I've been awaiting this mammoth recording of Strauss by Andris Nelsons for some time, partly due to the very silly number of 'singles' released by DG in their infinite (lack of) wisdom.
Anyway, what we have here is eight hours and thirty two minutes of prime Strauss Tone Poems etc recorded with two orchestras - BSO and Gewandhausorchester. So my expectations are high - you also get appearances from Yo Yo Ma and Yuja Wang. Nice. The only other work I would have liked is the VC!
Not a new recording, but new to Spotify is this wonderful recording on Linn by the Dunedin Consort of the Mozart Requiem, a 'reconstruction of the first performance'.
I bought it on vinyl when it first came out and loved it.
< Dunedin Consort presents the premiere recording of Mozart scholar David Black's new 2013 edition of Süssmayr's completion of the Requiem. It was named winner of the 'Choral' category at the 2014 Gramophone Awards.
This GRAMMY-nominated recording provides the opportunity to re-imagine what this work may have sounded like at its very first performance and won Dunedin Consort its second Gramophone Award. The recording is the first not only to use this new edition, but also to present the work using forces close in style and scale to those at the first performances. >
The conducting of The Pines is just a little plodding and deliberate. Not as light on its feet as Lane and the Atlanta SO, my favourite version. The recording is OK, a bit homogeneous and a tiny bit distant, not as brightly lit as I might have expected from Linn, but there are no nasties. Now for the real black mark: where is the organ? This feeble effort will not do. The Pines needs that massive underpinning of deep pedals during the Catacombs section which the Atlanta provides in spades (typical Telarc recording). How very disappointing.
The Brazilian Impressions fare better and this passes muster.
On to Belkis, which has some stiff competition from the superb Chandos recording with Simon and the Philharmonia. It starts well with a good Persian feel (yes, I know the exact country is disputed). There is still that plod, as if Crudele's metronome is running a touch slow. On the Dance movement, the atmosphere is better generated but what's this? They're using timpani where arabic drums are called for? I can't listen to any more.
I feel that Crudele needs to study Respighi some more and come back to them in 10 years to try again. These are not lollipops and he has not done them justice.
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