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Posted: |
Apr 9, 2010 - 1:41 PM
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By: |
TerraEpon
(Member)
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I can tell you that instead of making cuts to the CD we are likely to have an 82+ minute CD, so get your players ready for that!
Thank you ! This is very great news. I listened to the samples a while ago and they make me giddy for this one.
Happy to hear we're getting closer to the release of the physical CD and also happy to hear we'll be getting the complete recordings. I hope this doesn't mean playback problems are in the offing, though.
It shouldn't. Robert van Behr of BIS, which produced some of the longest CDs I have, quite a number over 80 minutes (including one three seconds under what he says is the limit) mentioned that 77:30 is the 'safe' upper limit (referring to what Lukas mentioned once) but that not once has anyone complained about any of their longer CDs.
My personal preference would be for them to work up another re-recording and make it a 2-CD set. But whatever it turns out to be, I'll be glad to get it!
Naxos tends to like to release things seperately instead of combining into double, etc, sets. They also usually will price a 2CD set at almost twice as much, so in a case like this, there's no real need for it.
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I downloaded both of these scores a few weeks ago from the site The Classical Shop:
http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=ZH%200124
-- and I have fallen in love with the recordings. To reiterate what others have said -- these are truly terrific -- performance and sonics that edge into perfection. It will be a shame if more folks don't discover these recordings. I've burned each score to separate CDs for my own listening purposes. Both are gorgeous and worthy of the highest accolades.
Also, and this could just be me, but especially after listening to "Our Town" I became aware of how much Mr. Copland, like Mr. Herrmann, relied on simple, repeated motifs/cells. Cue after cue, beautiful in conception and execution, have simple motifs repeated multiple times while other "melodies" play about underneath -- or come to the fore. Like looking deeply into a pond -- catching depths beyond the surface ripples. The effect reminded me once again that Copland, Herrmann and their colleagues from the Young Composers Group have had such an immeasurable impact upon modern American composers like Adams, Glass, Reich and others who use the concept of repeated cells to maximum effect. Most interesting as a personal discovery for me -- for some reason I had never heard "minimalism" in Copland before listening to these recordings.
A heartfelt thanks to all of those involved in these projects - which strike me as essential.
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