VIVARTE is the legendary Sony Classical period music label known for producing outstanding recordings on period instruments. The recordings by legendary producer Wolf Erichson are done with the best recording technologies and by one of the best production teams in the world (Tritonus Music Production, Stuttgart). The label started producing when Sony Classical was founded (in 1989). The production came to a standstill recently when Wolf Erichson retired and DHM became the new label of period music within Sony Classical. Among the outstanding artists which recorded for Vivarte are: Anner Bylsma, Gustav Leonhardt, Jos Van Immerseel, Tafelmusik, Huelgas Ensemble and others.
The early Beethoven, the late Haydn… Where is the borderline between these 2 – what is the connection, what differentiates them? Although their ways of life & characters were clearly different, both masters lived in a time during which it was as important to obey the prescribed musical rules as it was to connect the artists intellect with his creativity, personality, & emotional world.
This particular recording has been a favourite of mine since its initial release nearly 30 years ago. Stephen Kovacevich (or Bishop-Kovacevich. if you prefer) appeals as 1 of those pianists whose playing is rather forthright & precise, giving us here a rather lyrical presentation of the concerti full of grace & good demeanor. A little on the light side compared to those who pound out their Beethovens some would think.
The 1st & final movements of Brahms’s 3rd Symphony contain some of the most dramatic music he was to compose, yet both end serenely & enclose 2 beautiful inner movements. The equally exquisite Serenade No 2, unusually scored for wind instruments, violas, cellos & double basses, was 1 of his own personal favourites & both receive superb performances under Bernard Haitink in the 3rd part of his internationally acclaimed LSO Live Brahms cycle.
The search for "the" solo instrument of the 19th century leads inevitably to the piano. It has its place in the public concert hall as well as in the private salon, and not a few composers have emerged as successful pianists. Among the composers in this program, though, only Frédéric Chopin belongs to this group, but he soon changed his field of activity from the anonymous concert hall to the more intimate salon circle. Antonìn Dvorák, on the other hand, passed the organists' examination and was at first employed as violist in an orchestra, while Tchaikovsky was much too reclusive to interpret his own works in front of an audience. Among the selected works by Dvorák, Chopin and Tchaikovsky, only the Dvorák piano concerto requires a large concert hall, while the solo pieces by Chopin and Tchaikovsky were originally at home in the salon…
"…Many excellent recordings of this monumental work cater for different tastes and priorities. Some have more consistent line-ups of soloists, equally impressive choirs (of varying sizes) and comparably strong artistic direction. Although an excellent one voice-per-part version is nothing new, Butt's insightful direction and scholarship, integrated with the Dunedin's extremely accomplished instrumental playing and consort singing, amount to an enthralling and revelatory collective interpretation of the Mass in B minor - perhaps the most probing since Andrew Parrott's explosive 1985 version" ~Grammophone
Is not a déjà vu, not, is the new 2014 release (for compare with original).
Appearing South-American hippie hymn "Todos Juntos" and the beautiful ballad "Mira Niñita"
In terms of prog-rock sophistication, this wonderful 1972 album is not the best place to start investigating Los Jaivas, but it is the most important album of Los Jaivas' earliest and folkiest phase. Here we see the early fusion of psychedelic rock with bona fide Andean music. While some songs are merely good, and others intriguing, it is the brilliant title track that happens to be my all time favourite Spanish language song.*