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ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
BACH, The London Symphony Orchestra, Albert Coates
Mass in B Minor
- The London Symphony Orchestra - orchestra
- Albert Coates - conductor
- BACH
"It was surely an act of tremendous faith in both Bach and Coates for HMV, in the late 1920s, to make and issue a complete recording (the first, of course) of the Mass in b minor. The recording was made at the Kingsway Hall, London (with the mobile van used for the choral items) during eight sessions spanning three months. It was issued as set Nn. 87C1710/26, being therefore on the least expensive of HMV's three 12-inch classical labels of that time. "Coates was essentially faithful to Bach's instrumental specifications (Christopher Dyment's excellent discography of Coates in `Recorded Sound,' Jan.-Apr. 1975, pp. 386-405, is particularly valuable for its information about these sessions.) A harpsichord-very rare in those days-was used in some of the arias and duets. Dyment's notes do not mention the oboe d'amore, but surely that is what is heard in No. 9. The horn in No. 10 may not be `da caccia,' but its tone is not anachronistic. One mild perversion is the use of an oboe (which appears occasionally to replace the flute) in No. 7, where a single flute is the only wind specified. Coates followed his usual practice in the early years of electrical recording of using tuba and/or contrabassoon to strengthen the string-bass line in many places. It would be interesting to know what Coates might have thought of Sir Donald Francis Tovey's suggestion that clarinets should double the oboes in unison in the tuttis.