Д.Д.

There is this cheap set on Brilliant, it has 2 CDs of Sofronitsky playing Scriabin: http://www.amazon.es/Legendary-Russian-Pianists-Schumann-Tschaikowsky/dp/B001TEKI6C?SubscriptionId=AKIAIVGTH525N57WM2NQ&tag=pricenoia0e-21&linkCode=xm2&camp=2025&creative=165953&creativeASIN=B001TEKI6C Also, there is a dedicated Sofronitsky Brilliant 9-CD set (playing not only Scriabin) that I have not heard, I think Flurin has it: http://www.amazon.de/Historical-Russian-Archives-Vladimir-Sofronitzky/dp/B001716JRE?SubscriptionId=AKIAIVGTH525N57WM2NQ&tag=galenicom06-21&linkCode=xm2&camp=2025&creative=165953&creativeASIN=B001716JRE

Mediocre. Really. Have you listened to it? I have this set, listened to probably 2/3 of it. The playing is absolutely flat, no dynamic contrast at all. This is tepid, passionless Scriabin. I use Sofronitsky as a reference, and there is just no comparison. There are a lot of clips of both on youtube.

Mediocre. Really.

Don't care for Haydn too much, but Kasman is an excellent pianist, love his Prokofiev.

There is an obsession with old recordings on this board? I did not really notice it. The way I see it, people like what they like because they like it - not because the recordings are old. There seems to be a pretty healthy level of curiosity for newer recordings. And since we are at lashing out about hating the obsessions - I actually hate the obsession of living musicians with recording the old repertoire. What's the point exactly? Is there much new word to be said in Mozart or Beethoven? As for compensation, the artists are probably not getting too much from these boxes, but if there were no re-releases they would be getting nothing at all. And it is interesting that it is you, the main proponent of Spotify here, would bring the compensation question up . Having said this, I have not bought that many "mono-artist, mono-label" boxes, mainly because of the repertoire. Those that I bought, thought - Glenn Gould Bach, Stokowski EMI Icon, Maurice Andre Erato - I really liked a lot. I bought a few other large boxes (Harmonia Mundi "Enlightenment" being one of the recent purchases), and have been on the whole very impressed by them. Well, even in the new releases section of the board old recordings abound. I have no problem with the compensation issue on Spotify or anywhere - but others do which is what I was mentioning. By the way I am hardly lashing out here, am I? I referred to an opinion of mine which is well-known. I wasn't distinguishing between old classical and old jazz recordings in what I wrote - I see the interest in old records as being of a piece across both genres. I do think the obsession with compensation for recordings made over 50 years ago indicates a misplaced priority - it's well known that is my opinion. In the case of classical music, I don't see why older pieces should not continue to be performed - music is a practice not an archive of recordings. Let's hold my bad English accountable for "lashing out". If you talk about "new releases" in the jazz section of this board, well, this is a retro-leaning place, no news here. I remember there was this funny-something thread maintained by a grand total of three people interested in new-ish music, but they are all gone now. I don't necessarily see the retro-veneration in the classical discussions (well, among all five posters who have interest in sort of discussing classical music here). As for classical repertoire being performed today, I am more or less OK with this (although it does get fucking annoying here in Vienna where 60+% of performed repertoire is Mozart and Beethoven)... "live music is a different experience" and all that. I don't quite understand the point of 20-somethings churning out yet another record if Chopin, Mozart, Schubert you name it, when perhaps as much as 90% of all composed music has never been recorded. OK, it sells, but wtf anyway.

There is an obsession with old recordings on this board? I did not really notice it. The way I see it, people like what they like because they like it - not because the recordings are old. There seems to be a pretty healthy level of curiosity for newer recordings. And since we are at lashing out about hating the obsessions - I actually hate the obsession of living musicians with recording the old repertoire. What's the point exactly? Is there much new word to be said in Mozart or Beethoven? As for compensation, the artists are probably not getting too much from these boxes, but if there were no re-releases they would be getting nothing at all. And it is interesting that it is you, the main proponent of Spotify here, would bring the compensation question up . Having said this, I have not bought that many "mono-artist, mono-label" boxes, mainly because of the repertoire. Those that I bought, thought - Glenn Gould Bach, Stokowski EMI Icon, Maurice Andre Erato - I really liked a lot. I bought a few other large boxes (Harmonia Mundi "Enlightenment" being one of the recent purchases), and have been on the whole very impressed by them.

Complete SamsonFrancois on EMI (36 CDs) - €27 at amazon.es: http://www.amazon.es/Lintegrale-Samson-Francois/dp/B004258ATM/

This is probably October 1969 Actuel festival in Amougies.

Complete Poulenc box (20 CDs) on EMI for €46: http://www.amazon.fr/gp/product/B0091JQH76/ref=ox_sc_act_title_3?ie=UTF8&smid=A1X6FK5RDHNB96

Courtesy of Les Bons plans de la misique classique blog - Complete Ravel on Decca / Universal (14 CDs) for €44 at amazon.de: http://www.amazon.de...46875478&sr=8-1 Content listed here: http://www.prestoclassical.co.uk/r/Decca/4783725

Great record Does Spotify have the new remasters?

I assume this is what ZFT will do. Otherwise, there is no explanation for them not fixing it now - it is one of the most most notoriously botched 1995 CD reissues in the whole FZ catalog. But I guess they will wait at least a year. Looks like these new reissues are selling well (judging by amazon sales rankings, at least), so I hope ZFT will reinvest the money into more archival reissues.

My favorites are: Absolutely Free We're Only in It for the Money Burnt Weeny Sandwich Weasels Ripped My Flash Hot Rats Waka / Jawaka Over-nite Sensation You Can't Do That on Stage Anymore Vol. 2 Sleep Dirt Studio Tan Shut Up 'n Play Yer Guitar Jazz From Hell Make a Jazz Noise Here Yellow Shark if you want to get just one for starters, go for Burnt Weeny Sandwich For comparison of 1995 Ryko releases with new reissues refer to this ever-changing page: http://www.lukpac.org/~handmade/patio/vinylvscds/2012hotpoop.html

I have both, and actually like the Shiny Beast more (except that I have to crank up the bass on it), if only for 'Tropical Hot Dog Night'. And you have Bruce Fowler there. Meanwhile, I have read an excellent Beefheart biography by Mike Barnes - it's really well written, and gives quite a comprehensive overview of Van Vliet's personality and music. Sad and hilarious at times, it also devotes quite a bit of space to love-hate (but mostly love) relationship between Beefheart and Zappa. Credit to Mr Barnes for keeping it updated (my Kindle version is the third revised edition since the initial release in 2001). Couple of my favorite Beefheart videos: Excellent live performance from 1971: http://www.youtube.c...h?v=4DSWY7cvSBI And to demonstrate what a phenomenal voice he had - here is him singing old blues called 'Black Snake' a cappella on radio (love his comment in the end that he just can't sing into the microphone because 'it's too little' ): http://www.youtube.com/watch?v=d3Hmj69c0yA

What instrument does he play the Haydn sonatas on? Copy of a late-XVIII century fortepiano.

Get the Andreas Staier Edition on Deutsche Harmonia Mundi / Sony. A lot of good stuff there, including a CD or two of Scarlatti.

Not really. Adding digital reverb and messing with EQ (which is what was done to earlier Rykos) does not constitute a remix. Real remixes were a few - Hot Rats, Sleep Dirt, etc. Good summary has been already prepared here: http://lukpac.org/~handmade/patio/vinylvscds/2012hotpoop.html

These have been confirmed to be new remasters: Absolutely Free Burnt Weeny Sandwich Weasels Ripped My Flesh Chunga's Revenge Fillmore East, June 1971 Just Another Band From L.A. Waka/Jawaka The Grand Wazoo Over-nite Sensation Apostrophe(‘) One Size Fits All Bongo Fury Zoot Allures Studio Tan Sleep Dirt Sheik Yerbouti Joe's Garage Acts 1, 2 & 3 Tinseltown Rebellion Shut Up 'N Play Yer Guitar You Are What You Is Them or Us The rest are straight Ryko reissues.

Samples do sound good, will probably get it eventually.

WERGO package of 5CDs (Stravinsky, Cage, Stockhausen, Nono, Schnebel) at amazon.es for €20: http://www.amazon.es/gp/product/B007LHGD10/ref=oh_details_o00_s00_i00

Particularly given that these were scissor and adhesive tape edits. In general, FZ was great with editing and you realize it in particular when you hear the source live material and what Zappa made out of it on released records. For example, the guitar tour de force from Sheik Yerbouti, Rat Tomago (4'43'') - http://www.youtube.com/watch?v=NuDLlgRuI6Y is an edited version of a Torture Never Stops solo from the '78 performance in Berlin (6'39'') - http://www.youtube.com/watch?v=c6fKl-huexE . When you compare them you realize how masterfully the edits were done and how much better the edited version sounds.

Got Hot Rats today, and it indeed sounds good - better than the Ryko edition. However, I miss the 1987 mix - better guitar solo edits on Willie, additional instruments on a few tracks (Little Umbrellas really sounds 'empty'), and the long Ian Underwood alto sax solo. Ideally, I would have the 1987 mix mastered properly .

I would probably agree. Prompted by this thread I listened to trio #2 a few times now, and it is nothing special (although not horrible, either). Admittedly, I am not a Shostakovich fan in general. There are less that 10 of his works that really excite me - string quartet #15, violin & piano sonata, viola & piano sonata, preludes & fugues op. 87, symphony 14... symphony 6, perhaps a few more. Piano concertos are fun. The rest I consider rather mediocre. Have not heard either "Golden Age" or "Lady Macbeth".

Thanks, ordered me a copy. Any good? Listened to it twice, not very attentively - not sure what to make out of it yet. So far, this seems like the least interesting Feldman I've heard.