The Listening Room
Howard Grady Brown
A friend of mine designed a listening room,
He offers tea; I thank him and accept.
I think the world was quiet, then, more still
Now, even potted palms might rejoice
[More Howard Grady Brown]
Ingólfsson stakes a claim near the site that Romitelli quarried. The agile and luscious instrumental textures would have pleased Boulez.
It’s rare that a previously unheard work shakes up our conception: Journal Intime and Chantal can challenge an understanding of Ferrari’s worldview and work.
Each made significant recordings, important enough that the obscurity of their conductors is hard to understand.
Psenitsnikova takes us through four varied pieces, three requiring tape or tape delay, from Fritsch who founded the Feedback Studio in Cologne.
If Tosatti is encountered today, it is perhaps as Scelsi’s transcriber who momentarily popped up to claim a greater share of attribution.
Exercising a Stein fortepiano from 1799, Mitchell improvises brief thematic and harmonic transitions. These are mature Haydn sonatas, in which seemingly modest ideas are expertly probed.
This portrait disc reveals a consistency across several decades, a witty composer who admired Prokofiev and Classical forms.
With an assured understanding of the music, Zhu Xiao-Mei’s second take is incredibly personal, perhaps too quirky and nutty for purists.
An ever widening, ever brighter circle. Levin’s deep conversancy with the Romantic canon informs her spirited approach to both modern and period works.
Originally interred at the monastery of Santa Croce, Farinelli’s remains were moved to the Certosa in 1810 following the destruction of the former place by Napoleonic forces.