Actually this is an old disc, recorded in 2000 and 2001. So that's before a lot of her Bach, Handel or Scarlatti recordings.
The French Suites, Six Partitas, The Inventions and her first Goldberg Variations recording pre-date her Ravel recordings. All other Bach and all Handel and Scarlatti is more recent.
It's out of print. I sold the apparent last copy on earth a few months ago, then I regretted it, so I contacted the buyer and he made a copy for me.
I am awfully ambivalent about Hewitt's performances. I have most of her Bach (including both the 1997 and 2008 sets of the '48') and some of the Mozart Concertos. I've also heard most of her baroque recordings. Her repertoire is wide-ranging, her technique and command of the instrument are above reproach. But. But. and But. I've rarely found her performances compelling. I've never had one of those moments, while background-listening, that I had to stop whatever I was doing and just pay attention. Not sure really what it is that's missing for me musically, but her recordings are generally not the first ones I reach for when listening. I suspect (and hope) that her live performances are another matter.
Ditto....one of the most boring pianists I have ever listened to. I would gladly give this LP to anyone who is a fan and get something else in return....The CDs I had I gave away.
I like this performance and since I am a huge Perlman fan - well can't go wrong with that. I must say I am much more familiar with Levine's conducting opera at the Met.....but I think he does a pretty decent job here.
Keith Jarrett's recorded Handel, from my recollection of the one time I heard it, was just as dull--but as far as I know he recorded only one issue (a set of the keyboard suites), not release after release after zzzz-inducing release, and at least Jarrett redeems himself with a fine traversal of the Shostakovich Preludes and Fugues.
Interesting....I must say I have never heard Keith Jarrett's classical interpretations, only his jazz and jazz fusion recordings. My first record was the Koeln Concert back in the 70s, that I got from a good friend of my Mama who was a huge fan and introduced me to his work when I was a young teen...He is OK...but I certainly don't get goosebumps from his interpretations.
I'm jealous! I have this on CD but I've been on the lookout for it on LP for years and have never run across it. Oh well, eventually it will turn up! Enjoy it!
I just listened to a box that I missed in 2006. Jean Martinon: Complete Decca Recordings 1951-1960. Lots of London Philharmonic and London Symphony recordings with a few from Paris Conservatoire and Israel Philharmonic. Mostly excellent sound. Kenneth Wilkinson was the engineer on the majority of the recordings. Fairly rare and hard to find.
Those Decca original master sets are wonderful! My first one was the Backhaus Beethoven stereo sonatas.
As I mentioned earlier, I enjoyed Jarrett's recording of the Shostakovich Preludes and Fugues. But, as with his jazz performances, one should choose carefully: I found his Goldbergs (on harpsichord) plodding and mannered. On a positive note though, do try his recording of Bach's Flute Sonatas, with the always delightful Michaela Petri taking the flute part on recorder. Admittedly, these are not Bach's most challenging works (and a couple perhaps not even by Bach), but the musicianship and performances here are very enjoyable, imho. Recommended!
This recording of the Beethoven Diabelli Variations has become a favorite. It was once mentioned favorably by Robin. Charles Rosen on LP by Symphonica label, 1977, recorded in London. The balance engineer was Michael Sheady.
Now playing, CD 27: Wolfgang Amadeus Mozart – Vesperae solennes de confessore K 339 — Gwynne Howell (bass), Ryland Davies (tenor), Elisabeth Bainbridge (alto), John Constable (organ) – London Symphony Chorus – Kyrie in D minor K 341 (368a) — John Constable (organ) – London Symphony Chorus – Ave verum corpus in D major K 618 — John Constable (organ) – London Symphony Chorus – Exsultate jubilate K 165 (158a) — John Constable (organ) – London Symphony Chorus – Zaide K 344 (336b): Ruhe sanft mein holdes Leben – Die Zauberflöte K 620: Ach ich fühl's es ist verschwunden – Così fan tutte K 588: Ei parte...Per pietà ben mio Dame Kiri Te Kanawa (soprano) – London Symphony Orchestra – Sir Colin Davis (Philips)
Now enjoying Op. 2, nos 1 and 2. As expected, Arrau is slower than usual in outer movements and brings profound beauty in the slow movements.
Some of you may be surprised to learn that Anthony Burgess, author of A Clockwork Orange, was also a composer, and quite a fine one at that. He writes in a busy, quasi-tonal style that certainly must challenge the players. Very good playing and sound--which does capture a few harsh notes in the heat of the moment.