go by Turns) (New York Polyphony)

Byrd, W.: Mass a 4 / Plummer, J.: Missa Sine nomine / Tallis, T.: Mass for 4 Voices (Times Go by Turns) (New York Polyphony)
BIS: BIS-2037
Preview and Download at ClassicsOnline
10/10 Artistic and Sound Quality

You may not think the world yearns for another Byrd 4-part Mass recording—that is, until you hear these four male voices sing it. Sure, you've heard the Tallis Scholars' reference version, but have you ever heard it performed by just four voices, ideally matched, of uniquely compatible timbre, combined into such a richly resonant sound? Not to mention the nuances of phrasing, of breathing, of inflection obtainable only by small ensembles whose members are closely bonded personally and are musically of one mind.

Recommended with the assurance that you will listen to this disc often.

© 2013 ClassicsToday.com
 
Vivaldi, A.: Concerti per l'Orchestra di Dresda (Les Ambassadeurs, Kossenko)

Vivaldi, A.: Concerti per l'Orchestra di Dresda (Les Ambassadeurs, Kossenko)
Alpha: ALPHA190
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Recording of the Month

...this is a highly interesting disc which not only sheds light on a lesser-known aspect of Vivaldi's oeuvre, but especially on performance practice in Dresden. It reveals the freedom virtuosic performers took. Once again the high standard of playing in the court orchestra, by Pisendel himself, but also by the oboists and hornists is clear. Listening to this repertoire one is not surprised that the orchestra was considered the best in Europe.

The performances by Les Ambassadeurs are... (read more)

- By Johan van Veen © 2013 MusicWeb International
 
Piano Recital: Pompa-Baldi, Antonio - Poulenc, F. / Monnot, M. / Louiguy / Bernheim, A. (The Rascal and the Sparrow: Poulenc meets Piaf)

Piano Recital: Pompa-Baldi, Antonio - Poulenc, F. / Monnot, M. / Louiguy / Bernheim, A. (The Rascal and the Sparrow: Poulenc meets Piaf)
Steinway and Sons: Steinway30015
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10/10 Artistic and Sound Quality

...[Pompa-Baldi] offers an unusual, intelligent, and very satisfying disc of transcriptions of songs...

There are 27 numbers in all, each wonderfully played, with a pathos that never turns pathetic in the more languishing pieces, and a zesty swagger where the music asks for it. ...this disc a splendid tribute to two major contemporaneous figures in French music...How satisfying it also is that Steinway is...willing to let talented yet lesser-known artists record truly interesting, distinctive programs. This one's certainly a winner from start to finish.

- By David Hurwitz © 2013 ClassicsToday.com
 
Komarnitsky, O.: Chamber and Instrumental Music (Atchison, Dudnik, Jones)

Komarnitsky, O.: Chamber and Instrumental Music (Atchison, Dudnik, Jones)
Toccata Classics: TOCC0196
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Recording of the Month

For me the combination of first recordings of works by a completely unknown composer is an irresistible one and that's what this disc offers. To learn at the same time that it constitutes virtually everything that remains of this composer's output, despite the fact that he wrote much in many genres, is almost too hard to come to terms with after hearing how good it is.

I was bowled over by the music on this record and sincerely hope that there is more to be discovered of this composer's works, perhaps lying in some archives... (read more)

- By Steve Arloff © 2013 MusicWeb International
 
Liszt, F.: Hungarian Rhapsodies Nos. 1-6 (Vienna Academy Orchestra, Haselbock)

Liszt, F.: Hungarian Rhapsodies Nos. 1-6 (Vienna Academy Orchestra, Haselbock)
CPO: 777797-2
Preview and Download at ClassicsOnline

9/9 Artistic and Sound Quality

...this is a very attractive set of the six orchestral Hungarian Rhapsodies. Martin Haselböck remains a fine organist and musician generally, and his belief in Liszt is both honest and musically persuasive.

Haselböck paces this music very well. The First Rhapsody, for example, doesn't really get going until it's almost half over, but Haselböck finds a flowing tempo from the outset that makes those introductory gestures sound, well, rhapsodic rather than merely spasmodic. Rhapsody No. 4 manages to sound less repetitious than it usually can, while No. 5, the darkest of the set, really does have a nicely "Hungarian" tang that never turns... (read more)

- By David Hurwitz © 2013 ClassicsToday.com

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