Post by DSD March 5, 2011 (61 of 325)
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I added this to my library so I could recommend it, even though I have the 24 Bit 44.1kHz download which is the same resolution as the master.
Teresa
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sunnydaler said:
i'm sorry, maestro. i thought i lost the 1911 score and used the 1947 score with recordings of 1911 ver.. :# that was my mistake. now I have both. :-D
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btw, it's refreshing to hear viola clearly at 7'31" into the first part (Fig. 34 - 1911 ver.)
another rave review http://www.classicstodayfrance.com/review.asp?ReviewNum=3956 (French)
Thanks for your very kind response, and also for the link to the French review! Look forward to further discussions!
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Post by Russell March 7, 2011 (63 of 325)
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So. let me challenge all readers of this Forum:
Go to www.eclassical.com and download the Rite of Spring/Petrushka/Litton in 24-bit quality. http://www.eclassical.com/labels/bis/rite-of-spring-petrushka.html You'll have to pay the 6:02 dollars upfront for the Rite or 12:23 for the full 24-bit SACD. You don't like it: full refund. No questions asked.
Doesn't get much better than that, eh?
Robert
Thanks, Robert, for the download notice. I have been looking for this album on eClassical.com every day for the past couple of weeks, but for some reason it is not showing up in their "latest downloads" or "new releases" sections. Only after I saw your post above did I find it. (Also doing a search on "Litton" brings it up.)
Anyway, I just downloaded it now, and am eagerly looking forward to listening to it tonight! One question: what were the recording date(s) for this album? The album booklet (where this info is usually given) was not available for download. (Seems that the booklets are missing for many of the more recent releases on eClassical, like the Russian Cello Sonatas, which I also downloaded recently--if you could supply the recording dates for that album as well, it would be much appreciated!)
Thanks,
Russell
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Post by bissie March 7, 2011 (64 of 325)
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Russell said:
Thanks, Robert, for the download notice. I have been looking for this album on eClassical.com every day for the past couple of weeks, but for some reason it is not showing up in their "latest downloads" or "new releases" sections. Only after I saw your post above did I find it. (Also doing a search on "Litton" brings it up.)
Anyway, I just downloaded it now, and am eagerly looking forward to listening to it tonight! One question: what were the recording date(s) for this album? The album booklet (where this info is usually given) was not available for download. (Seems that the booklets are missing for many of the more recent releases on eClassical, like the Russian Cello Sonatas, which I also downloaded recently--if you could supply the recording dates for that album as well, it would be much appreciated!)
Thanks,
Russell
The Sacre was recorded in August of 2008 and the Petrushka in June 2009, both in Bergen, Norway.
The Russian Cello sonatas was recorded in Bristol, UK, in Jan of 2010.
I will follow through on the booklet question. It should be available and included in the price. Thanks for making me aware of this!
Happy listening. Pls tell us what you think.
Robert
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Post by Vaan March 7, 2011 (65 of 325)
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Splendid performances. We badly need the Symphony in C and the early opus 1. Also Agon, Orpheus, Dances Concertantes, Etudes, Ode, Jeu de Cartes...How about a complete Stravinsky from Bergen and Litton!!!
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Post by bissie March 7, 2011 (66 of 325)
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Vaan said:
Splendid performances. We badly need the Symphony in C and the early opus 1. Also Agon, Orpheus, Dances Concertantes, Etudes, Ode, Jeu de Cartes...How about a complete Stravinsky from Bergen and Litton!!!
You are right!!!
At the same time there is a push for getting Prokofiev symphonies. Given that the orchestra has other commitments to other labels and our capacity isn't unlimited, the equation isn't easy to solve.
But I wholeheartedly agree. There is a second Stravinsky (complete Firebird and some rather rare fillers) coming late this year.
Robert
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If you end up doing The Fairy's Kiss, can I make a request that you add a lot of track points?
Also...Faun and shepherdess. Early yes, but quite lovely and as far as I know only recorded twice...one available only on a large box and the other oop and very rare (though available as an ArkivCD)
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Post by hiredfox March 8, 2011 (68 of 325)
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bissie said:
Given that the orchestra has other commitments to other labels and our capacity isn't unlimited, the equation isn't easy to solve.
Robert
How does that work in practice for repertory without soloists? Just curious... Somehow, I've always believed recording contracts to be bi-partisan only.. silly me?
If soloists are involved it is easy to see how it can become very complicated very easily.
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Post by bissie March 8, 2011 (69 of 325)
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hiredfox said:
How does that work in practice for repertory without soloists? Just curious... Somehow, I've always believed recording contracts to be bi-partisan only.. silly me?
If soloists are involved it is easy to see how it can become very complicated very easily.
Well, silly me...
My English is abandoning me, at least temporarily. I am not quite sure that I understand what you're driving at. It works exactly the way it does as with soloists, only easier to juggle together. Or are you referring to exclusivity? Usually, orchestras don't sign exclusives, even though some soloists do. Anyway, we believe in the freedom of the individual/group and only have exclusives in extremely few cases, as a matter of fact, I believe that we're down to one person. I figure that, as long as we can provide the quality and care in our productions PLUS the capacity, most artists never leave us. Should they be disgruntled, though, they should have that right and forthwith, since each artist only has one life and should be allowed to do the most of it. Even an artist like Ronald Brautigam, who is recording fistfuls of SACD:s for us, occasionally strays, when he wants to record with someone we're not interested in, and more the power to him.
I also believe in non-poaching, something a few labels should learn. If someone comes to us from another label, we always want them to clear the table first, and only THEN do we start to discuss.
Did I answer your question?
Robert
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Post by hiredfox March 9, 2011 (70 of 325)
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bissie said:
Usually, orchestras don't sign exclusives, even though some soloists do. Anyway, we believe in the freedom of the individual/group and only have exclusives in extremely few cases, as a matter of fact, I believe that we're down to one person. I figure that, as long as we can provide the quality and care in our productions PLUS the capacity, most artists never leave us. Should they be disgruntled, though, they should have that right and forthwith, since each artist only has one life and should be allowed to do the most of it. Even an artist like Ronald Brautigam, who is recording fistfuls of SACD:s for us, occasionally strays, when he wants to record with someone we're not interested in, and more the power to him.
I also believe in non-poaching, something a few labels should learn. If someone comes to us from another label, we always want them to clear the table first, and only THEN do we start to discuss.
Did I answer your question?
Robert
Perfectly, thank you.
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