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I just don't see it. Music streaming is a loss lieder leader for Apple. They just want to sell more devices and the synergy is an inducement, even though it will eventually be on Android too, and raising barriers to accessing their classical app seems like it would be the opposite.
I saw what you did there. :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO:
 
The discounts aren't quite as steep as they used to be, but twelve dollars and change is still a good price for this week's featured new release on BIS, Vänskä's Mahler 9th. (I guess that just leaves the 8th and the 3d, both of which were recorded last year?)
https://www.eclassical.com/conductors/vanska-osmo/mahler-symphony-no9.html
Speaking of the 8th: here's a twelve-minute video about its production and recording. Not hugely informative, but there are some shots of the staging and the mic setup, and snippets of an interview with producer Rob Suff. (Thore Brinkmann of Take5 can also be seen in footage from the "patch" sessions, although he's not interviewed in the film.)
https://mnorch.vhx.tv/videos/the-making-of-mahler-8http://classicalmusicrecording.blogspot.com/2018/10/bis-records-and-take-5-music-production.html
 
Also, I don't know if this is a majority opinion, but I really like Jaap van Zweden. He's definitely not what the critics were looking for, but he's really good in the classical and romantic repertoire, and that in the end of the day is the most important thing to me. His Beethoven cycle (I think the first on SACD) is one of the better ones for both performance and sonics, and largely forgotten about. I think it was partly meant as a demonstration of the format.
51TPubuoxbL.jpg
 
Also, I don't know if this is a majority opinion, but I really like Jaap van Zweden. He's definitely not what the critics were looking for, but he's really good in the classical and romantic repertoire, and that in the end of the day is the most important thing to me. His Beethoven cycle (I think the first on SACD) is one of the better ones for both performance and sonics, and largely forgotten about. I think it was partly meant as a demonstration of the format.
51TPubuoxbL.jpg
Interesting--I didn't even know about that one. Yeah...he hasn't been a great fit for New York, and the critics there haven't been very kind to him, for sure. Kinder now that he's on his way out, paradoxically!
 
Profile of JLA in today's Times, focusing on the overt political/environmental message of his latest work, Vespers of the Blessed Earth:
https://www.nytimes.com/2023/03/29/arts/music/john-luther-adams-vespers-of-the-blessed-earth.html
Jazz pianist & music writer Ethan Iverson attended the premiere in Philadelphia last week (he liked the work a lot), and describes the performance in the latest entry of his Substack Transitional Technology:

Strings and percussion were spread out on the main stage; the choir in back of them; brass and winds were placed around the upper tier in the audience.​

Can't wait to hear a recording of this, hopefully one engineered and mixed in Atmos by Nathaniel Reichman.
 
Will be interesting to compare - the only existing (very good) MCH recording is OOP.

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I wonder if @sjcorne has ever reached out to Innova to see if they'd be interested in selling a download?

As for the Colin Currie version, the group's website says this: "Mastered in Dolby Atmos, it will be available on SACD and via all major streaming and download services." The preview track streaming on Apple Music is spacious but not especially discrete. (It would be hard to get much isolation, I'd think, since the players really need to be able see and cue each other--although in the teaser video below, it looks like the two mallet players are playing along to previously recorded tracks?) Glimpses of the recording setup on Twitter and here:
 
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