Schuberts String Quartet no. 15 by the Doric String Quartet – Outstanding

Why streaming is a good thing – at least for the consumers

It´s amazing how our listening habits have changed in so little time since streaming arrived. I was personally late to the game, only started less than two years ago (about the time when I started this blog).

In the not so “old days”, one had to go to a record store and listen to new music there. That was an adventure on its own, and if you had a good CD (or vinyl) dealer, you even got some great advice.

Well, we can safely assume that CD stores will mostly go the way of video rental stores, with few exceptions. You may like this trend or not, but for me, streaming has opened up  new worlds.

You basically get every single new album, the day it is out, directly onto your computer, in CD quality or even better. And this for a relatively modest fee, about the price of 1-2 CDs. I’ve  discovered so much new music like this, stuff that I wouldn’t otherwise have explored.

So from a customer perspective there is a real gain. From a musician perspective, things are obviously different, as musicians only make very little money from streaming if you’re not Beyonce. I assume for this reason, many smaller labels, like ECM, Chandos, or Hyperion didn’t allow streaming until now.

It looks like things are changing again, as labels do realize that streaming may be a tricky business model, but if you’re not on it, you’re out of mind for too many music lovers. ECM came first recently, Chandos just started, and I hope Hyperion will follow.

It is just that especially for classical music there is no decent way to sample music before you buy now that CD stores are gone, and the 30 seconds snippets from Amazon may work for Bruno Mars, but not for a 50 minute classical piece.

Which lead to me often ignoring recordings, like this particular one. I’ve mentioned it previously in my post about the 2017 Gramophone award nominations. To quote myself “I have only heard it once on the radio (again, also Chandos doesn´t stream), and liked it, but wasn´t blown away. Not interesting enough for me to spend money blindly on it“. There you go. I’ve simply ignored a truly great recording just because of their lack of streaming.

But please, fellow music lovers, remember, no musician can live off streaming only. So, please, if you like something, buy the album, or go to their concert. We want these great musicians to be able to live off what they are doing!

Schubert: String Quartets No. 12 & 15 – Doric Quartet (Chandos 2017)

I haven’t written about String Quartet No. 15 yet. That’s a shame. I’ve mentioned No. 13 “Rosamunde”, and obviously Death and the Maiden, No. 14.

No. 15 is the last one, and to me pretty much on par with the two others as well as the outstanding String Quintet (see here and here for my favorite versions).

No. 15 is a true masterpiece, and longer than most of Schubert´s symphonies. My initial versions of this were the great Alban Berg Quartet and the Quartetto Italiano.

Schubert String Quartet No. 12 and 15 - Doric String Quartet (24/96) Chandos 2017

The Doric String Quartet is a young UK-based quartet, with Alex Redington and Jonathan Stone on violin, Hélène Clément viola, and John Myerscough on cello. The quartet has won a number of prices and awards yet, including several high praises by Gramophone.

And as already mentioned above, my superficial listening on the radio simply wasn’t enough to make up my mind. The playing is truly excellent, showing all the passion that late Schubert requires, but at the same time the attention to detail that shows all the little nuances that Schubert is so good at hiding in the music. This is truly breathtaking.

Did I mention you also get the Quartettsatz, a one movement quartet from Schubert? We won’t say no to this!

My rating: 5 stars

As mentioned previously, Gramophone agrees, this was and Editor´s Choice, and shortlisted for the 2017 Gramophone Awards. Germany´s Fono Forum also gives 5 stars.

You can find it here (Qobuz, who at the time of writing has a special offer on all Chandos), and here (Chandos own online store)

Alina Ibragimova and Cedric Tiberghien at Boulez Saal – Fantastic!

New Year Resolutions

As most of you, I have made a couple of New Years resolutions. Among them was, not suprisingly, exercise more and eat healthier. Well, 7 days in and, while improving, I’m far from where I want to be (although slightly better than last year).

Another resolution was to go to more concerts. There are so many fantastic concerts out there, and I have the privilege of often being in places that offer excellent musical performances on a regular basis. Berlin is a case in point, where I happened to be quite a bit recently.

So, I guess starting with my first concert on January 6 is a good starting point for the last resolution. Let’s see how I continue from here.

A lot of firsts

This concert was a lot of “firsts” for me. First concert of the year, first time I’m listening to a concert performance of any of the three composers on the program (more about that later), first time I see Alina Igrabimova and Cedric Tiberghien in concert, first time the two are actually mentioned on this blog (beyond a small side note in passing), and first time a Berlin´s new Pierre Boulez Saal.

Pierre Boulez Saal

Barenboim-Said Academy (exterior) (c) Musicophile 2018
The Exterior of the Barenboim-Said Academy hosting the Boulez-Saal (c) Musicophile 2018

The Pierre Boulez Saal is the latest of the classical music venues in Berlin. It was built as part of the Barenboim-Said academy. It formally opened in March of 2017. It was planned by architecture legend Frank Gehry as a Salle Modulable, i.e. with a lot of flexibility.

Entering the building, I really like the architecture of the overall hallway, with a nice mix of traditional and modern elements over the several floors.

Boulez-Saal (Detail) (c) Musicophile 2018
Barenboim-Said Academy (detail) (c) 2018 Musicophile

However, entering the Boulez Saal itself, I was a bit underwhelmed. Being a big Frank Gehry fan, I kind of expected more. It kind of reminds me of a smaller Roman amphitheater, just more wood, less stone.

And honestly, who designed the patterns covering the seats? This weird mix of blue and red reminds me of some of the public transport seats in Europe that use complex patterns to deter graffiti. I don’t expect the typically 50+ classical music audience to be big into graffiti, so no idea what went on here.

Boulez-Saal (c) Musicophile 2018
Boulez-Saal – interior (c) 2018 Musicophile

But well, I shouldn’t be too negative, the acoustics were quite nice, you have excellent visibility from pretty much all seats, and to really honor the concept of a roundish concert hall, the piano was turned during the break having the artists face the other way in the second half of the concert.

Anyhow, there is quite an intriguing concept behind the hall, and it is hard to take pictures in there (and unfortunately forbidden during the concert, so no pictures from the artists here…), therefore I suggest you check out this video:

 

Alina Ibragimova and Cedric Tiberghien

Two young, brilliant artists that I’ve never mentioned on my blog in 2+ years. How come? I actually like both.

The reason is more or less technical. Both mainly record for Hyperion, and Hyperion doesn’t allow streaming. As mosts of my initial reviews are typically based on streaming (I like to sample before I buy), I haven’t really formally reviewed any of their recordings yet. However, the samples I was able to listen to were, plus the raving reviews everywhere, really made me curious.

32 year old Ibragimova has some highly praised albums, including her Bach solo sonatas, Ysaye´s solo sonatas, the Beethoven and Mozart sonatas with Tiberghien, and a really enjoyable recording of the Bach violin concertos. Tiberghien is not only her regular duo partner, but has also done some very nice solo recordings that are worth checking out.

So I was very enthusiastic to be able to see both of them live.

Ibragimova and Tiberghien At Boulez Saal playing Ysaye, Vierne, and Franck – January 6, 2018

In my recent review of Sabine Devielhe´s album Mirages, I already mention that I’m really not an expert on French composers.

And actually, to be fair, the first one isn’t even French but Belgian, Eugene Ysaye. I had heard about him, but never the Poème élégiaque that started the performance. As rare as it is for me, it is actually very refreshing hearing a piece of classical music performed for the very first time. You have a much more open reception.

And I was blown away. This relatively short piece was inspired by Shakespeare´s Romeo and Juliet, and you could certainly hear all the passion of this inspiration in there. Ibragimova played with a wonderful intensity, and Tiberghien was the perfect partner, never overshadowing, which the powerful sound of a Steinway can easily do.

Next came a composer I literally had to google. Louis Vierne. You may say Louis who? Turns out he’s relatively well known in France, but his reputation beyond the French borders is still very low. So I had no idea what to expect.

A violin sonata from a composer mainly known as an organist? Again, I was very positively surprised. My personal highlight was the second movement, Andante. I was literally mesmerized by the beauty of it. Isn’t it enjoyable that there is still so much beautiful music to be discovered?

After the break, we got my personal highlight of the evening, César Frank´s A-Major sonata. This piece I was much more familiar with, both from historic recordings with Heifetz, and from Isabelle Faust´s recent album on Franck and Chausson.

Regular readers of this blog will know that I’m a Faust fanboy. But what Ibragimova and Tiberghien did last night was even significantly better than Faust´s excellent recorded performance. Given that this was a live event, the performers took quite some liberties on timing, but only to the benefit of this music. The audience, like me, was extremely enthusiastic.

As an encore, we got a beautiful work of one of Vierne´s pupils, Lili Boulanger, the less-well known sister of Nadia Boulanger, who unfortunately passed away at the young age of 24. The Nocturne was again of outstanding beauty.

Overall, an evening of extreme emotional intensity and passion

My rating: 5 stars

Walking The Line – without Johnny – but with Oscar Peterson!

Happy New Year!

Let me start by wishing all of my readers an excellent and successful 2018!

Oscar Peterson has been one of my earliest Jazz influences, actually, he was on the first Jazz CD I ever bought around the age of 18 (The Oscar Peterson Trio Plays, from 1964, note that the first jazz album I ever bought was on vinyl just some weeks earlier, Keith Jarrett´s My Song). Before that, I thought that Jazz was annoying and chaotic, how wrong I was!

So you can see, my love of the piano trio format dates back many years.

I’ve written about Oscar Peterson three times previously, about two albums from his legendary trio with Ray Brown and Ed Thigpen (Night Train and Plays The Cole Porter Songbook), but have also already mentioned his later work in Germany (Exclusively For My Friends) in my 25 Essential Jazz albums with several different bassist and drummers.

Walking The Line (MPS 1970)

The Oscar Peterson Trio Walking The Line Anniversary Edition Remastered 24 88 MPS 1970

Walking The Line is another album from the collaboration with MPS and the German producer Hans Georg Brunner-Schwer.

With Peterson, we have George Mraz on bass and Ray Price on drums here. The change in personnel really doesn’t impact this album in any way, this is pure Peterson Swing!

Like with many Peterson albums, we do get some standards. The most famous songs here are Teach Me Tonight and All Of You, but the albums starting song from Cole Porter,  Love, you’ll probably also have heard before.

What you may not have heard as much (unless you are from France or you are big fan of the original Thomas Crown Affair) is Michel Legrand´s song The Windmills Of Your Mind.

Michel Legrand is one of the greatest song composers I’m aware of, all the way up there with the giants like Cole Porter. I’ve previously mentioned him in my review of Bill Evans You Must Believe In Spring. I’m very glad he gets featured here as well.

Overall, this is not a must have album, but if you like Peterson, you really won’t regret the purchase. To quote another famous song title, it don’t mean a thing if it ain´t got that swing. Well this album clearly does!

My rating: 4 stars

You’ll find it here (Qobuz) and here (Prostudiomasters)

 

Sabine Devielhe – Mirages: Beautiful!

Sabine Devielhe

Yes, I’m a fan. She has such a beautiful voice, no idea what angels sound like, but you’d hope they have a similar sound.

I love her 2016 Mozart album (see my initial review here, my comment on the same album winning the Gramophone award in that category, and that I named this among my top 5 classical albums of 2016).

Note that her Rameau album with Alexis Kossenko Le Grand Théatre de l’Amour is also outstanding.

I was also very close to put this into my Top 5 Classical Albums of 2017, I simply didn’t because I simply felt more comfortable writing about repertoire that I’m more familiar with. Consider this a late addition.

French composers

I must admit I’m really not a great expert on French music. I like the occasional Rameau, my understanding of Berlioz is pretty much limited to the Symphonie Fantastique, I know a handful of works by Franck, only dabble a bit in Debussy and Ravel, and that’s it.

Half of the names on this album I had barely heard of (Charles Koechlin, Ambroise Thomas), some were fully new to me (Maurice Delage, André Messager), and I’m also only very superficially familiar with the works of Delibes and Massenet, the two big names of French opera (after the obvious Bizet).

So keep this in mind when I write a “review” that it is hard to objectively judge something that you literally hear for the first time and have no reference in mind.

Sabine Deviehle – Mirages – Franz Xaver Roth – Les Siècles – Alexandre Tharaud (Erato 2017)

Sabine Devielhe - Mirages - Alexandre Tharaud - Les Siècles - Francois-Xavier Roth (24/96) Erato 2017

As mentioned, this is a rather unfamiliar repertoire for me. We start with André Messager, who has an impressive track record managing opera houses (Opéra Comique, Covent Garden, Opéra de Paris), but also did quite a bit of composing. This starts with an aria from his opera Madame Chrysanthème. from 1893. A beautiful melody if there ever was one. And then you get the angelic (sorry for falling into clichés…) voice of Devielhe, and you get immediate bliss.

Next is an extract from Claude Debussy´s Pelleas et Melisandre, one of the two works of the entire album I actually knew. Unfortunately, very short, beautiful nevertheless.

Lakmé is probably Leo Délibes most famous opera, written in 1880. And yes, even if you’ve never heard the name of the composer, you’ll most likely have come across his Flower Duet, which obviously gets featured on this album as well (we get a total of 3 tracks from Lakmé here, spread accross the album). Why am I so confident you know the Flower Duet? Well, it´s one of those pieces that developed a life on its own in movies and commercials. Don’t believe me? Scroll to 1:05 of this Youtube video:

 

4 consecutive tracks are devoted to Maurice Delage´s Poémes hindous. What? Exactly, no idea. Wikipedia tells me these (composed in 1912) are Delage´s most recorded work. I´ve been collecting classical music for 20+ years now, and I had never heard of the guy. Doesn’t matter, this is beautiful and an excellent discovery!

Another great revelation for me were a number of songs recorded with the great Alexandre Thauraud on piano, from Debussy, Stravinsky, Berlioz, and Koechlin.

Overall, in spite of Devielhe’s outstanding vocal capabilities, this album never turns into impressive self-serving vocal gymnastics, but is a a beautiful window into the French vocal repertoire.

Note to self: I should probably find a replacement adjective for beautiful here, as it pops up wait to often in this review.

Well, if you look up “beautiful” in http://www.thesaurus.com you’ll find, among others, dazzling, delightful, elegant, angelic, bewitching, and radiant. I couldn’t have summarized this album better.

My rating: 5 stars

You can find it here (Qobuz) and here (HDtracks)

P.S. By the way, on this album I haven’t read a single negative review, it gets highest praise from all my typical sources (Gramophone, Classica, etc.).

This will be my last post for 2017, hopefully you’ll stick around and we’ll meet again in 2018!

 

You can find the album here (Qobuz) and here (AcousticSounds)

 

My Top 5 Jazz Albums of 2017

Following my Top 5 Classical Albums of 2017 published some days ago, let me now write about my favorite Jazz albums.

2017 hasn’t been particularly impressive for me in terms of quantity of new Jazz albums that I really loved. I found myself more and more writing about classical music, or older recordings.

Not sure if this reflects a general slowdown of new Jazz releases or simply that my taste is rather particular. In any case, I also checked for reference some of the other top 2017 lists for Jazz, and didn’t find anything particularly exciting that I had missed.

But maybe you disagree? Let me know?

So here we go, here is my list for 2017. Note that while my Top 5 Classical list only had 5 star ratings, I also had to include two 4 star albums in here, just to make the numbers.

If you’ve been following my blog for a bit, you won’t be surprised to see a large number of piano trio albums here, my favorite genre.

You’ll find download links to each album in the original reviews of the albums that are linked.

 

Cecile McLorin Salvant: Dreams and Daggers

Cecile McLorin Salvant Dreams and Daggers 24 96 MackAvenue 2017

Well, let’s start strong anyhow: I’ve already postulated early on that Cécile McLorin Salvant could be the THE Jazz singer of the 21st century. It didn’t take rocket science nor a truffle dog to find this, in spite of her young age, she’s received praise from all over the world, including a Grammy nomination in 2014.

Dreams and Daggers is another masterpiece, with a nice mix of standards and originals, and a must have for any Jazz lover.

You´ll find my original review here.

 

Helge Lien: Guzuguzu

4038952000706_600

 

I’ve been a great fan of Helge Lien for years, since I discovered Hello Troll. Guzuguzu really confirms that he’s one of the most talented Jazz trio artists out there. As I wrote in my review, it combines “Scandinavian lyricism combined with often extremely complex rhythms”. I think there´s nothing much to add here.

See my original review here.

 

Triosence: Hidden Beauty

Triosence: Hidden Beauty (24/96) Okeh 2017

Don’t get deterred by the cover art. Germany´s Triosence is one of the stars of Jazz trio based heavily on beautiful melodies and harmonies. Some would argue this is not Jazz, I don’t even bother to argue, as I simply like it very much.

You’ll find my original review here.

 

Tingvall Trio: Cirklar

Tingvall Trio Cirklar 24/96 2017 Skip Records

Tingvall Trio is another German group if you count there home base in Hamburg, but actually are much more international if you look at the members of the trio.

Cirklar is very good, if not their best album ever, but if you like their style (and they have a very strong regional following), you should really check this out.

You’ll find my original review here.

 

Shai Maestro Live at Moods

Shai Maestro on piano live at Moods March 17, 2017 (c) Musicophile
Shai Maestro Live At Moods March 17, 2017 (c) Musicophile)

 

My last album actually isn’t an album at all. It is the captured videostream of an outstanding concert I attended this March at Moods Zurich, the best Jazz club in town.

You’ll find my original writeup of Shai Maestro´s concert here, and it was truly an outstanding concert.

But for once, you don’t have to take my word for it. Moods has recently installed what they call Moods.digital, basically a platform video streaming and archiving all concerts at Moods.

And I was really lucky, the technology just went live shortly before this concert. So with a subscription fee (you can cancel anytime if you don’t like it) you can now watch the entire back catalog of recorded concerts at moods with outstanding video and very good audio quality. Check out my article about it here. And no, I’m not getting sponsored for writing this.

What do you think?

My list is obviously very biased, very personal, but such is my entire blog.

Did I miss anything? I´d very much like to hear about your personal favorites for 2017.

My Top 5 Classical Albums of 2017

It is starting to be a tradition now; this is a third time I´ll be writing about my top 5 classical albums of the year (see here for 2016, and here for 2015).

It´s been a busy year both professionally (completely unrelated to this blog) and musically, with a lot of excellent recordings being published, my blog being listed among Musicaroo´s Top 100 Independent Music Blogs, and me reaching 200 blog posts this summer.

It´s probably a bit late for Christmas shopping, but if you’re still looking for something to put under the tree (or whatever other holiday you’re celebrating right now, if any), or if you just would like to make yourself a nice present, here’s my selection for 2017. For download links to each album, please follow the link to the original review.

 

Bach: St. Matthew Passion – John Eliot Gardiner

Bach St Matthew Passion John Eliot Gardiner SDG 2017 24/96

I may be a bit biased here as I heard Gardiner perform this live as part of the same European tour as when this was recorded, but while I’ve been not always convinced by Gardiner´s recent recordings, I feel this is one that will stand the test of time as a reference.

See my original review here.

 

Brahms: The Symphonies – Andris Nelsons – Boston Symphony Orchestra

Brahms: The Symphonies - Andris Nelsons - Boston Symphony Orchestra 24/192

Brahms being in the subtitle of my album, he is obviously featured on a regular basis.

Note that this album may not be of universal appeal. This is really not the new lean style of “historically informed”, with lean orchestras, which I actually often really like. This is “old-style” Brahms, big, broad, and romantic. I feel it works especially well for the first symphony, in the big tradition of the Klemperers and Walters of this world (not yet Furtwängler and Toscanini).

In, any case if you answer yes to “Aimez-vous Brahms?”, you need to check this box out.

You’ll find the original review here.

 

Volodos Plays Brahms

Arcadi Volodos Plays Brahms (24/96) Sony Classical 2017

And yes, 2 out of 5 for the grandmaster from Hamburg. Another Brahms album.

And this time I can get rid of any disclaimer, this is just outstanding in any way. While playing with all his virtuosity power, these little (underrated) gems of Brahms here really get the treatment they deserve.

A must have for any Brahms fan.

See my original review here.

Mozart: Great Mass in C – Masaaki Suzuki – Bach Collegium Japan

Mozart: Great Mass in C Minor Exsultate Jubliate Bach Collegium Japan Masaaki Suzuki Carolyn Sampson Olivia Vermeulen Makoto Sakurada Christian Immler

 

This gets a special treatment by me, because it is probably one of the most beautiful pieces of music ever written.

Masaaki Suzuki and his Bach Collegium have never produced a bad album to my knowledge. The “worst” you get from this excellent Japanese ensemble is recordings that are a bit too polished and tame to my taste.

But here, none of that. Just beauty! This could well become a new reference recording for this work.

You’ll find my original review here.

Alexandre Kantorow: A La Russe

Alexandre Kantorow A La Russe BIS 2017 (24/96)

This album again may not be of universal appeal. A slightly more eclectic selection of music, a very young pianist, and a lot of extremes in one album.

I still preferred it to let’s say the extreme perfection of Zimerman´s new Schubert recording (another contender for this list), simply because of the piano performance of Stravinsky´s Firebird. I’m not even a particular fan of Stravinsky in general, but this recording is simply out of this world.

You can find my original review here.

 

What do you think?

So, this is my list, what would be yours? Please share! As always, I appreciate your feedback and ideas!

In the meantime, let me wish all of you Happy Holidays!

 

P.S. 

One more album, which isn’t properly speaking a 2017 album, but “just a remaster” released this year, gets a special mention: The outstanding complete Beethoven string quartets by the Takács Quartet.

See my original review here.

Takacs Quartet Beethoven Complete String Quartets Decca 24 48 2017 remaster

 

 

Getting Seasonal Again with Three Beautiful Versions of Bach´s Magnificat

Magnificat BWV243

Actually, the Magnificat isn’t per see a Christmas-related work. It was however apparently very early on performed on Christmas Day, so it stuck around as a seasonal work. From a content perspective, this is actually about Mary, not Jesus.

This beautiful choral work has been recorded over and over again.

So instead of just picking up one version, let me write about 3 different versions that all have their merits, by outstanding musicians.

John Butt, Dunedin Consort (Linn 2016)

Bach Magnificat Dunedin Consort John Butt Linn 24 192 2016

John Butt takes the Christmas connection seriously, and tries to fully reconstruct Bach´s own Christmas performance in Leipzig. Appropriately, you get some organ music and the Christmas Cantata BWV 63. He even intersects a Vom Himmel Hoch Da Komm Ich Her, a traditional German Christmas Carol, in the middle of the work.

I’ve previously mentioned this album in my comments about the Gramophone Awards nominees in 2016, giving this album 5 stars. My high opinion hasn’t changed, it still is one of the most beautiful version around, and combined with Linn´s excellent recording skills, this is very much worth having. Particularly memorable about this performance is the choir in all its glory.

But let’s look at two recent alternatives:

Bach: Magnificat / Vivaldi: Dixit Dominus – Vox Luminis – Lionel Meunier (Alpha 2017)

Bach: Magnificat Handel: Dixit Dominus Vox Luminis Lionel Meunier Alpha 2017 24 96

This is the most recent release among the three I´ll be writing about. The French Alpha label (OutThereMusic) is one of the most reliable labels I know, usually you can buy them nearly blindly. Nicely enough these days you don’t have to as they are available on most streaming services, which is also what I did first.

Vox Luminis I must admit was new to me, but a bit of research tells me it is an outstanding early music choir from Belgium (a hotspot of early and historically informed performance if there ever was one). And increasingly, they are not only a choir but also built up their own early music orchestra with it.

So how different is this version? Well, if Dunedin is all about sparkle, this is more about nuance and detail. Both really are outstanding recordings of the Magnifcat, you’ll just get a different perspective. So, talking colors, Dundedin is sparkling, polished gold, whereas Vox Luminis is more dark bronze. Both are beautiful in its own right.

What’s different here is the coupling, you get Vivaldis Dixit Dominus here. I’ve previously stated that I’m not a particular fan of the Red Priest, but this is one of the works that is certainly nice having in your catalogue.

Overall: Highly Recommended.

Bach / Vivaldi: Magnificat & Concerti – Jordi Savall – Le Concert des Nations 

Bach Vivaldi Magnificat Concerti Jordi Savall PIerre Hantai Le Concert des Nations La Capella Reial de Catalunya AliaVox 2014 24 / 88

This is the “oldest” of the three recordings, but still pretty recent, as released in 2014.

I absolutely had to include it here, as I just noticed my entire blog in spite of its 2,5 years of existence hasn’t mentioned one of the grand masters of early music yet, the brilliant Jordi Savall.

Jordi Savall, with his trusted ensembles of La Capella Reial and Le Concert Des Nations, is a legend in early music performance. If you don’t know him yet go and discover some of his many outstanding releases.

Interestingly enough, baroque music is already relatively “late” for Savall who focused quite a bit on the pre-baroque era.

But here he shines, particularly in the Magnificat. Comparing to the two version above, this is the most “balanced” approach, mixing the brilliance of the Dunedin´s with the more intimate performance of Vox Luminis.

Very interesting here are the fillers. Again, no fan of Vivaldi, but both the concerto for two violins and Vivaldi´s own Magnificat are quite pleasing. Nothing I´d go out to buy personally.

But the moment we move from Italy to Germany, this album really becomes outstanding. As mentioned, Bach´s Magnificat is close to perfect, And then you get a very surprising filler again, with Bach, with his keyboard concerto BWV 1052.

And who is the soloist, if no other then my beloved Pierre Hantai (see also here and here). I must admit I’m still looking for my perfect version of the Bach keyboard concertos. This one won’t be my reference as Hantai has the occasional quirk (he certainly is a character) that I don’t necessarily always appreciate, but one thing is for sure, you won’t regret having this version in your library. I keep coming back to it all the time.

Summary

There really is not a winner here. Check all of them out, look at which filling material you prefer, no matter what you choose, you’ll make a good choice. The Dunedin may have a slight advantage from an audiophile perspective, but all three recordings are of very high audio quality and are available as high-res recordings, so you really have the beauty of choice here.

My rating for all three albums: 5 stars

 

Update Dec 20, 2017: For once, I don’t really agreed with the latest recommendation by both Classica and Gramophone, who strongly recommend the very recent release of John Eliot Gardiner on SDG. Already the opening movement of the Magnificat sounds so rushed that it reminds me in a way of a 33 tours LP played at 45 RPM. May just be me, but I don’t get it. On the other hand, Classica was only so-so about the recording of Vox Luminis. All these reviews can be found in their December 17 issues. Doesn’t change my opinion above obviously.