Igor

Product Information

Recording Location: Polydor-Studio, Paris, France, 25 November 1958 (Coriolan), 26 November 1958 (Egmont, Leonore, Zur Namensfeier), 28 November 1958 (Die Weihe des Hauses), 29 November 1958 (Fidelio) Discs 19 and 20 focus on the earlier version of the Mozart Coronation Mass and his mono 1955 recording of Haydn’s The Creation. The cast list sees doubling; Irmgard Seefried is Gabriel and Eve, whilst Kim Borg takes Adam and Raphael. The tenor is Richard Holm and the forces those of the Berlin Philharmonic and the choir of St. Hedwigs Cathedral. Seefried is in radiant voice and the standout singer and Markevitch paces the work pretty much perfectly. The only thing that may strike one adversely in the slightly boxed-in sound of the chorus, at least as recorded. Recording Locations: Salle de la Mutualité, Paris, France, 17 & 19–21 December 1959 (Mozart); Rudolfinum, Prague, Czech Republic, 7–8 December 1962 (Cherubini)

Tyler, The Creator – Igor (2019, 192 kbps, File) - Discogs Tyler, The Creator – Igor (2019, 192 kbps, File) - Discogs

AND AS FAR AS MUSIC COMPARISONS GO: IF YOUR FAVORITE ARTIST (OR ONE OF YOUR FAVORITE ARTISTS) CHANGED THEIR ALBUM AFTER 3 MONTHS, WOULDN'T YOU BE GOING CRAZY OVER IT? AGAIN, SAME THING.IGOR (pronounced EEE-GORE), released on May 17, 2019, is Tyler, the Creator’s sixth studio album. The announcement of the album came after some speculations the week before, followed by the release of four snippets on Tyler, The Creator’s social media platforms. No such reservations apply to the famous sequence of Beethoven overtures housed in CD 4. This has always been an admired disc which was recorded with the Lamoureux in stereo in 1958. Together Markevitch and the orchestra generate magnificent – but unsaturated - sonority and dramatic intensity. Little telling rubati in Egmont, accelerandos in Fidelio and a sensationally fine Consecration of the House are just a few things to listen out for.

Months After Its Release Tyler, the Creator Changes IGOR Months After Its Release Tyler, the Creator Changes IGOR

Recording Location: Salle de la Mutualité, Paris, France, 11–17 January 1961 (Berlioz), 17–18 (Cherubini, Auber) January 1961 SINCE "IGOR" IS A NARRATIVE PIECE, A CHANGE IN THE MIDDLE OF IT MEANS A LOT. IMAGINE IF THIS WAS A MOVIE AND THERE WAS A VITAL SCENE SUDDENLY ADDED IN THE MIDDLE AFTER YOU ALREADY SAW IT IN THEATRES SEVERAL TIMES. THIS IS THE SAME THING. SOME PEOPLE IN HERE ARE QUESTIONING WHY I HAD TO WRITE A THIRD PIECE ABOUT "IGOR," THINKING THAT I'M JUST PUSHING IT ON READERS AS HARD AS I CAN AND THAT I JUST CAN'T SEEM TO SHUT UP ABOUT HOW GREAT THIS ALBUM IS.. Recording Location: Jesus-Christus-Kirche, Berlin, Germany, 23–29 November 1953 (Berlioz), 21–25 February 1953 (Mussorgsky)Recording Locations: Jesus-Christus-Kirche, Berlin, Germany 26–28 February 1954 (Schubert), 19, 20 December 1954 (Cimarosa); Théâtre des Champs Elysées, Paris, France, 29, 30 October 1957 (Haydn); Polydor-Studio, Paris, France, 4–5 December 1958 (Mozart) The set opens with his classic recording of Cherubini’s Requiem in D minor, recorded with the Czech Philharmonic and men’s chorus in the Rudolfinum in Prague in a fine sounding 1962 stereo recording. The distinctive allure of the famous Czech winds, in particular, is memorable throughout. There are no soloists in this work, of course, but this adds a concentrated focus on the orchestral-choral balance of the piece. Coupled with it on the opening disc is Mozart’s Mass in C major (the Coronation), with the Lamoureux orchestra in stereo in 1959, which can be fruitfully contrasted with the earlier mono recording made in Berlin in 1954, which is housed in CD 20. His preference as soprano soloist here was Maria Stader, who is the only singer common to both recordings, and who is equally excellent on both discs. In a way, what “BOYFRIEND” is to IGOR is similar to what “Saint Pablo” is to The Life Of Pablo, in that they’re both songs that fit into the narratives of their respective albums yet were added months after the albums’ initial releases (“Saint Pablo” was added to TLOP 4 months after its first edit dropped). However, there’s a major difference between the two. “Saint Pablo” brings the stunning TLOP narrative full circle, as well as creating a loop out of Kanye’s career up until that point. (“We Don’t Care,” the first song from Ye’s 2004 debut LP The College Dropout, features the line “we weren’t supposed to make it past 25, joke’s on you, we still alive” while “Saint Pablo,” The Life Of Pablo’s closer, has the line “I wasn’t supposed to make it past 25.”) That loop is what makes The Life Of Pablo such a great album (I hold it in equally high regard as I do IGOR; both are in my top 4 albums of all time) with such an emotionally moving narrative. The addition of “BOYFRIEND” to IGOR doesn’t create an earth-shattering change in the album (albeit still a significant one) and doesn’t drastically improve or ruin it either. In some ways, it’s just there.