TARTINI: Violin Concerto in A, D. 96. Violin Concerto in B flat, D. 117. Violin Concerto in G, D. 78.
Salvatore Accardo, violin; I Musici
PENTATONE SACD 5186 137 TT: 60:25
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MOZART: Complete Church Sonatas. Andante in F, K. 616.
Daniel Chorzempa, organ; German Bach Soloists/Helmut Winschermann, cond.I MuI
PENTATONE SACD 5186 150 (2 disks) TT: 45:09 & 44:48
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BRITTEN: The Young Person's Guide to the Orchestr. Sinfonia da requiem. Four Sea Interludes and Passacaglia from Peter Grimes.
Kansas City Symphony/Michael Stern, cond.
REFERENCE RECORDINGS SACD RT120 TT: 60:46
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Two more treasures from the Philips vaults, Salvatore Accardo's sterling performances of three violin concertos of Tartini recorded in Salle des Remparts, La Tour de Pelz, Switzerland in September 1973. The warm acoustics of the venue have been beautifully captured in this four-channel recording. Mozart's 17 "church" sonatas were intended to be played as part of a mass, and often consist of just one short movement (they range from 2:20 to 7:03; most are about four minutes in length). Their brevity was essential; Archbishop Colloredo wished to keep the masses brief and there was no time for extended music interludes. In some of the sonatas there are additional instruments, provided on these recordings by German Bach Soloists. These performances were recorded on the Little choir organ of the Stift Wilhering in Linz, Austria, in September 1972. The warm acoustics have been beautifully captured in rich surround sound, and the two SACDs well for the price of one full-price disk.

This is Reference Recordings' first multi-channel SACD and it is a brilliant success. The label's engineering staff headed by Producer David Frost and Recording Engineer Keith O. Johnson, has done a magnificent, imaginative job in capturing the sound of this American orchestra. The recording was made in Community of Christ Auditorium, Independence, Missouri, June 5-6, 2009. The orchestra is spread out before the listener with uncommon presence, and all channels have been tastefully utilized often with subtle directionality. The performances are first-rate, showing off the entire orchestra in the YPG. Let us hope Reference Recordings will produce many more recordings of this quality. In the meantime, anyone interested in surround sound should not overlook this extraordinary issue. Don't miss it!

R.E.B. (June 2010)

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