August 5 6

Langgaard (1893-1952) is slowly emerging as one of the major symphonists of this century; he is certainly one of the major composers of Denmark, right in line behind Nielsen. His Symphony 4 (1916), Fall of the Leaf, is a beautiful study of the forces of nature. Symphony 5 (1917-18), Nature of the Steppe, is more characteristically Nordic than anything particularly Mongol or Russian. The Symphony 6 (1949), Heavens Asunder, is about a cosmic battle between the forces of good and evil. These are major works, tonal and Romantic at their core. Excellent performances, excellent sound.

The last three symphonies remain for many listeners the ultimate expression of musical romanticism. Their gorgeous tunes, luscious orchestration, and huge emotional range tempt many interpreters to extremes of musical excess– but not Igor Markevitch. These brilliantly played, exceptionally precise performances let the hysteria speak for itself, while focusing on the music's architectural strength. The results are uncommonly exciting, supple, and above all sensitive to the music's many beauties. Having withstood the test of time, and at two discs for the price of one, this might very well be a first choice for newcomers and collectors alike. Excellent recorded sound too.

It’s a shame that Végh never recorded a complete Schubert symphony cycle: he was virtually unmatched as a conductor of classical period music. No one knew better how to float a melody (to hear his way with the opening of the Fifth Symphony check out my review of the dreadful Minkowski cycle). It was a combination of characterful phrasing, perfect balances, and (crucially) players encouraged to get involved in the interpretation and characterize their individual parts. In other words, these performances are true collaborations.
– David Hurwitz, ClassicsToday.com

It’s a shame that Végh never recorded a complete Schubert symphony cycle: he was virtually unmatched as a conductor of classical period music. No one knew better how to float a melody (to hear his way with the opening of the Fifth Symphony check out my review of the dreadful Minkowski cycle). It was a combination of characterful phrasing, perfect balances, and (crucially) players encouraged to get involved in the interpretation and characterize their individual parts. In other words, these performances are true collaborations.

If you want a representative sample of Igor Kipnis’ Bach, start with the introductory toccata to the E minor Partita (No. 6). You get little of the music’s introspective undertones, but Kipnis’ subtle registration changes, resourceful ornamentation, and rhythmic extroversion proves quite insidious. Some of Kipnis’ textual emendations will surprise you, such as his duple-meter reading of the Fifth Partita’s Allemanda. Only on the repeats does Kipnis reinstate the middle notes of the right hand triplet groupings.

Various Artists - Last Of The Garage Punk Unknowns, Volumes 5 & 6 (2016) {Crypt Records CRYPT116 rec 1965-1967}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 329 Mb | MP3 @320 -> 167 Mb
Full Artwork @ 600 dpi (jpg) -> 242 Mb | 5% repair rar
© 1965-67, 2016 Crypt Records | CRYPT 116
Rock / Garage Rock / Psychedelic

2016 release containing the fifth and sixth deluxe installments of Crypt's Last Of The Garage Punk Unknowns series. 28 prime slabs of mid 60s USA garage punk aceness from LPs five and six with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and none of these tracks were on the old series Garage Punk Unknowns, so wise up!) Featuring rug-cutters from The Thunderbirds, The Kinetics, The Edges Of Wisdom, The French Church, The Symbols, The Scurvy Knaves, Purple Virus, The Ebb Tides, The Plague, Caedman & The Nobles, The Starfyres, The Uniteds, The Greg Stokes, The Torments, Kenneth & The Yorkshire Coachmen, The Sires, The Riots and many others.

There are many listeners who have come to cherish Murray Perahia's Bach, to treasure the fleetness of his fingers, the delicacy of his touch, and the beauty of his tone. There are many listeners who are deeply moved by Perahia's recording of the Goldberg Variations, who hear tragic depths in its first groups of variations, consummate wit in final variations, and heartbreaking nostalgia in the return of the theme.