The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.
Celebrating the 60th anniversary of Glenn Gould’s legendary Goldberg Variations.
Glenn Gould Remastered – The Complete Album Collection refurbishes Gould’s complete approved studio recordings using state-of-the-art Direct Stream Digital (DSD) transfer and 24 bit/96 kHz mastering technology in a 81 CDs limited edition. The 416 page book includes complete original liner notes (many penned by Gould himself), a wealth of facsimile documents, rare photographs, full discographical information, and a newly commissioned introductory essay by Gould scholar and biographer Kevin Bazzana.
Two rarely recorded Haydn violin concertos frame Rachel Podger’s performance of Mozart’s Sinfonia Concertante in E flat on this disc. Both concertos have only string accompaniment, here provided by the Orchestra of the Age of Enlightenment, and a discreet harpsichord (the player’s name unaccountably omitted from the list of the orchestra personnel in the accompanying booklet). Rachel Podger has chosen to play both concertos on her own Pesarinius violin (1739) that she feels is most suited to the style of these works and few would disagree with her choice. Her agile and spirited playing in the outer movements is complemented by her pure cantilena in the slow movements. As is to be expected, both works are full of baroque idioms and, while neither presents Haydn at his most inventive, they make an enjoyable pairing.
Since its formation in 1982 the Salomon String Quartet has established its position as one of the world's leading ensembles specialising in the historical performance of the classical string quartet repertoire. The quartet has toured extensively in Europe, the USA, the Far East, Israel and Australia as well as making regular appearances at British music societies and festivals. It has made many records for Hyperion and given numerous radio and television broadcasts. In addition to the music of Haydn, Mozart, Beethoven and Schubert, which forms the basis of its repertoire, the Salomon Quartet has always been committed to the exploration and performance of the wealth of quartet music written by their contemporaries.
One hates to admit it, but at this point in his career, pianist Maurizio Pollini is no longer a Mozart player. Although a supreme virtuoso, a passionate intellectual, and a consummate artist, Pollini has grown too brilliant, too intense, and too calculating for Mozart. Pollini's tone is crystalline, his textures are transparent and his tempos are perfect in this breathtaking 2005 recording of the G major and C major piano concertos, but it all seems too cold and too objective. Although he is also directing the Wiener Philharmoniker from the piano, this doesn't seem to encumber Pollini's virtuosity in any way; indeed, he appears to enjoy the challenge, audibly coaxing more force from the musicians' playing.