This third and final installment of Arbiter's restoration of the recorded works of Iren Marik meets with a few difficulties of fragmentation that previous volumes did not encounter. Volumes 1 and 2 were able to have more of a focus on a particular composer or two -- namely Bartók, of whom Marik was a student. Vol. 3, however, features all previously unpublished works from a smattering of different composers all recorded during the broad period between 1952 and 1981. It is, of course, necessary to include recordings from ...
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This third and final installment of Arbiter's restoration of the recorded works of Iren Marik meets with a few difficulties of fragmentation that previous volumes did not encounter. Volumes 1 and 2 were able to have more of a focus on a particular composer or two -- namely Bartók, of whom Marik was a student. Vol. 3, however, features all previously unpublished works from a smattering of different composers all recorded during the broad period between 1952 and 1981. It is, of course, necessary to include recordings from across an artist's career. What's less ideal in this particular recording is the fact that the recording dates for Debussy's Eight Preludes varies by almost 30 years. The sudden changes in sound quality, instrument timbre, and approach to Debussy are somewhat unsettling and don't provide listeners with a flowing picture of Marik's abilities. By contrast, the Messiaen Visions de l'Amen, recorded with partner John Ranck, is a rare treat. It is clear that both artists were well-accustomed...
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