Beautiful! At times it is hard to believe it is a violin solo playing.
Inspirational, energetic yet soothing.
Mark Lubotsky. Violin Guadagnini, 1728.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Partita #2 | Dm | BWV 1004 | ||
| Sonate #3 | C | BWV 1005 | ||
| Partita #3 | E | BWV 1006 |
Beautiful voice. Soft interpretation, full with sentiment. The sound is quite punished, esp. regarding the orchestral instrumentation. Lacking power, as compared to Pavarotti, he more than compensates with his intention. It is almost as if he himself were surprised with his facility to do as he pleases with his voice. With such fluid transitions, it is a shame the recordings sound so bad, but most are near or more than a century old.
Classic Options, CD: 20 tracks
I did not grow fond of this one, though I listened to it repeatedly. Nevertheless, I did find perhaps something in it. Musica ricercata is an interesting exploration of the spatial effects that a piano as a percussion instrument can develop. It concentrates on this by developing volume/intensity lines, by controlling reverberation, and by actually changing the spatial direction of sound, since a piano is a big instrument having different registers distinctively located.
It has not been as easy as I thought to enjoy all "classical" music. In this case I actually mean baroque which is my favorite hands down. This is the 3rd time I listen to the Sonatas for violin from Bach. I have also listened to the Suites for Cello several times. I can now tolerate their listening. In fact, I can say it is ok.
Mark Lubotsky, violin ( J.B. Guadagnini 1728)
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Sonate No.1 | Gm | BWV 1001 | ||
| Partita No.1 | Bm | BWV 1002 | ||
| Sonate No.2 | Am | BWV 1003 |
Lovely. Joyful! Superb. Light and inspirational.
Wispelwey is quickly becoming one of my few favorite interpreters. 73 minutes of nonstop barroque beauty.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Concerto per il Violoncello | C | Adagio has cadenza form 18th century | ||
| Symphony | D | no. 104 | transription for flute, 2 violins, viola, violoncello and pianoforte | |
| Concerto per il Violoncello | D | all cadenzas Wispelwey's |
Amazing technical and expressive resources: the crescendo/decrescendo alternation during a legato is surprising. Joy, disdain for the world, intimacy, honesty. Although I love baroque, this is not my favorite. But for someone that enjoys vocal pieces, is a lover of technique, or likes baroque (and is not biased against the human voice, ahem, like me) this is an Archiv CD not to miss.
Anne Sofie von Otter, mezzo-soprano
Jory Vinikour, Harpsichord & Chamber organ
Jakob Lindberg, theorbo, lute & baroque guitar
Ander Ericson, theorbo
Note: the booklet includes the lyrics.
I believe that either I am becoming numb or this is too known. But I have not much to say.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Symphony 31 | D | KV 297 | Paris | |
| Symphony 36 | C | KV 425 | Linzer | |
| Symphony 40 | Gm | KV 550 | First version without clarinets |
