Ross
Scott Ross - Bach Keyboard Works 豆瓣
Scott Ross / Huguette Grémy-Chauliac 类型: 古典
发布日期 2019年6月7日 出版发行: Warner Classics/Erato
The harpsichordist and organist Scott Ross, born in America, but French by adoption, is famed for his recording of Scarlatti’s 555 keyboard sonatas, completed in 1985. Another ambitious recording mission – the complete harpsichord works of Johann Sebastian Bach – was interrupted four years later when he died aged just 38. “The harpsichord has a heart, a soul,” said Ross. “It’s an instrument that breathes and that is extraordinarily alive.” This 11CD set complements his Erato Bach discography with material from broadcasts for French, Swiss and Canadian radio, much of it new to CD, which embraces performances on both the harpsichord and the organ.
2019 marks the 30th anniversary of the death of the harpsichordist and organist Scott Ross, who was just 38 years old when he died.
This box brings together the harpsichord recordings he made for EMI and Erato, which are complemented by a selection of radio recordings: harpsichord and organ from Radio Canada, and harpsichord music from RTS (Swizerland) and INA (France). The lasts include a duet with his former teacher Huguette Grémy-Chauliac and chamber music with Christophe Coin and his Ensemble Mosaïque.
A number of recordings in the edition are making their first appearance on CD. The recordings in the edition have been digitally remastered tapes by Art & Son Studio, Annecy (also responsible for the remasterings of Warner Classics’ Menuhin, Rostropovich and Cluytens editions).
The Rest Is Noise 豆瓣 Goodreads
The Rest Is Noise: Listening to the Twentieth Century
作者: Alex Ross 出版社: Farrar, Straus and Giroux 2007 - 10
From Publishers Weekly
Starred Review. Ross, the classical music critic for the New Yorker, leads a whirlwind tour from the Viennese premiere of Richard Strauss's Salome in 1906 to minimalist Steve Reich's downtown Manhattan apartment. The wide-ranging historical material is organized in thematic essays grounded in personalities and places, in a disarmingly comprehensive style reminiscent of historian Otto Friedrich. Thus, composers who led dramatic lives—such as Shostakovich's struggles under the Soviet regime—make for gripping reading, but Ross treats each composer with equal gravitas. The real strength of this study, however, lies in his detailed musical analysis, teasing out—in precise but readily accessible language—the notes that link Leonard Bernstein's West Side Story to Arnold Schoenberg's avant-garde compositions or hint at a connection between Sibelius and John Coltrane. Among the many notable passages, a close reading of Benjamin Britten's opera Peter Grimes stands out for its masterful blend of artistic and biographical insight. Readers new to classical music will quickly seek out the recordings Ross recommends, especially the works by less prominent composers, and even avid fans will find themselves hearing familiar favorites with new ears. (Oct.)
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