"The trees are coming into leaf/Like something almost being said." Taking a cue from these lines of Philip Larkin, pianist Simone Dinnerstein casts her album of the music of J.S. Bach and Franz Schubert in poetic terms. Her understanding of the composers is summed up in her own words: "The music of Bach and Schubert share a distinctive quality, as if wordless voices were singing textless melodies." Of course, Bach and Schubert were masters of setting texts to profoundly expressive music, so it is fruitful to look for the lyrical impulse in their keyboard works and appropriate to find songful interpretations. Yet Dinnerstein doesn't merely serve up rhapsodic renditions or treat the music as some kind of tuneful vehicle for idiosyncratic or personal reveries. Her playing is quite in character for both composers, and her treatment of the material is far from self-indulgent.
"SHM-SACD (Super High Material SACD) is the ultimate Super Audio CD that utilizes the materials and technologies that were developed for the SHM-CD to further enhance the audio-resolution. These discs are made with polycarbonate developed for the screen of the liquid crystal display. As it has a higher transparency, players can read the signal more faithfully. Also, it excels in fluidity, which enables you to cast a more accurate pit. What works wonders for a low resolution format such as CD should offer even greater sonic improvements in a real high resolution format such as SACD."
"SHM-SACD (Super High Material SACD) is the ultimate Super Audio CD that utilizes the materials and technologies that were developed for the SHM-CD to further enhance the audio-resolution. These discs are made with polycarbonate developed for the screen of the liquid crystal display. As it has a higher transparency, players can read the signal more faithfully. Also, it excels in fluidity, which enables you to cast a more accurate pit. What works wonders for a low resolution format such as CD should offer even greater sonic improvements in a real high resolution format such as SACD."
Despite rumors some months ago that the RCOA series might be discontinued (fortunately unfounded), here we have Volume III, a 14-CD set that contains much of interest, but surely—for this collector—doesn't live up to its potential. For me, ideally that would concist of some of the outstanding performances of great symphonic music played by this magnificent orchestra, recorded in the extraordinary acoustics of the Concertgebouw with the usual Radio Nederland sonic expertise. During the decade represented in this set (1960-1970) the Concertgebouw Orchestra's programming often emphasized contemporary music and that surely is reflected in this album. We have well over five hours of music by Martin, Varèse, Berg, Webern, Henze, Lutoslawski, Nono and Dallapiccola as well as Dutch composers Ketting, Escher, and Vermeulen, and Polish composer Grazyna Bacewicz's Music for Strings, Trumpets and Percussion, an 18-minute three-movement work of imagination and vivid scoring.
This 31CD-box brings together all the operatic recordings that the German conductor Wolfgang Sawallisch (1923-2013) made in the years from 1956 to 1993 for EMI Classics and Electrola (now Warner Classics). Aged 11, Wolfgang Sawallisch (1923-2013) heard a performance of Humperdinck's fairytale opera Hänsel und Gretel in his native Munich and, there and then, decided that he wanted to be the man in the orchestra pit who waved his arms and made things happen. It took him a while - war service as a radio operator and a spell as a prisoner of war delayed the inevitable - but by his late 20s he was conducting opera at Augsburg (starting with Hänsel und Gretel) and he had barely turned 30 when at Aachen he became the youngest Generalmusikdirektor in Germany.
This 31CD-box brings together all the operatic recordings that the German conductor Wolfgang Sawallisch (1923-2013) made in the years from 1956 to 1993 for EMI Classics and Electrola (now Warner Classics). Aged 11, Wolfgang Sawallisch (1923-2013) heard a performance of Humperdinck's fairytale opera Hänsel und Gretel in his native Munich and, there and then, decided that he wanted to be the man in the orchestra pit who waved his arms and made things happen. It took him a while - war service as a radio operator and a spell as a prisoner of war delayed the inevitable - but by his late 20s he was conducting opera at Augsburg (starting with Hänsel und Gretel) and he had barely turned 30 when at Aachen he became the youngest Generalmusikdirektor in Germany.