John Smyth wrote: >Also, how does Savall, (my current mid-priced early music hero), compare >with Coin in Marias' "Suitte d'un---hang on while I get the rest of the >spelling---gout Etranger?" I've found reviews of both, but no reviews >that compare them directly. Your help would be greatfully appreciated. I wish I could help better, but I have Coin's recording, and other Savall Marais disks, but not his recording of this piece. Both players are recommendable, though I do like Savall's overall approach to Marais because he's simply done so many disks--orchestral works as well as the gamba ones. It may come down to any couplings on the recordings (if any), and whether you have any preference for the continuo players. >I'm really enjoying this early music stuff. The Savall L'edtion is >wonderful. Highlights for me include the transporting and potent sounds >of "El Canto de la Savilla II," and the Morales "Officium defunctorum" >and "Missa pro Defunctis." If you like the Morales works, you might also want to try Tomas Luis de Victoria's "Officium defunctorum" of 1605. I have the McCreesh recording, but don't think that Savall has done it. >And if I had to reserve the word "ravishing" to describe only one piece >and performance of music, I would use it to describe Couperin's "Lecons de >tenebres" as performed by Rousett and his two sopranos, Veronique Gens and >Sandrine Piau. Those suspensions! (It's like the greatest moments in >Monterverdi--without all the annoying declamation.) Did I say that? Some of Lully's Petits Motets might be worth exploring as well--a lovely one with three sopranos is especially winning. Les Arts Florissants (William Christie) has done it. Bill H.