CHOPIN: Piano Concerto No. 1 in E minor, Op. 11. Piano Concerto No. 2 in F minor, Op. 21.
Ingrid Fliter, piano/Scottish Chamber Orch/Jun Märker, cond.
LINN SACD CKD 455 TT: 73:21
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SCHUBERT: Symphony No. 3 in D. Symphony No. 4 in C minor "Tragic." Symphony No.5 in B flat.
Swedish Chamber Orch/Thomas Dausgaard, cond.
BIS SACD 1786 TT: 80:58
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BACH: Cantata BWV 70 "Wachet! betet! wachet! Cantata .BWV 9 "Er ist das Heil uns kommen, her." Cantata BWV 182 "Himmelsköenig , sei willkommen ."
Gerlinde Sämmen, soprano; Petra Noskaiova, also; Christopher Gertz, tenor; Jan Van der Crabben, bass; La Petite Bande/Sigiswald Kuijken, director
ACCENT SACD Volume 18
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Argentian pianist Ingrid Fliter is highly respected in the pianistic world particularly for her playing of Chopin. She made several recordings for EMI and now appears on the Linn label performing the two Chopin concertos. Her playing is sensitive and subtle, dispatching the torrents of notes with virtuosity and beauty of tone. She has incredible competition on recordings; just about every pianist has recorded them. The new SACD was recorded June 2013 in Edinburgh's Usher Hall. Audio is not up to Linn's usual high standards. Sound of the soloist has been well captured, but orchestral textures are congested with particularly lumpy timpani. Fliter's fine playing should be cushioned by the orchestra, surely not the case here.

About a year ago, this site mentioned a superb Schubert SACD containing Symphony No. 6 and music for Rosamunde with the Swedish Chamber Orchestra directed by Thomas Dausgaard (REVIEW). The series continues with symphonies 3, 4 and 5. Again we have superb orchestral playing, and Dausgaard's spirited interpretations always are compelling. Add to this BIS's natural, rich sonics, and we have another winner.

If you are interested in Bach cantatas you must investigate this disk, volume 18 and the final release in the label's series of Bach cantatas. This contains a cantata for the 26th sunday after Trinity, one for the 6th sunday after Trinity, and one for the Palm Sunday. This series utilizes soloists instead of a chorus usually heard, a decision questionable for some purists, but there is much to enjoy in these superb performances directed by a master of the Baroque. Excellent, natural audio, although not particularly "surround," and complete texts are provided.

R.E.B. (May 2014)

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