Discussion:
Iona Brown Lark Ascending - Marriner and others?
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m***@gmail.com
2018-12-02 19:34:43 UTC
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I have two recordings of Neville Marriner conducting the Lark with ASMF- Decca/Argo form '72 and ten years later on ASV. Both have Iona Brown as soloist, and both stand head and shoulders above the efforts of other big-name violinists whose pairing with "name" conductors often fails to get off the ground (Chang/Haitink comes to mind).

The review here
http://www.musicweb-international.com/classrev/2004/sept04/English_connection.htm
mentions a 90's recording by Brown. I'm wondering if it is a confused reference to the Decca recording.

Anyone know?
Frank Berger
2018-12-02 22:15:11 UTC
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Post by m***@gmail.com
I have two recordings of Neville Marriner conducting the Lark with ASMF- Decca/Argo form '72 and ten years later on ASV. Both have Iona Brown as soloist, and both stand head and shoulders above the efforts of other big-name violinists whose pairing with "name" conductors often fails to get off the ground (Chang/Haitink comes to mind).
The review here
http://www.musicweb-international.com/classrev/2004/sept04/English_connection.htm
mentions a 90's recording by Brown. I'm wondering if it is a confused reference to the Decca recording.
Anyone know?
To add to the confusion, the widely-cited 1972 recording was actually
recorded in May 1971. Grammophone preferred that one to the 1982
remake, though there are sonic issues with the former. Don't know about
a third recording. Iona Brown passed in 2004 so there will not likely
be one after that.
m***@gmail.com
2018-12-02 23:33:33 UTC
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Post by Frank Berger
To add to the confusion, the widely-cited 1972 recording was actually
recorded in May 1971. Grammophone preferred that one to the 1982
remake, though there are sonic issues with the former. Don't know about
a third recording. Iona Brown passed in 2004 so there will not likely
be one after that.
Gramophone won't let me read anything. What did they say about the sound? I can guess- the recording is very non-studio. It's a real space (feels church-like), and there seems to be some ambient low-end rumble. But I don't mind much. The plusses of this space more than make up for it. The few Argo LPs I had of Marriner were some of the most gorgeous discs in my collection. Even though I've purged most of my LPs, these I kept. And I have LP transfers from a few of them that sound nearly identical to the CDs.
Frank Berger
2018-12-03 01:18:06 UTC
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Post by m***@gmail.com
Post by Frank Berger
To add to the confusion, the widely-cited 1972 recording was actually
recorded in May 1971. Grammophone preferred that one to the 1982
remake, though there are sonic issues with the former. Don't know about
a third recording. Iona Brown passed in 2004 so there will not likely
be one after that.
Gramophone won't let me read anything. What did they say about the sound? I can guess- the recording is very non-studio. It's a real space (feels church-like), and there seems to be some ambient low-end rumble. But I don't mind much. The plusses of this space more than make up for it. The few Argo LPs I had of Marriner were some of the most gorgeous discs in my collection. Even though I've purged most of my LPs, these I kept. And I have LP transfers from a few of them that sound nearly identical to the CDs.
The Gramophone article was unblocked. I don't subscribe either.

"Sir Neville Marriner and Iona Brown offer something radical with their
first recording. The music is given more space, partly a matter of
broader tempos but also of microphone placement in the old Kingsway Hall
in London. The ASMF’s jewel-like sonority is located in a resonant
space, the soloist’s silvery presence seeming to come from above and
behind. The cooler, more objective quality of the reading appears to
reflect some lines from the poem that Vaughan Williams does not quote
directly in the score: ‘The song seraphically free / Of taint of
personality, / So pure that it salutes the suns’. Confusingly, this is
not the version chosen for inclusion in Decca’s recent 28-disc tribute,
‘Neville Marriner: The Argo Years’, which gives us the same performers’
ASV remake. Brown, still excellent, is more closely observed, the horns
too forward. Perhaps the presence of underground-train rumble and some
digitally acquired glare up top persuaded the compilers to pass over the
genuine article."
m***@gmail.com
2018-12-03 18:45:46 UTC
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Gram is sometimes unblocked for me, too. But I haven't figured out when or why.

This is helpful because I have the Marriner Argo box and might have not caught the recording swap.
Frank Berger
2018-12-03 19:34:38 UTC
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Post by m***@gmail.com
Gram is sometimes unblocked for me, too. But I haven't figured out when or why.
I think it's more like somethings are blocked and some things aren't.
Post by m***@gmail.com
This is helpful because I have the Marriner Argo box and might have not caught the recording swap.
Glad to have helped.
Ricardo Jimenez
2018-12-03 23:42:29 UTC
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Post by m***@gmail.com
Gram is sometimes unblocked for me, too. But I haven't figured out when or why.
This is helpful because I have the Marriner Argo box and might have not caught the recording swap.
The Gramophone website lets you see an article or two a month per
browser. If you manage to delete your cookie for the site you can see
unlimited articles, AFAIK.
Frank Berger
2018-12-04 00:25:11 UTC
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Post by Ricardo Jimenez
Post by m***@gmail.com
Gram is sometimes unblocked for me, too. But I haven't figured out when or why.
This is helpful because I have the Marriner Argo box and might have not caught the recording swap.
The Gramophone website lets you see an article or two a month per
browser. If you manage to delete your cookie for the site you can see
unlimited articles, AFAIK.
It certainly doesn't appear to be working that way for me. I use only
one browser. Right now I can go to certain Gramophone sites and be
blocked and others are not blocked. Unless once a site is allowed it
stays allowed. I guess that's possible.

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