I wrote this in another thread but it's so off-topic I wanted to repost it here:

"I am really enjoying her [Lena Jacobson's] insane Buxtehude and also the absolutely phenomenal Hans Davidsson (another great organist) review of a reissue of hers, here https://www.sscm-jscm.org/jscm/v6/no2/davidsson.html , you've probably seen it - it's just really in line with my interest in 'HIP as high-modernism':

"The uncompromising projection of the idea of a “sung tonal speech” in Jacobson’s playing unfortunately results in a constructed irregularity that is perceived as regular, and a non-intuitive mannerism that gives no space for balance, contrast, or the unexpected, all considered to be essential elements of the seventeenth-century paradigm. The result is an almost surrealistic picture of scattered motives and ideas, “cut-out phrases and gestures,” with no relationship to one another"

"The recording, however, can possibly be seen as a congenial application of an important perspective of twentieth-century aesthetics: the uncompromising projection and realization of a purely intellectual concept. As such it is indeed an impressive accomplishment, a truly consistent practice of performance rather than a performance in an historical practice." "

Something here resembles 'outsider-art' though from the depths of the academe, I don't know. Comparing Jacobson to her hostile/appreciative reviewer Davidsson in the same repertoire I of course far prefer Jacobson...

Possibly Grete Sultan falls into a similar category and I take this scathing review https://www.classicstoday.com/review/review-8308/ as a strong recommendation... and then maybe maybe Elizabeth Farr with her iconic D'Anglebert. But these latter two seem more fully in control of and aware of what it is they are accomplishing, which I guess I'm concluding based on a sense that their results are somehow a bit more polite and polished than Jacobson....

Anybody else come to mind?

On Friday, November 10, 2023 at 2:30:28 PM UTC, cheregi wrote:
> I wrote this in another thread but it's so off-topic I wanted to repost it here:
>
> "I am really enjoying her [Lena Jacobson's] insane Buxtehude and also the absolutely phenomenal Hans Davidsson (another great organist) review of a reissue of hers, here https://www.sscm-jscm.org/jscm/v6/no2/davidsson.html , you've probably seen it - it's just really in line with my interest in 'HIP as high-modernism':
>
> "The uncompromising projection of the idea of a “sung tonal speech” in Jacobson’s playing unfortunately results in a constructed irregularity that is perceived as regular, and a non-intuitive mannerism that gives no space for balance, contrast, or the unexpected, all considered to be essential elements of the seventeenth-century paradigm. The result is an almost surrealistic picture of scattered motives and ideas, “cut-out phrases and gestures,” with no relationship to one another"
>
> "The recording, however, can possibly be seen as a congenial application of an important perspective of twentieth-century aesthetics: the uncompromising projection and realization of a purely intellectual concept. As such it is indeed an impressive accomplishment, a truly consistent practice of performance rather than a performance in an historical practice." "
>
> Something here resembles 'outsider-art' though from the depths of the academe, I don't know. Comparing Jacobson to her hostile/appreciative reviewer Davidsson in the same repertoire I of course far prefer Jacobson...
>
> Possibly Grete Sultan falls into a similar category and I take this scathing review https://www.classicstoday.com/review/review-8308/ as a strong recommendation... and then maybe maybe Elizabeth Farr with her iconic D'Anglebert. But these latter two seem more fully in control of and aware of what it is they are accomplishing, which I guess I'm concluding based on a sense that their results are somehow a bit more polite and polished than Jacobson...
>
> Anybody else come to mind?

Without thinking too hard, check

Nikolaus Harnoncourt's Vivaldi 4 Seasons
Adam Fischer's Danish Brahms Symphonies.

On Friday, November 10, 2023 at 4:45:05 PM UTC, Mandryka wrote:
> On Friday, November 10, 2023 at 2:30:28 PM UTC, cheregi wrote:
> > I wrote this in another thread but it's so off-topic I wanted to repost it here:
> >
> > "I am really enjoying her [Lena Jacobson's] insane Buxtehude and also the absolutely phenomenal Hans Davidsson (another great organist) review of a reissue of hers, here https://www.sscm-jscm.org/jscm/v6/no2/davidsson.html , you've probably seen it - it's just really in line with my interest in 'HIP as high-modernism':
> >
> > "The uncompromising projection of the idea of a “sung tonal speech” in Jacobson’s playing unfortunately results in a constructed irregularity that is perceived as regular, and a non-intuitive mannerism that gives no space for balance, contrast, or the unexpected, all considered to be essential elements of the seventeenth-century paradigm. The result is an almost surrealistic picture of scattered motives and ideas, “cut-out phrases and gestures,” with no relationship to one another"
> >
> > "The recording, however, can possibly be seen as a congenial application of an important perspective of twentieth-century aesthetics: the uncompromising projection and realization of a purely intellectual concept. As such it is indeed an impressive accomplishment, a truly consistent practice of performance rather than a performance in an historical practice." "
> >
> > Something here resembles 'outsider-art' though from the depths of the academe, I don't know. Comparing Jacobson to her hostile/appreciative reviewer Davidsson in the same repertoire I of course far prefer Jacobson...
> >
> > Possibly Grete Sultan falls into a similar category and I take this scathing review https://www.classicstoday.com/review/review-8308/ as a strong recommendation... and then maybe maybe Elizabeth Farr with her iconic D'Anglebert. But these latter two seem more fully in control of and aware of what it is they are accomplishing, which I guess I'm concluding based on a sense that their results are somehow a bit more polite and polished than Jacobson...
> >
> > Anybody else come to mind?
> Without thinking too hard, check
>
>
> Nikolaus Harnoncourt's Vivaldi 4 Seasons
> Adam Fischer's Danish Brahms Symphonies.

and

Ton Koopman's Forqueray -- both the solo and ensemble recordings.

Michael Bennett's Bull and Scheidemann -- see what you think l, I find it quite challenging.

https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2
https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2

On Friday, November 10, 2023 at 5:35:08 PM UTC, Mandryka wrote:
> Michael Bennett's Bull and Scheidemann -- see what you think l, I find it quite challenging.
>
>
>
> https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2
> https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2

And Jane Chapman's three recordings of French baroque music -- she was one of Koopman's pupils.

On Saturday, November 11, 2023 at 1:35:08 AM UTC+8, Mandryka wrote:
> Michael Bennett's Bull and Scheidemann -- see what you think l, I find it quite challenging.
>
>
>
> https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2
> https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2

I enjoyed this, I read that Michael Bennett is also a spectralist composer and I felt that that feeling really came through in his Scheidemann. I think he is really young, it's exciting to see where he will go in the future.

On Sunday, November 12, 2023 at 4:09:14 AM UTC, cheregi wrote:
> On Saturday, November 11, 2023 at 1:35:08 AM UTC+8, Mandryka wrote:
> > Michael Bennett's Bull and Scheidemann -- see what you think l, I find it quite challenging.
> >
> >
> >
> > https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2
> > https://editionsgrandier.bandcamp.com/album/heinrich-scheidemann-mascarada-2
> I enjoyed this, I read that Michael Bennett is also a spectralist composer and I felt that that feeling really came through in his Scheidemann. I think he is really young, it's exciting to see where he will go in the future..

I wonder how he made it happen - it costs quite a lot of money to record on those organs, not just the cost of the engineering but also the organ hire fees.

On Sunday, November 12, 2023 at 5:47:04 PM UTC+8, Mandryka wrote:
> By the way, have you discovered René Zosso yet?

Yes - on your recommendation! And seemingly through gritted teeth. I thought that sound was really interesting and appreciate the project, but there's an inverse correlation between how interested I am in any music and how much its appreciation depends on understanding lyrics.

On Monday, November 13, 2023 at 9:11:23 AM UTC, cheregi wrote:
> On Sunday, November 12, 2023 at 5:47:04 PM UTC+8, Mandryka wrote:
> > By the way, have you discovered René Zosso yet?
> Yes - on your recommendation! And seemingly through gritted teeth. I thought that sound was really interesting and appreciate the project, but there's an inverse correlation between how interested I am in any music and how much its appreciation depends on understanding lyrics.
Well this one seems as accessible as Schubert and Schumann, even without the lyrics.

https://www.youtube.com/watch?v=GL_3Y_KnGr4

On Monday, November 13, 2023 at 7:29:02 PM UTC+8, Mandryka wrote:
> On Monday, November 13, 2023 at 9:11:23 AM UTC, cheregi wrote:
> > On Sunday, November 12, 2023 at 5:47:04 PM UTC+8, Mandryka wrote:
> > > By the way, have you discovered René Zosso yet?
> > Yes - on your recommendation! And seemingly through gritted teeth. I thought that sound was really interesting and appreciate the project, but there's an inverse correlation between how interested I am in any music and how much its appreciation depends on understanding lyrics.
> Well this one seems as accessible as Schubert and Schumann, even without the lyrics.
>
> https://www.youtube.com/watch?v=GL_3Y_KnGr4
Oh! I had actually confused Zosso with the southern france troubadours project thing that you also sent me.

Zosso is also someone I know about through you though. He is in the 'highly speculative early music' domain that I tend to really appreciate. I guess this and Schubert and Schumann songs are all more interesting to me theoretically than in practice though and for the same reasons I said above. Maybe I'll change my tune...

On Monday, November 13, 2023 at 12:29:07 PM UTC, cheregi wrote:
> On Monday, November 13, 2023 at 7:29:02 PM UTC+8, Mandryka wrote:
> > On Monday, November 13, 2023 at 9:11:23 AM UTC, cheregi wrote:
> > > On Sunday, November 12, 2023 at 5:47:04 PM UTC+8, Mandryka wrote:
> > > > By the way, have you discovered René Zosso yet?
> > > Yes - on your recommendation! And seemingly through gritted teeth. I thought that sound was really interesting and appreciate the project, but there's an inverse correlation between how interested I am in any music and how much its appreciation depends on understanding lyrics.
> > Well this one seems as accessible as Schubert and Schumann, even without the lyrics.
> >
> > https://www.youtube.com/watch?v=GL_3Y_KnGr4
> Oh! I had actually confused Zosso with the southern france troubadours project thing that you also sent me.
>
> Zosso is also someone I know about through you though. He is in the 'highly speculative early music' domain that I tend to really appreciate. I guess this and Schubert and Schumann songs are all more interesting to me theoretically than in practice though and for the same reasons I said above. Maybe I'll change my tune...

Gérard Zuchetto.

The one who reminds me of Zosso is Eberhard Kummer

https://www.youtube.com/watch?v=Eyf81D1Vw9Y