Frank Peter Zimmermann is an excellent violinist, and an ideal Mozart interpreter. His rhythms are clean and crisp, his ornamentation appropriate, his vibrato always tasteful and expressive, and the tempos he and conductor Radoslaw Szulc adopt well-nigh ideal. Indeed, Mozart seems to represent the dividing line between successful historically informed and modern violin performance, with the former usually sounding dismal and the latter almost invariably proving satisfactory, at a minimum. This is ironic because, as we know, Mozart’s dad wrote the major 18th-century treatise on violin playing, and it’s amusing to hear performances that claim to follow Leopold’s rules come out sounding like dreck, as they so often do.
This C Major Blu-ray disc release of Gustav Mahler's Symphonies 3 and 4 continues the complete Mahler audiovisual cycle project the Frankfurt Radio Symphony Orchestra and conductor Paavo Järvi initiated with the recent release of Mahler's first two symphonies. Soprano soloists Waltraud Meier and Genia Kühmeier feature in these performances of the Third and Fourth Symphonies respectively. "Genia Kühmeier sang with a transcendent and immaculate tone." (FAZ) "Great orchestra, outstanding conductor." (Bild Zeitung)
32 prime slabs of mid-60s USA garage punk aceness from LPs 3 & 4 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”). Fantastic album. If you have even a remote interest in garage punk, you'll want this album. Excellent example of mid sixties garage punk. Thanks Tim Warren Crypt Records for releasing yet another solid lineup of gems.
The soundtrack to a smoky late night bar in Chicago, or a hot Sunday afternoon down at the Popcorn. If you feel the cold sweat of soul, and the cool chills of haunted crooners singing out their final swansong, or the sinful shakes of R&B in it's twilight years, then you have a bad case of Slow Grind Fever! This is a collection of haunting, hungry, heartbroken humdingers full of swing, sway and sleaze. With obscure B-sides sitting next to some of these great artists' last outings on wax. –Stag-O-Lee Records
In this first volume of Alexander Scriabin's symphonies on the LSO Live label, Valery Gergiev and the London Symphony Orchestra begin in media res with the Symphony No. 3, "Le Divin Poème," and the Le Poème de l'extase, which is unofficially counted as the Symphony No. 4. These works date from Scriabin's middle period (ca. 1902-1908), which marks a transition from his youthful Romantic phase to his final visionary works. The Symphony No. 3 reflects a lingering attachment to the symphonic conventions which influenced Scriabin's first two symphonies, particularly in its three-movement structure and relatively clear tonal scheme, though it already hints at the organic development and greater harmonic complexity of the single-movement Le Poème de l'extase, which strains the boundaries of form and key. These effusive works demand a calculated control that may seem at odds with their volatile and languorous expressions, though Gergiev and the London Symphony Orchestra deliver the music with rhythmic precision and focused tone colors to bring across Scriabin's kaleidoscopic soundworld with brilliance.