Bunnyears
Headphoneus Supremus
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These are first rate recoridings; interpretation and performance as good or better than Pinnock and TEC. Sound quality is superior. You don't have to take my word for it, read the reviews in Gramphone and ClassicsToday and ClassicsToday France.
Here's an excerpt from the review at ClassicsToday of Vol 2 which was only released this year:
Reference Recording - On Harpsichord: this one
Beyond all issues of interpretation, the most important factor in any harpsichord recording is the choice of instrument, and here Lars Ulrik Mortensen has shown excellent judgment. His harpsichord has a scintillating but never overbright tone, minimal mechanical noise, and enough body to provide at least the illusion of a real legato in the slow movements. It's a joy to listen to, as is the accompaniment of Concerto Copenhagen, a period-performance ensemble that never sacrifices beauty of timbre in favor of "authenticity" of approach. Both soloist and orchestra are helped by warm, perfectly balanced sonics, a bit finer than what we heard in Volume 1 of this series. Yes, there are billions of recordings of this music by now, but when the results are this good, who cares about the rest? [3/1/2007]
Here is an excerpt from the review for Vol. 1 from ClassicsToday:
Mortensen's tempos in the moderate and quick movements are within seconds of Pinnock's, and though for the most part the pacing is almost identical, Mortensen ornaments (i.e. languishes) less in his significantly shorter, more orthodox reading of BWV 1053's second-movement "Siciliano". Mortensen's overall, generally upbeat approach is similar as well to Pinnock's often self-conscious elegance. However, in this respect Mortensen's renderings share much more in common with Gustav Leonhardt's equally lauded Leonhardt Consort cycle on Teldec. Throughout, Mortensen and the Concerto Copenhagen deliver stylish, informed, satisfying performances that are on par with the best currently or previously available.
Unlike many cycles (including Pinnock's) where the harpsichord sometimes sounds too closely miked, Mortensen's instrument always remains convincingly integrated within the ensemble. While some listeners may prefer a more forward balance, repeated listening also reveals that what initially may impress as a lack of immediacy and clarity of detail (of which there is plenty here) actually sounds more lifelike and true to the concert hall experience. This fine recording is highly recommended both to those in search of a first contemporary account of these seminal concertos as well as to listeners looking for a first-rate supplementary cycle.
| Originally Posted by Assorted /img/forum/go_quote.gif And I assume the performance of Copenhagen's keyboard are superior as well (assuming TEC is the orthodox playing)? |
These are first rate recoridings; interpretation and performance as good or better than Pinnock and TEC. Sound quality is superior. You don't have to take my word for it, read the reviews in Gramphone and ClassicsToday and ClassicsToday France.
Here's an excerpt from the review at ClassicsToday of Vol 2 which was only released this year:
Reference Recording - On Harpsichord: this one
Beyond all issues of interpretation, the most important factor in any harpsichord recording is the choice of instrument, and here Lars Ulrik Mortensen has shown excellent judgment. His harpsichord has a scintillating but never overbright tone, minimal mechanical noise, and enough body to provide at least the illusion of a real legato in the slow movements. It's a joy to listen to, as is the accompaniment of Concerto Copenhagen, a period-performance ensemble that never sacrifices beauty of timbre in favor of "authenticity" of approach. Both soloist and orchestra are helped by warm, perfectly balanced sonics, a bit finer than what we heard in Volume 1 of this series. Yes, there are billions of recordings of this music by now, but when the results are this good, who cares about the rest? [3/1/2007]
Here is an excerpt from the review for Vol. 1 from ClassicsToday:
Mortensen's tempos in the moderate and quick movements are within seconds of Pinnock's, and though for the most part the pacing is almost identical, Mortensen ornaments (i.e. languishes) less in his significantly shorter, more orthodox reading of BWV 1053's second-movement "Siciliano". Mortensen's overall, generally upbeat approach is similar as well to Pinnock's often self-conscious elegance. However, in this respect Mortensen's renderings share much more in common with Gustav Leonhardt's equally lauded Leonhardt Consort cycle on Teldec. Throughout, Mortensen and the Concerto Copenhagen deliver stylish, informed, satisfying performances that are on par with the best currently or previously available.
Unlike many cycles (including Pinnock's) where the harpsichord sometimes sounds too closely miked, Mortensen's instrument always remains convincingly integrated within the ensemble. While some listeners may prefer a more forward balance, repeated listening also reveals that what initially may impress as a lack of immediacy and clarity of detail (of which there is plenty here) actually sounds more lifelike and true to the concert hall experience. This fine recording is highly recommended both to those in search of a first contemporary account of these seminal concertos as well as to listeners looking for a first-rate supplementary cycle.
