Forqueray / Rousset - Harpsichord Works - COMPACT DISCS [CD]

Beethoven / Kanppertsbusch - Sym 3 [COMPACT DISCS] date 09/06/2012

Ataúlfo Argenta and Enrique Jordá - two Spanish maestri in a single Decca collection, newly remastered, with 'original jackets', and several recordings receiving their CD premieres. LIMITED EDITION. When Decca developed it's revolutionary new 'ffrr' technology in the postwar 1940s, the tag promoted it with a list of new recordings made by their most distinguished artists Kathleen Ferrier, Victor de Sabata... and Enrique Jordá. Likewise, when Decca embraced the step-change of LP a few years later, they advertised it's high fidelity and convenience with recordings made in Geneva by Ernest Ansermet and the young conductor he had determined upon as his successor in charge of the Orchestre de la Suisse Romande Ataúlfo Argenta. This set includes, for the first time, all the recordings made by Jordá in the 78 era and receiving their first official digital remastering; his LP discography is also included. Jordá (born in 1911) and Argenta (born in 1913) were the first Spanish conductors to win an international reputation. They did so with the unmannered, dynamically vital interpretations of Romantic and 20th-century repertoire which Decca preserved in these recordings. Both Argenta and Jordá were valued by orchestras and record labels as guarantors of authenticity in the Spanish orchestral repertoire by Falla, Albéniz, Turina, Rodrigo and others. But both conductors yearned to be recognized for their equal mastery of French and German repertoire. Listening now to Argenta conduct the Faust Symphony of Liszt and Schubert's 'Great' C major, and Jordá in Haydn No. 88 and Mozart's 'Linz' Symphony, we can hear the insights they bring to the Austro-German symphonic repertoire from a Hispanic angle. Both conductors made early and near-definitive recordings of Nights in the Gardens of Spain, by Falla, and this set presents a fascinating opportunity to compare their approaches. Argent

Without a chance to perform live and their personal lives also being affected by many restrictions, the focus of Disillusion shifted fully towards their band and the creation of new songs and the recording of their fourth full-length InchAyamInch. The effect is audible InchAyamInch sounds richer, even more multi-layered, and fully matured compared to the already highly praised previous releases. Yet the intricacies of the German avant-gardists' music are never just a means to an end, but more than anything all the complexity is subjugated to serve the inner feeling and cinematic aspect of each song itself. While Disillusion stuck closer together, they were also searching their hearts whether it was time to change old habits and try out something new. This led to the excellent decision to leave the mix of the album to different ears than the bands' for the first time. Their choice could not have been better as renowned producer Jens Bogren (OPETH, KATATONIA, MOONSPELL) once again worked his exciting magic and enhanced their already unique sound by shining a sonic spotlight to the most important aspects such as the vocals. Founded around singer and guitarist Andy Schmidt in the East Germany city of Zwickau in 1994, Disillusion pulled the rare trick of already becoming a staple in the field of avant-garde melodic death metal with the of their full-length debut InchBack to Times of SplendorInch in 2004. The Germans have always been driven to seek new challenges and find new ways to evolve their music, which was exemplified by the following album InchGloriaInch that took radical musical steps in several directions at the same time. When InchThe LiberationInch was released in 2019, critics described the album as a logical continuation of InchBack to Times of SplendorInch. It's songs reflected 15 years of additional experience in the musical development of Andy Schmidt. I