Hearing is believing

My bottomless contempt for commercial recordings of art music is well documented in this blog.  Yet even I would not have believed that this level of incompetence could be found in a CD released by one of the oldest and biggest classical labels, EMI.
     Here are the last 12 seconds of the piano solo from the Siciliano of Bach's Keyboard Concerto BWV 1053, recorded (digitally!) in the late 1980s by Andrei Gavrilov and Neville Marriner.  What happens with the entrance of the orchestra is something for which (in my opinion) the producer and the engineer/editor of this recording should have been shot without trial (along with countless so-called record critics/reviewers who never mentioned such an obvious case of gross incompetence).

This industry, which has shamelessly fucked the paying public so much and for so long, surely deserves its nearly complete disintegration from online piracy.

A friend of a friend (so to speak)

I do like Helmut Lachenmann, for instance. His are noisy little pieces that are very cleverly done.
Elliott Carter, 30 May 2012.
Laura Emmery, "An American Modernist: Teatime with Elliott Carter", Tempo 67, 2013.
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Here is one such "noisy little piece", Tableau for Orchestra (1988), in live recordings by the Berlin Philharmonic under Simon Rattle (February 2015, Amsterdam),  and by the WDR Sinfonieorchester under Peter Rundel (2 October 2015, Cologne, and 3 October 2015, Strasbourg).