The Edition of Contemporary Music started their New Series in 1984 (as opposed to the 1969 start for New Age/Jazz) to present Arvo Pärt’s Tabula Rasa, which, as you know, is superb. “Contemporary” now encompasses music from the 13th century onwards. The Manfred Eicher touch is present throughout, with a distinctive approach to sound engineering that is almost always uniquely suited to the performers. As your splendid collection of favored ECM recordings shows above, their cover art is also interesting, calling attention to small scale beauty in the natural world.
I am also surprised when an ECM recording (versus ECM New Series) is jazz-free. I’ll tentatively approach the recommended recording. Here’s hoping that there are no “pipes”.
When streaming music and downloadable RBCD (Red Book Compact Disc) resolution recordings first became available for sale and/or streaming, ECM stood back. I was so happy when they joined in. Their catalog is too valuable to be silo’d (as with Hyperion).
The entire ECM/ECM New Series catalogue are available for streaming and/or purchasing for download. An interesting and worthy exploration for those unfamiliar with ECM/ECM New Series. It all begins with “Free at Last” by Mal Waldron. I liked it at the time, but was barely awake musically. Not sure about now.
Had to turn my volume down to -31db to listen. I can’t tell whether this is due to dynamic range compression or some other recording issue. Can scarcely hear the harpsichord and theorbo accompaniment. Maybe a touch too violin forward? It is, however, very nicely performed baroque music and sounds as though it is an HIP with cello, harpsichord, portative organ, theorbo and violin. Viva Tomaso Albinoni. Thank you for bringing this recording forward.
As one review put it, “Una musica di ascolto attento.”
Not inconvenient, Andreas. Just a surprise and only a suggestion to others (hopefully) having a listen. I listened to the complete recording, finding myself wishing for a live performance. Like you, I listen critically, but with an open mind and with great respect for the performers. Please keep these fascinating and excellent recommendations and background stories coming. We all benefit from your knowledge and generosity!
Heinrich Ignaz Franz Biber’s Mystery Sonatas or Rosary Sonatas remain one of the most spiritually and musically satisfying works of the German Baroque before Bach. Composed in the mid-1670’s, they were not published until their re-discovery in 1905. The only manuscript is held at the Bavarian State Library in Munich, Germany. These 15 sonatas with their final unaccompanied Passacaglia are conceived by one of the most accomplished Baroque virtuoso violinists, and their scordatura tunings and technical difficulties pose high demand on the interpreter.
There are now numerous fine recordings and interpretations available, with Rachel Podger’s 2015 account on Channel Records probably being the most popular. By the way, I have recently noticed that Channel Records is releasing a great many albums on Qobuz in 192/24. Podger’s Rosary Sonatas is amongst these new high-res releases.
Of the twelve or so complete interpretations in my Roon library, the one I enjoy by far the most is this version from 2014 by the Finnish violinist Sirkka-Liisa Kaakinen-Pilch. Her playing is extraordinarily beautiful; firm tone, incisive rhythms, and just a great fun listen. She is accompanied by the remarkable Baroque ensemble Battalia, also from Finland. This ensemble in 2004 released one of the few complete recordings of Telemann’s Essercizii in two volumes of two discs each. I can warmly recommend this collection of Telemann’s chamber music.
The recording of Biber’s sonatas was realized in the very beautiful St. Catherine’s Church in Karjaa, Finland. The recorded sound complements the beautiful music-making to great advantage.
Simply marvelous. I listened to a CD by Andrew Manze, Richard Egarr and others first as it was the version I imprinted on. It was all a tossup until I reached the Ciacona, Sonata 4. Astonishing. The Passagalia is masterful. Plus, can’t get enough of the theorbo.
Interestingly both albums switch from organ to harpsichord for continuo. Do we know whether this was Herr Biber’s intention? It hardly matters, as it works so well.
This is a balanced, superbly recorded performance in a perfect venue. All the performers/instruments shine through. And it is the season.
Thank you, Andreas, for both recommendations and backstory.
I would love to see more solo albums by Sirkka-Liisa Kaakinen, but she seems to have released only very little. There is her very good interpretation of the six Bach solo pieces, and several recordings with chamber music by Christoph Graupner.
How about Telemann’s 12 Fantasias for solo violin, published in 1735, 15 years after Bach’s sonatas and partitas? Do you have a favorite recording of these pieces? Until some time ago I would probably have pointed out Gunar Letzbor’s 2021 interpretation, but then last year two remarkable and at the same time very different versions have been released…
First, there is the version by Tomás Cotic from Argentina… Until actively searching for Telemann interpretations, he was unknown to me. He also has recorded the Bach solo violin pieces, but this album I didn’t really enjoy. Then there are two albums with music by Piazzolla, and these did take my fancy…
And then there is this incredibly well-executed set by the Romanian violinist Anca Vasile Caraman. She plays with a warm and firm tone, very stylish and very beautiful. She seems to favor the virtuoso repertoire, having released the Ysaÿe sonatas and Paganini Caprici, but she does beautifully with the baroque repertoire, too.
Sweet subject forever burned in my head with your name, I did posted Małgorzata Malke’s version and you told me about Gunar Letzbor’s version and as the subject was yet fresh Anca Vasile Caraman’s version came out. Thanks for Tomás Cotic
I might as well re-introduce the young Canadian violinist Marie Nadeau-Tremblay, who to date has released two very worthwhile albums. The first, recorded before and released in the first year of the COVID pandemia, was Plague-themed, with 17th-century violin music which one way or the other was influenced by the Great Plague ravaging Europe. The second album is titled ‘Préludes et Solitudes’ and is the product of loneliness and solitary confinement during the pandemic curfews and lockdowns. This is music for solo violin, including Biber’s famous Passacaglia. I enjoy her playing…
Listened to it years ago. Have it in LP form, but no longer have the gear to listen to it. Can’t find it in disc form. Iona Brown with Academy of St. Martin in the Fields did a splendid job of the Violin Concertos, as well. 1970 Philips recording.
After hearing his (Hadelich’s) Paganini Caprices, which were spectacular, I thought I’d enjoy other works by the same performer. I did. I don’t think you’ll care for it, though, recorded as it is in a large volume space with some reverb.
Saw an enjoyable Dave Hurwitz Classics Today YouTube about this in 2021.
Thank you @eclectic for jarring my memory of this performance and for highlighting Caroline Balding. I enjoyed her performance on the Telemann album with Andrew Manze I mentioned above.
The Guido is timely with vernal equinox fast approaching. To paraphrase, “Spring is icumen in.”
It was in 2020 or 2021 when I stumbled upon the music by the American early music ensemble ACRONYM. They have a very enjoyable discography waiting to be explored, with quite a lot of 17th century pieces recorded for the first time. From time to time I come back to their music and listen to a couple of their albums.
So today I selected Le Memorie Dolorose, a kind of oratorio about the Passion and burial of Jesus, by the 17th century violinist and composer Johann Heinrich Schmelzer. He is of course very well-known, foremost as composer of virtuoso violin sonatas and pieces in Stylus Phantasticus. This is then to illustrate another facet of this fascinating artist who was active at the Vienna court.
The music-making and singing on this album is just so very beautiful, so enjoy!
Love the cover, Guiseppe Arcimboldo’s Vertumnus-Rudolf II. Had forgotten that it has both performances of Le Quattro Stagione. Wonderful. The addition of wind instruments to Vivaldi’s Four Seasons makes it dance especially (like the Dresden version).
Nice work by Andrés Gabetta and Orchestre de l’Opera Royal. Enjoy the more detailed breakdown of the sections in Guido’s version to correlate what you’re hearing with the composer’s intentions, something you can also do (with greater difficulty) with the notes for the Band of Instruments’ performance.
This was yesterday’s very extensive nightcap… nearly 2,5 hours of Brahms goodness… the three piano trios, together with the horn trio and the clarinet trio, beautifully interpreted by members of the German Villa Musica ensemble under the leadership of clarinetist Ulf Rodenhäuser and, of course, violinist Nicolas Chumachenco, who sadly passed away in December 2020.
Coviello Classics is a small German label striving for excellence in recording quality. The result of their work can be heard and I appreciate their recording catalogue.
