Re: [regsaudioforum] Re: Fifteen best
- I definitely agree that the Faure/Durufle Requiem disc is one of the finest Shaw Telarcs, right up there with the Camina Burana I had on my own list. The Carmina is more spectacular, of course, and as most of you know, I lean toward the spectacular in music and sound and thus listed it instead of this one. The Faure is much better known, but those who listen to the Durufle often soon find it the superior work, musically.I have the Telarc Creation but don't often listen to it, preferring other private recordings of ensembles I have sung this work in at my church or in community chorus. But I've sung the Carmina, Faure, and Durufle in performances I also have recordings of, so I guess that's not a good excuse.
On Mon, Mar 25, 2013 at 3:38 PM, laurie483000 <laurie483000@...> wrote:
Here's the start of my list, which I think I'll send in several installments. Not all perfect sound, but these are the discs I really like. My comments on the sound should be taken with slight caution. I suspect a slight upper mid forwardness from my M30s + slightly down in the mid bass, possibly due to Allison effects or should I say defects, and need to do some work here. Also the Denon universal player is failing and due for an upgrade at the end of the year. For instance I found a touch of hardness from the soloists now and again in the Billy Budd set that Tom recommends :-
### Beethoven 4th -- Vanska, Minnesota -- BIS SACD
I know one person will object to this inclusion, but maybe I just like the punchy style of this recording. Very clean sound and nice strings. Part of a bargain price SACD complete set of symphonies. Getting into the 3rd too, but recall the 9th didn't do much for me, when I tried it once.
### Beethoven Missa Solemnis -- Shaw, Atlanta, -- Telarc
Full organ and bass and very rich large scale sound. Choir and Soloists set back a little which is good and work taken nice and slow in what I'm more and more thinking is the traditional American manner - suits me. A touch of hardness / confusion maybe when the going gets complicated (hall acoustics?), but still better in this regard than most choral recordings I've got. I agree with Beethoven - his greatest work - not that I know all of his music. The disc replaced an acclaimed (Gramophone) DG Ancient Instruments version which goes much quicker and is 'smaller' and I never play this one now. (The accompanying Mozart Requiem on the Telarc set doesn't quite appeal so much though.)
### Faure / Durufle Requiems -- Shaw, Atlanta -- Telarc
Very similar sound quality to Missa Solemnis and as the music is somehow less intricate / complicated, harness / confusion is rarely apparent. I keep saying the Faure isn't one of my top favourites, occasionally finding the work a touch sentimental. But then I do find myself playing this disc a lot, lapping up the lovely rich sound quality, enhancing the harmonies and melodies. I didn't know the Durufle before getting the CD, but find the work maybe more interesting. Still very French sounding I' beginning to prefer it. At times very beautiful and then very dramatic now and again with worringly powerful organ sound.
### Haydn Creation -- Shaw, Atlanta -- Telarc
Full bass right from the start, soloists maybe sometimes a trace forward. Nice and slow + large scale American style performance again. Replaces another recommeded DG ancient instruments version (again faster pace but none the less pleasingly bouncy performance I remember) but this DG disc is now buried somewhere.
### Haydn Symph 100 101 103 104 -- Mackerras, St Lukes -- Telarc
Again full bass and music comes across with lots of energy - not slow this time. Sound possibly just a little close and hifi.
- I'll venture out there with this title, the Salon Orchestra of Belvedere (Weimar) on the Obligat label:
Better photo of cover art here:
Charming salon music played competently though not expertly by a string quartet plus double bass and piano(s). This recording is up close and vivid, which I don't usually like in chamber music recordings. But there is something peculiarly, hypnotically lifelike about it, all the same. I would be curious to hear what the recording technique experts here think of it. If you say it was obviously made with three dozen omnis spaced ten leagues apart, well, I guess I'll go back to adjusting my stereo!