David Ayers

That version of Marteau is on the DG Boulez box as an extra.

The present wording seems pretty clear: " Reissue of Emanem 4107 (which was a reissue of Ogun cassette OGC531 with extra material). 77 minutes."

In fact i did have time to check - this is a series of 18 LPs for Mainstream curated by Earle Brown which Wergo have reissued in 6 3CD sets. Phew. http://www.wergo.de/shop/de_DE/3/show,269237.html We may now all sleep securely in our beds. The Wergo website includes pdfs of the original LP covers even. Yay.

So the answer to Jim's question might be that other of these mainstream LPs have been reissued by NEOS Wergo. I don't have time to check.

I found these featuring Gazzelloni. The first appears to include the material on that LP. http://www.europadisc.co.uk/classical/94526/Earle_Brown:_A_Life_in_Music_Vol.5.htm http://www.europadisc.co.uk/classical/80130/Maderna_-_Grande_Aulodia.htm http://www.europadisc.co.uk/classical/93647/Darmstadt_Aural_Documents_1:_Composers_conducting_their_own_works.htm

But if you substitute the word 'poets' for 'musicians' in all of these claims they read differently. Where do these supposed rights come from?

I blame home taping.

Add to that, that much of the market for these sets is collectors who would have had to spend a fortune in the past to collect these recordings, if they could do it at all. I mean, a complete Fricsay on DG - for some people that will be like a dream come true.

HB2U!

I guess the beauty of the cheap box-set and streaming era is that those who choose to only listen to one recording can do so, while those who find some interest in exploring the range of different ways in which a score rich in potentials can be made to sound and feel can easily and cheaply do it that way. It seems dogmatic to decline to do so. Who really now would sit there on Spotify with her or his Klemperer, resolutely refusing to click on the Beethoven of Harnoncourt, Bernstein, Vanska etc etc.? To say nothing of e.g. piano traditions which vary incredibly widely. Who gets more stupid by doing it that way? What exactly have they lost - expect maybe a few dollars which, it seems, they can easily afford. These days a coffee costs more than one CD in a box set, sometimes by a multiple.

That Phase Four set is like a month of migraines in a box!

Most of these box sets sell for less than a set of brake pads for the car. It is just inexpensive fun isn't it, not 'capitalist exploitation'? In fact they have a good answer as to how to get out the back catalog to people who want it.

Interesting post. I'm going to do the Oboe Concerto test myself!

I don't think anyone is proposing a return to classical tonality. Could be wrong but I think it is that romantic manipulation of tonality that is equated with expression. That said, who knows what they mean really. I don't think Rochberg wants to purge Schumann.

identity = tunes, I guess those who equate tonality with expression are usually thinking about what Romanticism thought it was doing the people who moved on from Romanticism began to find its specific developments of tonality to have become exhausted and to seem inauthentic, while they also questioned its view of interiority and 'expression' as Larry points out the projected notion of 'tonality' as if it were a fixed entity glosses over the specific technical developments of tonality and also the context of those developments within and at the service of a specific view of Romantic expressivity a discussion of tonality and expression focussed say on Lully would look a little different in most contexts 'tonality' means more or less Schumann generally not Wagner

Oh and just to clarify, I don't own any of these boxes, except the recent DG Strauss, which I stand by.

Oh no not the end. In general for core repertoire hearing different versions is the key. These boxes help those who are listening comparatively. Baroque music, to me, is mainly for listening to, not learning (with the obvious exception) so quality over quantity applies there more than ever.

I'd have thought these sets were for people who already know the repertoire, and probably several of the actual recordings, so can work through them quickly. Uh, end of post.

To mention again Whitstable Solo, which I am revisiting today, this is so great. Just amazing.

What I think is reasoned and informed opinion: what you think is dogma? That's just my assessment. I don't think I'm alone.

I think HIP is an area where you absolutely must go with current and contemporary recommendations. Not only with regard to all aspects of performance and sound - to say nothing of scholarship - but also with regard to engineering and mastering (topics strangely in abeyance in this thread).

By way of modernism, SG playing Boulez on Spotify: Pierre Boulez – Sonatine Pour Flûte Et Piano

That's the article we linked to and have been discussing.

People now use Sonos Connect or similar. It's all taken care of.

I always thought opera on DVD was for the things you wouldn't dream of paying to see but you'd quite like to check out anyway. My last one was Robert le diable by Meyerbeer. Now there's a curiosity... On a more serious note: where do you guys find the time....