I wonder how much it costs to license such historic names & logos. I suppose such things have very little importance to the current conglomerate copyright holders of the recordings. They should at least indicate the origins of the recordings inside the booklets, but even booklets are becoming things of the past for those who abandon physical media.
I don't want to be too cynical but if you want a glimpse of the future peruse the classical music listings on Amazon such as they are. There are almost random titles, links and names associated to various classical recordings and of course the reviews are a complete mishmash. Bob Marley was the composer of one recording of Cosi Fan Tutte while a Mahler symphony had a cover picture of mens shirts etc etc. As is obvious, streamers whether from a personal server or the web rely on associated info being grabbed and linked to whatever is playing. This sort of works for well known popular songs and albums but breaks down for classical. I think we are the last generation to worry about such things outside of a few future academics.
OK, so I got Glazunov-curious. Volume 2 was very dull & I actively disliked the Symphony. The rest has its pleasant moments, but I would say you can safely skip all this music. Recorded in Moscow, 1995-97.
I know I have no standalone Glazunov recordings but may have some tracks buried in some other recordings as filler materials ...
Interesting! I also have a couple of these Glazunov recordings in my “waiting to be played” pile. Now I’m curious enough to bump them up in priority to see if I feel the same way you do. .
Now playing the following CD from my Debussy collection. This CD should be included in the Karajan 1980's box since it was digitally recorded ...
On Spotify, "Victoria - Officium Hebdomadæ Sanctæ" performed by La Colombina & Schola Antiqua on Glossa.
This is the set (the original LP box that is) that started me on my most enjoyable Ancient Music journey.
I have the Gardiner set with the complete Schumann symphonies; I haven't listened to it in ages, but as far as I can remember I did like it.
I would have acquired that set, but I believe there was much overlap with other DG sets. Because I cannot locate the Bach cantatas in my other DFD recordings, I'll have to take another look at that box. I think it's on Spotify in any event.
Giovanni Gabrieli – The Taverner Choir*, London Cornett And Sackbut Ensemble – Symphoniae Sacrae II, 1615 Call me a newbie (I have been on my classical journey for less than a year)... In the case of pre-Classical music, I find survey albums like Music of the Gothic Era to be more a rewarding listen than 40-60 minutes of the same composer. Hogwood’s Pachelbel Canon is simply wonderful. Perhaps my ears are not there yet. On another front, early Baroque - vocals with instrumental accompaniment, I call it - seems like a transitional form that lead to oratorio and opera on one path, and purely instrumental music on the other. Before Baroque the challenge seemed to be composing music that was original enough, did not stray too far from established forms, and, most important, was capable of public performance. Taruskin (Music from the Earliest Notations to the Sixteenth Century) says that, “the aspect of virtuosity, of executive skill on display, places a new emphasis on the act of performance and its public, hortatory aspect.” This statement seems to say that intermediary forms (in my collection, Giovanni Gabrieli), no matter how skillfully written, did not provide scope for virtuosity in performance and fell out of favor. I find that kind of a pity, but then I grew up on rock music, where virtuosity is not usually rewarded and certainly not required. Please feel free to point out where I am way off, and add your thoughts.
So there it is, that Schumann Masterworks box has these unexpected Schumann Symphonies and a nice surprise since I already have many other Schumann Symphonies on DG ...
Yeah, this is one of the earlier boxes I purchased for my Mendelssohn collection. I consider the performance more or less mainstream ...