Articles by Year: La Folia, 2002.
Do we really need recordings of “live” performances issued on small independent labels by artists who have recorded the same repertory in superior sound for easily available large labels?
I believe that the audiophile’s passions fall as far from a hobby as it’s possible to get this side of running amok.
In issue 136 of The Absolute Sound, Robert Harley tackles a topic that has fascinated me for years. Harley contends that classical recording has become better of late for a curiously ironic reason.
Some readers will notice I haven’t lived up to my promises. The excuses aren’t worth mentioning, except that you should visit our newly reorganized archives, and be prepared to spend at least 12 hours a day there.
The Brno International Music Festival’s Fifteenth Exposition of New Music got off to a rocky start tonight, but now I have learned the reason why.
You know how the classical music market is these days, tapes dying slow deaths in dusty vaults, superb performances disappearing like drachmas tossed into the Aegean by an indifferent tourist.
Duets between master improvising guitarists Noël Akchoté and Derek Bailey, originally on the very limited 12″ LP Rectangle REC F not so long ago, are now reissued on Drag City’s improv imprint.