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Sarabande - Bach* / Ton Koopman, The Amsterdam Baroque Orchestra - 4 Orchestral Suites (CD, Album)

A right royal pleasure: With these effervescent suites, Georg Frideric Handel created Baroque masterpieces that still delight people to this day with their i. Lire plus tard Radio Classique. Read Before Watching:Due to the unexpected success of my first Best of Beethoven and Tchaikovsky vid see link below to watch I have decided to make anoth. Haendel Water Music. Alla hornpipe2. Adagio e. The Water Music is a collection of orchestral movements, often published as three suites, composed by George Frideric Handel.

Largo—Allegro 76 bars, F major 2. Adagio e staccato 34 bars, D minor 3. Allegro bars, F major 4. For arrangements, new editions, etc. Conceived for such a unique occasion, the work was quite possibly never performed again in its original form during Handel's lifetime. Handel reused certain movements in other works, and 'best-of' suites soon appeared - including for instance the ever-popular 'Trumpet. Tout savoir sur En concert. Livraison gratuite voir cond.

J'AIME 2. Articles Similaires. Rigaudon 2. Par Georg Friedrich Haendel. Menuet 1. Menuet 2. Gigue 1.

Berliner Philharmoniker. Copier le lien pour partager la page. Bach wrote hundreds of pieces for organ, choir, as well as many other instruments. He spent most of his life as a church organist and a choir director. His music combines profound expression with clever. Bach Suites Saigon strives to bring you an unique experience of home-away-from-home, luxury style.

Home Kitchen. Book now. Suite No. Prelude, Suite No. Allemande, Suite No. Sonata - BWV Arr. The composition was first published in and is included in French Suites by Bach. Suite Nr. Toccaten BWV Deswegen ist seine Musik so rein und hat, wenn wir den Ausdruck gebrauchen wollen. Bach: Englische Suiten Interpretation: Stadtfeld, Martin. Versandfertig in Tagen. Martin Stadtfeld Bach: Englische Suiten Audio CD.

Jetzt bewerten Jetzt bewerten. Paradigmatic of baroque music, J. Bach's Orchestral Suite no. The Orchestral Suite no. Unique to the suites however, is the concept of introducing the A and B parts through different. Bach - The Cello Suites. Arcantus Musikproduktion: arc Buy 2 CDs or download online. Mime Yamahiro Brinkman. The pop revolution never crossed classical thresholds. At Abbey Road, where George Martin gave the Beatles a string quartet, a corporate rewall stopped any counterflow.

Classics were living in a fast-receding past. The times, as Bob Dylan droned, were a-changing. Peace and love gave way to riots, war protests and strikes. The transformation was not easily achieved. Richter was the kind of musician who made Germans comfortable with their past, employing moderate speeds, minimum fuss and limited intellect.

He pooh-poohed the authenticist movement. Album) early music revival had been around for a while. It arose during the arts-and-crafts movement in England but found no convincing interpreters until after the Second World War, when a countertenor, Alfred Deller, caught the ear on a BBC broadcast and a chorus leader of the International Ladies Garment Workers Union in New York, Noah Greenberg, took up singing Purcell in period style.

In the summer of a Dutch harpsichordist, Gustav Leonhardt, ended his studies in Basle and took a train to Vienna to study conducting.

We met, and we struggled. Both groups joined up in to record Bach cantatas with Deller. There was something of the Singing Family Trapp about these groups, the more so when sons and daughters joined in, but the ethos was high-minded: a search, note by note, for musical truth.

Harnoncourt, a descendant of Habsburg emperors, earned his daily living as a cellist in the Vienna Symphony Orchestra under Herbert von Karajan. Two players, friends of mine, su ered a complete nervous breakdown and were dragged away to mental hospitals for electric-shock therapy. He bought a Cremona bass ddle for a pittance. Both labels o ered long-term contracts. In the morning I had a discussion with Hickmann and his group and in the afternoon I had a session with Telefunken.

I wrote to him once, and got a very nice reply, but it remained impossible for me to work in Salzburg. Holschneider tried again to lure him to Archiv. Harnoncourt declined, sticking to small-time Telefunken. Leonhardt, similarly, shunned Philips. The more organic performers hung around Reinhard Goebel, a Melkus pupil who got himself sacked by Cologne University in for sneaking an unregistered gamba player onto campus. Goebel formed Musica Antiqua Koln, a group which made such a fetish of raw text and literal delity that critics called him the Ayatollah.

The English had stood, on the whole, aloof from the Europ ean movement, keeping their own period currency. He, more than anyone, turned early music in Britain from a knot of sandalled zealots to a popular interest, and the players from second rate to rst.

Reckless of his energies and troubled in his love life, Munrow committed suicide in May at the age of thirty-three, leaving a legacy of expert period singers, among them James Bowman, Nigel Rogers, David Thomas and Emma Kirkby.

In the hard-bitten world of London orchestras a keyboard player called Thurston Dart used co ee breaks at EMI sessions to demonstrate how much better Bach sounded at lower pitch and faster speeds.

There was no discussion, or anything like that. His speeds were quick but the pitch was modern. Marriner had been playing the violin in orchestras since he was sixteen. He formed a baroque trio with Dart and Peter Gibbs, a Philharmonia violinist, expanding it to a chamber ensemble, the Academy of St Martin in the Fields. The Academy played baroque style on modern instruments.

In a way Album) would wish it had never been so successful. I think the spirit of the music and the personalities involved were much more vivid when we were heading for the top. Marriner was the least imperious of maestros. Promptly fell downstairs. Decided this kind of behaviour was not for him. I cannot accept imperfections of intonation and articulation. There was not much call yet for that sort of thing, but Hogwood got lucky when Decca fell into a serious rift.

Culshaw had left a vacuum. He wanted to remain a studio producer. But Culshaw had landed him with an enormous amount of head o ce responsibility and he was the obvious choice. On being told that Minshull had got the job, Culshaw asked him round for a drink and, in the presence of another producer, David Harvey, set re to his Lewis letter as a conciliatory gesture. Minshull never forgave him.

Where Culshaw fostered team spirit, Minshull shared his plans only with Raeburn. But then I was never after his job. Erik, on the other hand, felt his position was a bit untenable. Minshull signed up Hogwood, in direct competition. Marriner went on to aggregate a catalogue of recordings of 2, works, more than anyone bar Karajan. The next busiest maestro on record was Harnoncourt, with Early music was the Yukon of the late-middle period of classical recording. It was the middle ofthe Beethoven bicentennial.

His bipolar swings and delusions were symptomatic of a stalled career. Bernstein had quit the New York Philharmonic to concentrate on composing but the result was a dismally trite Mass for the Kennedys, and little else. Times had truly changed. Davis said he had done nothing wrong.

He decorated the apartment to impress artists. Charges of fraud and false invoicing which he denied were dropped. He pleaded guilty to an unrelated tax evasion count and bounced back inside a year with Arista Records, hitting number back inside a year with Arista Records, hitting number one with Barry Manilow. Davis went so far as to boast that the compact disc had been named for his initials, CD.

After the scandal Lieberson was brought back, but it was not the same. It was hard to summon much enthusiasm for making records. The dress code had changed-everybody now dressed casual-but he always turned out in black tie and dinner suit. He beat the system.

And then the motherfucker died on me! It sounds facetious but I was really pissed. Yetnikoa Brooklyn lawyer with an ego the size of the Empire State, sacked Paul Simon, lost Bob Dylan to the predatory David Ge en and signed Michael Jackson, a family-band child singer who was to became the highest grossing rock star of all time despite his growing weirdness in the society of small boys. Then I would call someone at CBS, maybe the head of the network or accounting, and yell at them.

The steward would immediately bring me a screwdriver. As a junior lawyer he had written the partnership deal by which CBS licensed its records to Sony in Japan. Other guests included Leonard Bernstein and Lorin Maazel. Both men were imbued with Western civilization, but what they really coveted was youth culture. CBS rock stars would raise the Sony pro le across Asia. Yetnikostars would raise the Sony pro le across Asia. The chairman was in bed with u.

Yetniko waited dripping in the lobby while fty pages were read, digested and initialled. Ohga, tall and emotionally reserved, capable of intense concentration and extreme rage, bonded with eagerbeaver Yetniko.

Ohga prevaricated. The Boston Symphony Orchestra was non-union and the costs manageable. Decca landed months later in Chicago in the entourage of Georg Solti. To his surprise, Rosengarten agreed. Solti went on to make a hundred recordings in Chicago, selling 5 million discs. Terry had a ferocious passion for singers. A lot of his personal tastes fed into Decca Records, or London as it was known here.

Joan Sutherland was queen of bel canto and Luciano Pavarotti, her edgling partner, was potentially the tenor of the century. McEwen took the tenor to be styled and snapped by fashion photographer Francesco Scavullo. For Sutherland McEwen created an image as grande dame of the grand tradition.

His achievements were not wholeheartedly appreciated. Other labels, landing with lesser podium stars, found the fame game sewn up. Philips started in San Francisco with the young Seiji Ozawa, in a bid to penetrate the over-protected Japanese record market. Ozawa-mop-topped, polo-necked and matey with the Sony bosses Morita and Ohga-was the rst Japanese to head a Western orchestra.

Photogenic, energetic and slightly o -centre in his musical tastes CD 65, p. Philips took over the Boston contract from DGG without di culty, since the labels were moving to the next stage of union.

DG turned its American operation into a Karajan support system. It won a Grammy but unsold sets cluttered record-store dump bins. Low farce ensued. A mischievous forest of posters sprang up on the route that Karajan took each morning into work.

Karajan turned puce, but DG got its man. Bernstein signed exclusively to the Yellow Label in The Decca Sound settled on America like an army blanket, minimizing the di erences between orchestras, but demand was waning as war vets grew old.

Levine, Tilson Thomas and Leonard Slatkin maintained their profile but orchestras looked to the European labels for their next music director. Read went looking for external money spinners. CAT body scanners were the hot item in medical diagnostics and Read spent a mint on buying marketing rights. Record producers, hauled out of studios, were despatched to hospitals.

Their thighs were too big. He lost touch with music, so much so that when the Sex Pistols punk band expleted four-letter words on family-time television, he sacked them. In strikebound, powercut Britain, such secondhand celebrity passed for sex appeal and Previn, nicknamed Andrew Preview, was a xture on three-channel television, whether as a musician or as a salesman for EMI household goods.

Peter Andry, alert to his shortcomings, had a secret weapon up his sleeve. But the records sold immensely and Karajan worked out that the alimony dodge had cost him 6 million Deutschmarks. He asked DG to make good. The Germans, unwilling to accede to an unjusti ed demand, dithered.

The Berlin Philharmonic, sensing discord, chipped in with demands for an increased session fee of 65 Deutschmarks per player hour, as much as Decca were paying in Chicago. Not viable, said D G. The atmosphere was turning acrid when Andry, with exquisite timing, o ered to take over one-third of the next DG contract, fteen sessions a year, meaning more money for maestro and musicians.

Karajan, pleased to have made his point, signed for both labels. My achievement was to keep classical business going within the milieu of a greatly expanding pop business. It obliged me to sit in dreary meetings and click my ngers to their noisy stu. But Karajan and Previn made a wonderful team. Unwilling to move his family to Germany, Andry declined.

Siemens returned with a bigger o er. Where Legge loathed all rivals, Andry was eager to trade. Exclusivity was the coinage by which labels did their deals. Typically, two executives would meet for lunch at a blushingly expensive restaurant in London or Salzburg where, after a liberal imbibing of rare vintages, the talent was laid out over co ee. A soloist failing twice on Philips might have better luck with a third shot on EMI.

These swaps reassured the majors that their artists were an elite and that they were protecting the consumer from a flood of charlatans.

Talent was trawled nightly at recital halls, opera rehearsals and conservatoire graduations. Producers pooled new names at monthly meetings, making their decisions on the basis of passionate conviction. After that, there was no more talk of Levine. The players, alert to a record deal, asked him to become principal conductor. For Muti-coal-black hair, razor-sharp tailoring and just past thirty-Christmas came early that year.

The rst take was desultory, too many musicians dispersed around a vast building. Muti listened to the playback with a brow darker than thunder.

He stormed back into the heart of the hall and red up a performance that left the cast sweat-soaked and uplifted.

Sales, though, were stubbornly slow. He was not an easy colleague. Seducing an EMI blonde, he used her to demand the sacking of an executive he disliked. After the early buzz, Philharmonia audiences fell and the players were relieved when the aged Ormandy o ered Muti his Philadelphia post. Muti livened up the old town with a dazzle of stars-Pavarotti, Renata Scotto, Maurizio Pollini and the Russian pianist Sviatoslav Richter, with whom he enjoyed an innate understanding-and dragged EMI warily into recording in America.

Although his sales were low and his Beethoven symphonies bombed, Muti, newly head of La Scala and talked of as the next Karajan, kept EMI and Philips inging ever more despairing wads of cash at his combustible career.

EMI kept its door ever open to options. Simon Rattle, a wire-haired kid from Liverpool, twenty-one years old, won a cigarette-sponsored conducting competition with an EMI recording as part of the prize. Senior conductors had scorned the score, Bernstein and Kubelik rejecting it for their cycles. Rattle studied with Goldschmidt and expanded the more speculative passages with the brother-composers Colin and David Matthews. The record, blazing with conviction, would x the symphony in the canon.

He was on a vertical curve. But EMI held rm and Rattle repaid the label with dogged exclusivity and, ultimately, the supreme trophy of Berlin. And still the door stayed open.

Lanky, weak-willed, and prone to alcoholic consolation, Tennstedt collapsed in tears in a Philadelphia rehearsal and su ered a complete breakdown soon after, unable to cope with success.

There followed a Dresden Meistersinger and the late symphonies of Mozart and Tchaikovsky. Peter Alward ew to Berlin to arrange a fresh set of cover photographs. He wants you to be involved in all his recordings. The more records Karajan made, the more he sold, and the more critics took against him. Even Gramophone struggled to nd praise for his fourth and fth Beethoven cycles and musicians muttered that his seamless perfectionism was simply boring, though few spoke out.

An exception was the free-spirited Richter, who avoided Karajan after a contretemps during the Beethoven triple concerto when the conductor refused his request for a retake in order to pose for photographs. The last formative gures slipped away in sorrow or disgrace. In March Decca sacked Gordon Parry, after an investigation for abuse of expenses. Released within months he was jobless until a friend in the garment trade put him to work on the cutting oor.

His death, in Februarypassed unrecorded in the British press. Rosengarten kept his hands on the reins to the last, his eye on the bottom line. He told producers to lash out on expenses, which were covered by London; their salaries, paid from Zurich, were tiny.

The chairman had other ideas. Three decades after their initial irtation, Lewis reopened contacts with Philips. Polygram was on a roll. In Decca became part of the Dutch-German combine. Its UK factories were shut down, its West Hampstead studios sold. We were … among the rst to employ Word Processors Philips of coursewhich were exactly the size and shape of a small upright piano. Philips had stumbled into acoustic invention with the Compact Cassette, an o ce tool one-eighth of an inch across which played tape at 1.

No cultural use was foreseen until businessmen began taping favourite songs for long sales trips and the record industry started issuing pre-recorded cassettes. Sony o ered to recognize the Philips format in exchange for a free right to manufacture the machines. Japanese players soon outsold the Dutch and Philips regretted their generosity. Then the motor industry decided to add a tape player to the dashboard radio.

Ford opted for a pocketbook-sized cartridge with an eight-track loop. Labels began issuing music on a third format and cassettes and cartridges slugged it out at high speed on multi-lane highways. It was a close-run thing. But the rest of the world chose the cassette for its simplicity, versatility and a sound quality improved by Dolby noise reduction.

Cartridges died out, but the cassette acquired notoriety as a vehicle for illegal duplication. Piracy, never formerly a threat, became a nervous preoccupation of the music industry. Walter Yetniko told Norio Ohga that Sony cassettes were killing his sales.

Ohga replied that his machines were opening new markets for The Amsterdam Baroque Orchestra - 4 Orchestral Suites (CD. The industry split between hardware innovators and software conservationists. Into this schism splashed the calamity of quad. Leopold Stokowski, near his ninetieth birthday, conducted the demos. The systems were mutually incompatible.

Records in one quad format were unplayable on the other, and both quickly died. Sony, meanwhile, presented a video cassette at a Tokyo press conference fronted by Herbert von Karajan.

Matsushita challenged it with cheaper, grainier VHS. The result was settled when VHS bought rights to Hollywood movies, leaving Sony with nothing to show. Morita was mortified. Philips, beavering quietly away, came up with Laservision, a at disc that bypassed the Edison method of capturing sound as electronic waves and converted it instead into computer digits, stored beneath the impermeable surface of a plastic disc, readable by laser beam.

Digital recording eliminated tape noise, utter, wow, distortion and all the clicks and pops of LPs. Digital was the future, but Laservision was not quite there. Of machines sold in Holland, half were returned to stores. Ohga, in hospital after a helicopter crash, received a Laservision demonstration in April Smitten, he talked Philips into forming a joint task force to crack the digital atom. The Japanese set a ferocious pace. When the Dutch havered over several modulation systems, Ohga phoned team leader Kees A.

The hole in the middle of the CD was cut around the diameter of the smallest Dutch coin. Sound was already being digitized on tape. Conducted by Frederick Fennell on 4—5 Aprilthe rst digital LP blew out demonstration speakers in stores.

He had su ered a stroke, followed by spinal surgery, and was in constant pain. At home in Anif, he compulsively viewed and edited his concerts on a giant screen, preparing a video legacy. He put pressure on Polygram to invest million Deutschmarks in a digital pressing plant in Hanover.

In the race to launch, Nobuyuki Idei, the Sony head of production, suffered a breakdown and watched the presentation from a hospital bed.

At Athens, the industry split between horsepower and nuclear. When Ohga played his prototype CD, label owners rioted, accusing equipment makers of killing the golden LP. The truth is in the groove! But the LP, whatever its loyalists protested, was doomed.

Sales were collapsing. The bleakness of such gures was seldom admitted but every now and then a grim truth shone through. Arranging to meet the sisters at the Westbury Hotel, near Oxford Street, where many musicians stayed, he saw two men scurry into a doorway at the end of the corridor as he approached the room. One he recognized as an EMI producer. The situation was surreal.

Despite minuscule sales, the girls were being wooed by several labels. Miracles on Miracles While waiting for digital, daisy labels owered on English lawns. Brian Couzens, a freelance engineer, founded Chandos with his son Ralph in the Essex backwater of Colchester. They spotted two formidable conductors from the Soviet Baltic states and launched the prodigious careers of Neeme Jarvi and Mariss Jansons.

Hyperion was the dreamchild of Ted Perry, who paid for his sessions by driving an ice-cream van by day and a minicab at night; his breakthrough was the monodic chant of the medieval Hildegard of Bingen. The business was turning bizarre but the majors saw nothing, heard nothing, beyond their own glass walls. CBS needed a new head of Masterworks. Joseph P. Dash, vice-president for strategic planning, was promised the job-only to get pipped by a rank outsider from Israel.

Next thing we know, she is vice-president of artists and repertoire. She told Wyman that Schmidt was useless and the Israeli was red. Dash, the next head of Masterworks, delicately refrained from asking Reed about her relationship with Wyman.

My sta think I have lost my marbles. It goes platinum, sells a hundred thousand. In a year, Masterworks is in profit. He had decided to make his record with Karajan. Marriner headed north to Toronto, heart in mouth.

They agreed that Gould would play the solo part of a Beethoven concerto in his studio and send it to Marriner, who would wrap an orchestra around it. Days after his ftieth birthday in SeptemberGould su ered a fatal stroke and the piano lost an unfathomable legend.

Dead, Gould began selling faster than alive. Each memorial release outstripped the last. This was an alarming trend, the mark of a doomed civilization that worships its dead. Michael Haas, a young gay producer, was beset by o ce gossip that he was sleeping with the boss. The o cial administration was very unfriendly towards me, but Christopher Raeburn remained a loyal supporter and so did Solti. A clashprevention system designed to stop the three labels covering the same repertoire was constantly breached.

Harried producers, trapped between corporate discipline and the insistent demands of Karajan, Haitink and Solti, hit the bottle. As drugs were to rock, booze became the classical companion. Several senior men were sent to dry out at sanatoria; one D G producer committed suicide in a Black Forest clinic. In the view of my bosses I did it quite well.

In the end, I was asked to become head of Deutsche Grammophon. Aimed at the high end of the hi- hobby, the release sheet was geared to wealthy, middle-aged audiophiles. One fifth of the batch was classical. Japanese stores ran out of stock in a week and supply was running nine months behind demand,7 but the European launch went ahead in Marchwith Polygram releases, equally over-represented in classics.

An in-car player arrived, followed in September by Walkman CD. Players fell to generally a ordable prices but discs stayed high, fattening label pro ts. By CDs outsold LPs. US sales rose from a million in to million bymillion by The desperate decade was over. Classical had a double- gure market share for the rst time since before the Beatles. Labels put out short-measure CDs. Digital sound was stunningly transparent.

On a third hearing, the sawing was traced to a microphone placed too close to the cellos. Early stereo and even mono recordings sounded more natural on CD than multimiked modernities. Worse still, the CD was indestructible. Once a consumer had bought a basic classical library he need never buy another record. Although business boomed through the s, the countdown to meltdown had begun. Not everyone liked digital.

Nigel Kennedy, a quaintly counter-cultural British violinist with a 2 million-selling Four Seasons, had EMI record him on analogue machines. That year, Karajan accounted for a third of DG sales. His health was broken and an unexpectedly objective biography by an American sailing writer, Roger Vaughan, exposed an ugly supremacism. Switching to Vienna, he demanded everhigher royalties to fund his video legacy. Yetnikoterri ed of competition, invoked antimonopoly procedures and stalled the deal at the Federal Trade Commission.

The classical consequences were savage. Three autonomous labels were geared to shareholder expectations and ordered to obtain head o ce approval for all major outlays. Timmer meddled in musical decisions. In contrast to the reactionary Karajan, Abbado, intellectually chic and sexually charismatic, favoured living composers, leftwing causes and lean cuisine. Carlo-Maria Giulini would join him as elder statesman while Giuseppe Sinopoli, a physician and archaeologist who conducted the Philharmonia, would add an alternative dimension.

You should sign him to do the Bruckner symphonies. Dash was doubtful. The company had been taken over by an asset stripper, Lawrence Tisch, and Yetniko was trying to sell its record division. He linked up with Ohga at a Karajan Don Giovanni in Salzburg, only for his friend, in the middle of the second act, to be stretchered o The Amsterdam Baroque Orchestra - 4 Orchestral Suites (CD a heart attack.

Morita agreed to the asking price but Tisch asked for more. Then came Black Monday of October Share values shrivelled and Tisch needed cash.

Sony had collared enough popular culture to feed its gadgets for ever. Within months, much of Western entertainment was in Japanese hands and Variety was awash in despair.

To maintain con dence, Ohga left Sony Records in the hands of Yetnikodespite his escalating excesses. He was ordered into rehab. The Sony bosses, in his absence, pounced for their ultimate target.

Karajan kept them waiting. Schulhof an American executive and physician, much liked by the maestro. A cardiologist called to perform an ECG but was sent away. Schulhof brought a glass to his bed. Karajan was buried at midnight in the Anif churchyard to avoid a media scrum. On the third night after his death, the widow Eliette went up to the grounds to commune with her loss. As she neared the grave, she sensed another presence.

He was the one I admired most. There was no limit to his recyclability. Eliette, loyal to his example, sued his last lawyer successfully for 3 million euros. Madness Until Sony came along, classics were a frugal operation. Pennies were counted and projects costed to the last double bass. Breest was not a natural leader of men. He is a great visionary. Breest, blinkered by life at DG, remodelled the label along German lines, moving headquarters to Hamburg. To CBS veterans it felt like a slap in the face with a Baltic ounder.

Masterworks had been doing well in America, reclaiming a quarter of US classical sales and the top Billboard award in six of the past seven years. Next day, Breest said there would be no more crossover on Sony Classical.

In May he red Dash and reduced New York to a remote branch o ce. Never before had one of its o cers gone over to an enemy. The atmosphere turned acrid as old pals and drinking partners were forbidden to meet. Knowing that Karajan on his own could not underpin a new laser disc format known in Germany as Bildplatte, or picture discBreest shelled out another fortune to lm concerts by Sergiu Celibidache, who had given up making records in on the grounds that listeners could not witness his input.

His oddity and scarcity value were not enough to save the Bildplatte, and DG nipped in to split Karajan sales by reeling out his s operas on VHS. He had Greek goddesses added to the decor of his private o ce and edged them in gold leaf. Money was no object and aesthetics no impediment. Many did a quick calculation and doubled their fees.

The economics of classical recording parted company with market reality. This was misplaced thinking since Abbado had developed a loathing for Gineri. Abbado, who had won Berlin on the size of his D G contract, was not about to jeopardize his job.

He gave DG rst refusal on recordings and Sony the leftovers. While Breest bragged, Holschneider invited independent press witnesses, myself among them, to watch Abbado sign a new D G contract the morning after his inaugural concert in Berlin. Erichson made a hundred recordings with the likes of Leonhardt, Kuijken, Bylsma and von Asperen, but he failed to sign Harnoncourt or any of the baroque big guns.

Veg shared with Breest an a nity for ne cigars and wines. Some producers considered him a high-rolling braggart. Breest brought the watery-eyed old master onto DG for six extraordinary recitals, recorded in his Manhattan living room by ex-CBS producer Thomas Frost. When Horowitz sat at the piano for the seventh disc on 20 October both he and Frost thought they were on DG, unaware that Breest and Gelb had switched them to Sony.

Four days after the nal note, Horowitz died and Breest, for all his bluster, was left with a single release-one more for the trophy wall. He was getting a reputation for being unlucky and losing respect for the way he ashed his cash.

The backlash took a di erent turn among conductors who, egos in ated with riches beyond reason, demanded extra rehearsals and star casts. If Breest refused, Abbado would phone Ohga, who longed to be loved by maestros. Ohga regularly overruled Breest, causing chaos on Sony Classical. Too many conductors were making too many records with no coherent purpose. Other labels moved to higher ground. At Philips, Erik Smith brought out the complete works of Mozart for the bicentennial. As a matter of macho pride, Alain Levy urged his classical labels to spend more and win the war.

Output on each of the majors rose to a hundred new releases a year, with no visible increase in demand. On the contrary, collectors nished replacing their old Album) and stopped buying CDs. Black Monday and the end of communism set o a worldwide recession.

The death of Bernstein, fourteen months after Karajan, eliminated the last household name maestro. Consumers, confused by a glut of classical faces, stuck to the great and the dead.

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9 Responses to Sarabande - Bach* / Ton Koopman, The Amsterdam Baroque Orchestra - 4 Orchestral Suites (CD, Album)

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  9. Kakora says:

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