SO YES, I DO REALLY LOVE THIS ALBUM. IN FACT, I THINK IT'S AMONG THE GREATEST ALBUMS OF ALL TIME. FOR CONTEXT, HERE ARE MY TOP 4 ALBUMS OF ALL TIME (FROM 4 TO 1; TOP 2-3 CAN BE INTERCHANGEABLE AT TIMES):

Tyler, The Creator - IGOR Lyrics and Tracklist | Genius

What you should also know is that production standards with Eloquence are very high, that the booklet notes by Peter Quantrill are up to his own high standards and that photographic reproduction is excellent. Markevitch has always been a favourite of collectors, and his legacy, for the most part, fortunately falls into handy multi-volume boxes such as this one. Recording Location: Théâtre des Champs-Elysées, Paris, France, 21–25 October 1957 & 8 November 1957 Recording Location: Jesus-Christus-Kirche, Berlin, Germany, December 1954 (Schubert), December 1955 (Berwald) The time is right to acquire the vast bulk of Igor Markevitch’s commercial legacy. Warner has released its 18 CD Erato ‘Icon’ box that contains his complete HMV LPs (label confusion is rife these days, isn’t it?). On its heels comes Australian Eloquence with two hefty boxes of its own, the Philips Legacy (26 CDs), to be reviewed soon, and the box under discussion, a 21 CD collection devoted to Markevitch’s DG recordings.Discs 7 and 8 are given over to Brahms. The First Symphony was recorded in mono at the same sessions that gave us the Eroica. Its inexorable opening tread is sufficiently varied metrically to generate an accumulation of tension, the symphony being seen as an absorbing arc. Both Rodziński and Bruno Walter had made earlier studio recordings of the work in New York by this time and Markevitch’s authority is such that his reading is hardly less compelling. The Fourth Symphony is a Lamoureux recording in stereo though with a greater spread of sonics comes a slight blunting of impact. On this same disc is Harold in Italy with Heinz Kirchner and the Berlin Philharmonic with a cut in the finale 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. Thematically, IGOR’s arc describes a love story: falling madly in love but eventually breaking it off and accepting that the relationship is over while attempting to remain friends.

Tyler, The Creator – Igor (2019, Blue Cover, CD) - Discogs

BEFORE WE GET FURTHER INTO THIS, I'D LIKE YOU GUYS TO KNOW THAT ME WRITING IN ALL CAPS DOESN'T MEAN I'M PISSED OFF. I'M NOT YELLING AT YOU, OK? 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 album received a GRAMMY Award for “Best Rap Album” at the 62nd Annual GRAMMY Awards. This choice stirred up some controversy, as some believed that the album should not be considered a rap album and the nomination was racially motivated. Tyler himself stated his frustrations during a Radio Room Interview after the GRAMMYs: Recording Location: Jesus-Christus-Kirche, Berlin, Germany, 23–29 November 1953 (Berlioz), 21–25 February 1953 (Mussorgsky)Given his reportorial versatility this particular box is of special interest – not, of course, that the others aren’t. But as his Cherubini was as good as his Mozart and his Mozart as astutely directed as his Beethoven and his command of somewhat overlooked French repertoire, such as Gounod’s Second Symphony, as secure as his Damnation of Faust, you can sense that the pleasures enshrined in this box are – to be simplistic – two-fold: frequently inspired interpretations across a variety of repertoire, both well-known and obscure.