Ha! It had been a while since I heard this one. In Philly “chumpy” was frequently preferred over jawn. Both are great but rarely heard outside that area.
2 Likes
Hélène Schmitt has been mentioned positively a few times on here. I’ve been listening to her a lot recently.
Here is another good release. Performng works by Giovanni Stefano Carbonelli, a composer I’d never heard of. Her tone is excellent as usual. The music is interesting. As the review says: the Corelli influence can be heard. The continuo on this album is particularly good. Well worth a listen.
3 Likes
You might have discovered this by now, but there are two releases by Bojan Čičić and his Illyrian Consort from 2017 and 2019 with the Sonate da Camera de Carbonelli… quite good too!
3 Likes
Since This thread is a good source for music and presented me beautiful unknown albums (thanks!), I share some music too i’m enjoying lately.
This album (vivaldiano) starts with a wonderful track. same goes for the telemann
good music, Kaddisch (track 9) is wonderful.
Just good music, same for the C.P.E:
The most beautiful bwv 106… and I like the small choir.
Very exciting performance!
5 Likes
Excellent 1st post on the thread. 
Plenty there for me to listen to.
Today is the birthday of Gaspar Sanz (born 4 April 1640)
5 Likes
Continuing with the recorder.
2 Likes
Discourse declines to show any more recorder albums which are nearly as bad as virtuoso banjo efforts…
1 Like
trying out the new Tidal universal link:
does not link to Qobuz. 
Thank you @mSpot for the wonderful Gaspar Sanz guitar repertoire suggestions. I particularly enjoy the Jakob Lindberg recording, having savored his Bach solo lute performances in the past. All of these are well-played and recorded, though. Rarely heard in contemporary guitar concerts, so all the more a treat.
4 Likes
My experience too. Not limited to latest releases with a deeper listening experience reflected on almost a daily basis. Thank you for sharing some most welcome and picquant suggestions @floss_laag.
To stay a little more with early Spanish music, which to me is far less well-known as the early 17th century music from Italy, France or even Germany-Austria, I have recently come across this spectacular release by Vincent Dumestre’s Le Poème Harmonique.
Luis de Briceño (1610-1630) died far too young, but left a legacy in form of the earliest treatise on how to play the guitar in the Spanish style, published in Paris of all places, where he went still very young and married a French woman…
This album shows off very effectively the heavy influence of folk elements in the music of the late Renaissance and early Baroque, easily detectable in the musical idiom from Spain. Most tunes are songs, and a couple of them are very well-known… I can remember the second track, the Pasacalle Que tenga yo a mi mujer in a modern pop version, but for the life of me can’t find by whom or when it was recorded or adapted…
Johan van Veen did a wortwhile review of the album, when it was released in 2011, and I can recommend this not only to listeners of ‘classical’ music or the Spanish guitar, but also to those interested in folk and Spanish music…
5 Likes
I rarely listen to compilation albums, but this here is a formidable exception… Naïve certainly has a deep enough archive to select great tunes, and certainly here we can lean back for two hours straight, and not one track is disappointing…
And so to bed…
1 Like
If you like Schmelzer, Muffat or Biber violin works, you should try this.
Uccellini lived 1603 to 1680. Venetian but obviously predates Vivaldi. Sounds more Austrian/German than Italian to me. The compositions would appear to be difficult to play, to my layman’s ears… Andrew Manze manages it well here. As I would expect.
2 Likes
Funny you would post this; only last night I listened to the wonderful album with Uccellini’s opus 5 sonatas by the violin - harp duo Arparla… What recorded music by Uccellini there is, is quite interesting and enjoyable indeed!
The dodecatet with dodecaconducting (I apparently have a thing with dodeca-), The Twelve Ensemble, is a recent source of great listening pleasure. Wigmore Artists-in-Residence for 2023-2025, they have been engaged in some of the most creative collaborations in the classical music world. They celebrated their twelfth year together (dodecaversary) with the album Metamorphosis, so named for a variety of reasons, not least that they perform the Richard Strauss composition of the same name. This is an album that will stretch one’s adaptability to diverse classical musical styles, ranging from Neo-Renaissance Edmund Finnis’, Hymn (after Byrd), to splendid contemporary, Zipangu, composed by rarely heard, but luminous Claude Vivier, to the spell-binding Non Voglio Mai Vedere Il Sole Tramontare by Oliver Leith and finally to the heart of the recording, Metamorphosen for 23 Strings. The shorter pieces are deeply moving. The Vivier piece, Zipangu, a term Marco Polo applied to Japan, is the pinnacle of the recording to this listener. Remarkable. Their rendition of Metamorphosen is on a par with Herbert von Karajan/Berlin Philharmonic Orchestra’s DG recording. This may be my favorite album thus far in 2024. Early days, though, and many other great recordings already and soon to be released.
I like almost everything about this string ensemble and have also greatly enjoyed their recording with superb soprano Mary Bevan, Visions Illuminées, a splendid compilation of songs by Britten (whose setting of Rimbaud’s poems to music give the album its title), Fauré, Ravel, Debussy, Holmes, Chabrier, Holloway and Chausson.
1 Like
Some works do suffer from over familiarity, and one needs a break from them. So it has been some years since I have listened to the ‘Eroica’. I believe that it is the symphony that most conductors voted for as the greatest symphony, in Gramophone, some years ago.
So when this was released, I gave it a ‘spin’, as I also greatly admire Fischer. It is very good, especially in that extraordinary first movement, which comes across as completely organic and perfectly formed. So much future music flows from it. And if I miss the intensity of '60s Karajan in the Funeral March, this may be compelling in a more subtle way.
In short, Ludwig’s back!
3 Likes