Hi René, is this meant to illustrate you’re listening to Ólafsson, or to your new iPad Pro? 
I was kind of expecting that answer 
Thanks for the Dylan tip, allow me to return the favor:
According to AllMusic’s Thom Jurek, “A masterwork of composition, control, investigation, and ultimately, realization with aplomb.”
Singer and pianist Kandace Springs — whose soulful singing led her late mentor Prince to praise her “voice that can melt snow” — has announced her newest project, The Women Who Raised Me, out March 27 on Blue Note Records. Produced by GRAMMY-winning producer Larry Klein (Joni Mitchell, Herbie Hancock) — who produced Springs’ 2016 debut Soul Eyes — The Women Who Raised Me is a tribute album to the female vocalists who most impacted Springs’ music, stylings, and journey.
The Women Who Raised Me features renditions of songs made famous by some of history’s most iconic vocalists: Ella Fitzgerald, Roberta Flack, Astrud Gilberto, Lauryn Hill, Billie Holiday, Diana Krall, Carmen McRae, Bonnie Raitt, Sade, Nina Simone, and Dusty Springfield. The Women Who Raised Me also features a cover of and a collaboration with Kandace’s “ultimate inspiration,” Norah Jones.
You’re right about Starker, i forgot about him. I agree that his earlier recording is his best (i have 4 in my collection, never heard the first) although his 5th recordings shows more mature. Deeply involved readings though imho his personality sometimes dominates that of the composer. But definitely worth listening to.
What we ultimately win is that we all have our own preferences. That’s how it should be.
A joy forever.
Sir Stephen Cleobury (1948-2019) The second album to be released after his death and again a welcome reminder of this gifted conductor and organist.
Impressive and unrivaled choir culture since 1441, wich i really enjoyed. Apart from the beautiful recording not much different from his 1994 release.
Perhaps not a St Matthew Passion that should be counted among the most pioneering ever. But there is so much beauty to enjoy.
Already heard it two times in a row
https://i.imgur.com/CZvWhwV.png
With Suzuki two fine brand new Matthaus passions in short time. Are we spoiled brats or what.
Inspired because Antonio Pappano was playing the “Quello che tacete” melody on the Royal Opera House youtube channel.
https://i.imgur.com/Js4Al4S.png
In Cue:
https://i.imgur.com/UZjWoIy.png
https://i.imgur.com/I4ePBnL.png
https://i.imgur.com/kITttdY.png
Hi Steve
I have already downloaded it! Good stuff again.
The opening with the opening choir “Kommt, ihr Töchter” immediately sets the tone; not a quick-played waltz, but imposing and wide-set, like the start of a great human drama. Richter exceeds 11 minutes with this tempo. Only the version by Otto Klemperer is even slower. But unlike Klemperer, here in the rest of the MP we are not dealing with a somewhat stately approach, but with a sharply profiled and dramatic one!
Within the choruses for the choir, Richter is not afraid to introduce dynamic differences and to accelerate or slow down the tempo. However, this never happens without losing sight of the basic rhythm (ear). It happens where the feeling dictates it. Something that is out of the question nowadays with all objective baroque conventions; strange when you consider that this composition is one of the most emotional and moving musical works in history.
Striking qualities? The singers. All world stars, who sing in full without the mannerisms of the authentic approaches. With feeling and dedication. Peter Schreier can dream his party and is simply the best “narrator” of the passion story.
Unique and unforgettable is how Richter in the choir “Wahrlich, dieser ist Gottes Sohn Gewesen” (end recitative 73a) gives words to the words with an overwhelming crescendo. Friend and foe agree that Richter always made a big impression here. In an authentic performance, this section is over with a sigh, with Richter (perhaps three to four times slower than usual!) You get the feeling, with the crowd in the story, to experience a revelation. Grandiose!
A compilation of EPs
Your opinion?
True, though personally, I find this more disturbing in Rostropovich’s performance. But then again, it’s like you say:
I agree, Suzuki’s new recording is a fine one. Enjoy the Pärt, and thanks for the Korngold tip!
I bought the whole All India Radio out for £33 an absolute bargain, you may be interested.
To be honest they are a new discovery for me, through radio paradise, so not at the catalogue acquisition stage yet 