25 years of activity, an original artist, sincere and inspired. A Nordic-inspired poetry that finds its soundness in search of sound, in the company of many musicians / companions Simon, tells us, in this volume, a unique artistic journey that varies between Rock, Contemporary, Jazz, Chamberlain. Becoming an icon of the RIO movement between the 90s and 2000s, Steensland proposes two discs, one that collects a collection of pieces of his first period on CD, which has long been completely out of stock, along with a second record in which they appear Totally unpublished pieces. A distillate of Simon's musical world, a new incredible sound experience.
This is a very good recording of a selection of Vivaldi's "concerti a quattro" - concertos for string orchestra without a solo instrument. Here we have a selection from the vast Vivaldi archive in Turin, selected, as Standage tells us, "on musical and pragmatic grounds with the aim of presenting an attractive cross-section".
With this album, Simon Standage continues his survey of the 40 odd concertos for strings by Vivaldi. As with period practice, winds are added to a few of the works. The continuo consists of harpsichord and guitar, the latter a very appealing sounding period instrument. There is less unity of mood on this album than on Volume 1 of this series. Instead, one is prone to gasp at Vivaldi's prodigious invention.
For twenty years the Berliner Philharmoniker has celebrated its 1882 founding with a concert at a major European venue, and the 2011 event takes place at the magnificent Teatro Real in Madrid. The renowned orchestra, under the baton of Sir Simon Rattle, performs Joaquín Rodrigo’s beloved Concierto de Aranjuez, Emmanuel Chabrier’s exuberant España, and Sergey Rachmaninov’s dramatic Second Symphony. It is joined for the Concierto by the famous flamenco guitarist Cañizares, whose virtuosity and sensitivity are given full opportunity to shine in this multi-faceted and subtle work.
This is a highly distinctive album in the mountain of Vivaldi CDs. The works come from a manuscript in the library of the Paris Conservatory that is thought to have been originally presented to a French nobleman. It is thought that only two of the concertos were new, while the other 10 were chosen from those Vivaldi had on hand. Whatever the truth of this, this set of concertos represents a highly winning, perhaps more subtle aspect of Vivaldi's style than one usually comes in contact with.
Even if one always has doubts about Simon Rattle conducting Mahler - doubts about his sincerity and his seriousness - even if one has always questioned his radically wrong tempos in the Second and Fourth and his amazingly uncomprehending interpretations of the Sixth and Seventh - one has to admit that Rattle has over time gradually been getting better at recording Mahler.