Bart Scribner worked in libraries, banks and publishing until he preferred not to. After squats in public buildings, he now gets paid for it — as caretaker of an abandoned power station deemed too costly to go online. Only a lighthouse would be preferable.
This Orlando Consort disc interleaves Medieval works (its usual beat) and current efforts that refer to them.
Purcell’s incidental music for the stage shows genius paying the bills, so it makes rough sense that Aradia Ensemble is clipped and businesslike.
I can admire Wilson’s results without buying his thesis, that Farnaby (1562-1640) belongs with Byrd, Bull and Gibbons.
This is the only all-Parsons (c. 1530-1572) disc around, and it touches several bases. (He drowned mysteriously, after which the scores got scant attention.)
Avoid this Dowland sampler unless you approached the English Orpheus via Sting’s hit album.
Mackintosh fronts the Purcell Quartet, Dreyfus leads viol consort Phantasm and Haugsand has recorded decisive Bach.
For years Rangell has opened recitals with a 17th-century piece, so his interest is no whim.
Late Liszt is terrain as well as timeline — the bleak, haunted miniatures that glimpsed the future.
Formed in 1922 as the Moscow Conservatory Quartet, the Beethoven got its permanent name in 1931 along with recognition as the top Soviet quartet — seven years before Shostakovich wrote his first.