You should always be extremely careful with what you read. In this year´s Gramophone Classical Guide the ridiculous short review on this fabulous recording says this: "A striking and thought-provoking performance from Alessandrini that uses a "soloistic" approach to impressive effect. Try and hear a little before you buy: it will either REPEL or entrance. We think the latter...."
That´s it. Not very helpful, is it? Though I would have loved an explanation on WHY it could REPEL.
The recording recommended is The King´s Consort, that although by no means bad, it can hardly compete with Alessandrini and his Concerto Italiano.
If you actually try it you´ll hear the heavenly voices of Roberta Invernizzi and Sara Mingardo, and they are as good as it gets, whatever the Gramophone says.
I also have that set Pepe and I agree with you that it is a wonderful set with great vocals from the two ladies mentioned.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
on foot of discovering (thanks to the Listening Projects!!) that I actually much preferred a different interpreter of Chopin (Pollini) than I had thought I'm embarking on some further explorations of Solo Piano Music.
This week I'll mostly be listening to Debussy.....
This popped up and without referring to a review at all I jumped, BIS has never let me down yet in quality terms....
That's an excellent set, Jaybee. As you say, BIS maintain very high standards in terms of their quality control as well as the very natural quality of their recorded sound. What I find rewarding about Ogawa's traversal of this music is her understated approach, especially in the light of Bavouzet's more outwardly expressive set on Chandos. There is a beautifully refined elegance about Ogawa's playing which is very rewarding. It's a very consistent set overall and she succeeds in bringing charm and warmth to Debussy without drenching the music in misty-eyed impressionism. In terms of the Etudes, I would still prefer Mitsuko Uchida and Maurizio Pollini. These are some of the most punishingly difficult and forward-thinking works in the piano repertoire, and it is no accident that both of these pianists have also excelled in the piano music of Berg, Schoenberg, and Webern. But they do set a very high standard and Ogawa's more reflective approach brings its own rewards. The Preludes are simply gorgeous and very evocative in their treatment of the subject matter. Walter Gieseking's versions are irreplaceable but Ogawa's readings are among the finest modern alternatives I have heard and yield only to Zimerman. In summary, I think you'll enjoy that set, Jaybee, but give it time. Ogawa's understated approach rewards patience. Bavouzet's set on Chandos is also excellent but he's a different type of pianist - more expressively muscular in his approach. I'm certainly glad to have both in my collection.
Gryphon Diablo 300, dCS Rossini (with matching clock), Kharma Exquisite Mini, Ansuz C2, Finite Elemente Master Reference.
on foot of discovering (thanks to the Listening Projects!!) that I actually much preferred a different interpreter of Chopin (Pollini) than I had thought I'm embarking on some further explorations of Solo Piano Music.
This week I'll mostly be listening to Debussy.....
This popped up and without referring to a review at all I jumped, BIS has never let me down yet in quality terms....
That's an excellent set, Jaybee. As you say, BIS maintain very high standards in terms of their quality control as well as the very natural quality of their recorded sound. What I find rewarding about Ogawa's traversal of this music is her understated approach, especially in the light of Bavouzet's more outwardly expressive set on Chandos. There is a beautifully refined elegance about Ogawa's playing which is very rewarding. It's a very consistent set overall and she succeeds in bringing charm and warmth to Debussy without drenching the music in misty-eyed impressionism. In terms of the Etudes, I would still prefer Mitsuko Uchida and Maurizio Pollini. These are some of the most punishingly difficult and forward-thinking works in the piano repertoire, and it is no accident that both of these pianists have also excelled in the piano music of Berg, Schoenberg, and Webern. But they do set a very high standard and Ogawa's more reflective approach brings its own rewards. The Preludes are simply gorgeous and very evocative in their treatment of the subject matter. Walter Gieseking's versions are irreplaceable but Ogawa's readings are among the finest modern alternatives I have heard and yield only to Zimerman. In summary, I think you'll enjoy that set, Jaybee, but give it time. Ogawa's understated approach rewards patience. Bavouzet's set on Chandos is also excellent but he's a different type of pianist - more expressively muscular in his approach. I'm certainly glad to have both in my collection.
And we shouldn´t forget Arturo Benedetti Michelangeli, especially his heavenly Children´s Corner.
Diapason wrote:I really must listen to Michelangeli again. I bought the set but never really explored it properly.
Michelangeli, being the impossibly difficult artist that he was, was not always perfect. For example his recording of volume 1 of the Debussy Préludes is heavenly, but when he recorded the volume 2 many years later, the magic was somehow gone. But most especially, this recording of the Images and the Children´s Corner show just what an incomparable wizard of the keyboard he was.
