I am very traditional when it comes to choral works. While I always enjoy choral works by the likes of Handel and Purcell, I do not easily gravitate toward much more modern choral works by Elgar or Vaughan Williams ...
It depends on your conception of the piece; what you want to convey. And what the label/ marketing dept. wants to convey as well.
I'm serious. I'm not that familiar with either piece. I've listened to each a couple of times. I'm curious which one is your favorite Vaughn Williams piece.
Your point is well taken. There are a few differences, mainly in the brass. Trumpets in F were sometimes used; Brahms was notoriously averse to the chromatic horn, preferring the natural horn. I think HIP in the Baroque and Renaissance has been a large benefit but from Haydn on it has diminishing returns IMO.
This recording is violin sonatas though. From what I've read, by the time these pieces were written, modern pianos already existed. Gut vs. nylon (or whatever polymer is used) and maybe wire wound strings are the only difference I know of between violins from today and the last 1800s.
No I understood but was just speaking generally to your question about Brahms and the instruments he used. Generally there has been an increase in the brightness of instrument tonality over the 20th C so yes there would be some minor tonal differences in a 1890s piano vs 1990s piano but the recording might well swamp out such differences with a bit of EQ and the mics used. It would be more obvious if you were playing the instrument.
Unfortunately, that looks OOP and not available for streaming. I'll have to listen to the version I own, Boult/LSO, or one of the versions that are streamable.
CD8 in the foregoing Vaughan Williams Collector's Edition box has this work ... Disc: 8 1. Concerto in C for two pianos and orchestra in C Major (1999 Remastered Version): I. Toccata (Allegro 2. Concerto in C for two pianos and orchestra in C Major (1999 Remastered Version): II. Romanza (Lento) 3. Concerto in C for two pianos and orchestra in C Major (1999 Remastered Version): III. Fuga cromatica 4. Concerto in C for two pianos and orchestra in C Major (1999 Remastered Version): Finale alla tedesca 5. Job - A Masque for Dancing, Scene I:: Introduction - 6. Job - A Masque for Dancing, Scene I:: Saraband of the Sons of God 7. Job - A Masque for Dancing: Scene II: Satan's Dance of Triumph 8. Job - A Masque for Dancing: Scene III: Minuet of the Sons of Job and Their Wives 9. Job - A Masque for Dancing: Scene IV: Job's Dream - 10. Job - A Masque for Dancing: Scene V: Dance of the Three Messengers 11. Job - A Masque for Dancing: Scene VI: Dance of Job's Comforters - 12. Job - A Masque for Dancing, Scene VII:: Elihu's Dance of Youth and Beauty - 13. Job - A Masque for Dancing, Scene VII:: Pavane of the Sons of the Morning 14. Job - A Masque for Dancing, Scene VIII:: Galliard of the Sons of the Morning - 15. Job - A Masque for Dancing, Scene VIII:: Altar Dance - 16. Job - A Masque for Dancing: Scene IX: Epilogue
Below are my two go-to CD's for Erik Satie piano works, purchased in the early 90's from the Tower Records store at Lincoln Center, NY ... The following EMI box is not bad either, which was purchased a few years ago
Many of these have virtually unplayable passages (Castlenuovo-Tedesco sometimes forgets that guitarists only have 4 left-hand fingers for fingering!), but since Yamashita has transcribed and played "The New World Symphony," "Pictures at an Exhibition," and "The Firebird Suite," he doesn't daunted at all. He brings a nearly symphonic range of dynamics and tone color to the pieces.
On the TT... this 1963 LP release from DG of Robert Schumann's Symphonies 1 and 4. Rafael Kubelik conducts the Berlin Philharmonic.
Now streaming on Spotify, disc 2 from "The Golden Age of the European Polyphony, 1350-1650" performed by the Laudantes Consort led by Guy Janssens on Cypres. CD 2: Ockeghem
Very strange title! Is there any non-European Polyphony? Perhaps the Asian or Tibetan monks have their polyphony???
"he doesn't seem daunted at all." Grr...I just hate catching mistakes after it's too late to change them.
