Classical Corner Classical Music Corner (thread #47)

Now playing CD4 from the following set for a first listen ...

 

NP:


From the RCA Living Stereo box, which I'm just getting started on! (After having worked my way through the Mercury and Decca boxes!)

 

The added 'Kovacevich bit' ..came later.

 

Martinon's EMI set of Debussy Orchestral Works was orginally released in a vinyl box set, then on 2 EMI CD 'twofer sets' a form of Part 1 & 2 ,then as an inexpensive 4 CD box on Brillliant Classics. If I am correct these Debussy recordings were recorded in EMI's 4 channel Quad -matrix process.
There are other EMI releases from that period , which , though released in one country labelled as" QS-4channel matrixed sound"... in others. they were simply labelled "stereo" .. Needless to say,there were the same recording and certainly were 'not stripped' of the extra contained information.
Verdi's Aida -the Caballe/Domingo /Muti recording is such an example.
What I find interesting is....experimenting with Decca's checkrboard or "Sonic stage processed" straight -stereo recordings. Though one may heretically "throw on the surround switch and listen to them in full multi channel" the original up -front sounds .....of "left-right / or downstage or upstage information" does not get messed up, doing so.
They hold up.

 

agree on sokolov... but have you heard yudina in the diabelli?

 

Alright bit of a newbie question here. I'm starting to build my classical collection from scratch, however I'm not sure how to choose which pressings and labels to buy. For example, I wanted to get a copy of Stravinsky's Firebird Suite the other day, but after seeing five or so different versions, I was stumped and didn't get any. I know there's some that seem to have better reputations than others, like DGG and RCA, but are those labels' releases always (or at least for the most part taking into account human error) a good recording and performance? Which can I trust to be of consistently good quality, and which are poor?

 

Yep, not to be confused with jazz Slackmiester Stephen Bishop, and thus the reason why the esteemed [yet underated] pianist changed his name.

 

It don't play like that—the issue is not labels as such, it's who's playing, who's recording, where, when. If you manage to snag the right [read "rare"] copies from Everest you will encounter some audio spectaculars. But most Everest LPs are perfectly disposable. If you're really concerned about this sort of thing, there are such resources as the Penguin Guides. But ultimately you will discover that what you love and what critics love will not always match. In any case, if it's really good vinyl you seek, expect to shell out some real money. Used LPs usually sound "used." New remasterings of classical music on LP tend to be hard to find and expensive.

 

I have, but only once, years ago. I should revisit. I can say her Opus 111 (Sonata 32 by Beethoven) is the best I have heard.

 

Largely agreed, to which I'd add that to the extent that labels enter into things, often the small, specialist labels (like, say, Hyperion or Chandos, or Dorian or Titanic) outdo their more familiar "big name" counterparts in terms of performances, sonics, or both. Moreover, note that classical recording goes back a good hundred years or more, and naturally the greatest performances over that span are often found in technically antiquated recordings. Then again, sometimes, particularly in music of the baroque and earlier, more modern recordings are the most reliable way to go.

I'd equivocate about used LPs, though. Selected with reasonable care, they often can be a real bargain, as classical collectors generally tend to take good care of their records, and a lot were bought and played only once or twice.

I'd also equivocate about Everest. While he's dead to rights that many of the early ones are sonic spectaculars, Robin is being entirely too kind when he describes most Everest LPs as "perfectly disposable"! A sad case of an initially promising catalogue subjected to decades of abuse. In particular, be wary of the Everest/Cetra opera issues and any Everest-sourced transfer of recordings originally on 78s.

 

I'm a fellow newbie--been delving into classical for only about six months now.

There is little consensus on classical works, composers, labels, recordings and so forth. This thread gives some good advice, though: http://forums.stevehoffman.tv/threa...iving-stereo-london-bluebacks-mercury.313997/

Pay attention to Steve's advice in it. He pretty much suggests that you don't get hung up on labels and conducters, and just buy lots of records cheap and as clean as possible, to give you a sense of whether you like a work or not. If you get obsessed with something, then you can research further and find out what some of the preferred recordings are.

There are three ways to build a collection rather cheaply:

1) Used records. Hit the thrifts and the classical sections and dollar bins of record stores. A ton of classical records were pressed right through the '80s and they are very hard to move these days--very little demand. For that reason, they can be had cheaply. Also, since many classical record owners were adults who either cared for their albums or else didn't play them all that often, they can many times be found in much better condition than, say, rock and soul albums. I generally don't pay more than a buck or two for used records, and I've gotten many nice ones. Remember, though, that condition is paramount.

2) Used CDs. Same deal, many can be found at thrifts and record stores for a buck or so.

3) Megaboxes. These are generally collections of albums by composer, conductor, or label, and are a great way to get a lot of well-regarded, and sometimes, classic performances for between a buck and three a CD. Unfortunately, they tend to not stay in print that long, and prices shoot up. I've focused more on label comps: The RCA Living Stereo Collection, The Mercury Living Presence Collection 1 and 2, The Decca Sound, The Phillips Original Jacket Collection, The Vivarte Collection. I missed out on the first DG 111 box, and so decided not to get the second one, which is stupid. I should get it before it goes OOP, and hope to stumble across the first one cheaply sometime. For composer sets, the Mozart 111 set stands out--I think I paid $70 for it a month or so ago. Many times you have to order these from international Amazon sites or Presto for the best price. Brilliant is known for putting out massive 100-plus-disc sets, usually consisting of a composer's complete works. These, too, are cheap while in print, though they generally don't have the most famous recordings. I've only bought one, a composer set by Furtwangler, and am overwhelmed by it. I'll probably get the Toscanini and pass on the composer sets.

Using the above methods, I've built up a collection of maybe 1000 classical CDs and LPs in six month. I'm lucky if I've listened to a third of it. But I listen to classical music almost every day, and have really been enjoying the journey.

Good luck!

 

Oh, another thing: I love getting multiple recordings of a composition and comparing them. It's the best way to get a sense of how variables such as conductor, players, and recording techniques play into a particular rendition of a piece. I've focused mainly on The Planets and Rite of Spring, but I have multiples of many other compositions that I'm itching to compare as well.

Also, Naxos is a great label for non-standard repetoire. I'll often pick up CDs on the label for five bucks or so, just because they look interesting.

 

I am going thru my various discs and records listening to Ravel's Gaspard de la Nuit. First off is Abbey Simon. I found it enjoyable. And the sound of the piano is wonderful. It is a 1990 Vox Box engineered by Elite Recordings and Marc Aubort and Joanna Nickenz.

 

I've heard such high praise for the Grimm SACD ADC, that I decided to order an assortment of discs from Channel Classics (who are on record as using it for recent releases).

I ordered:

Vivaldi La Cetra (Podger)
Bach double and triple concertos (Podger et al)
Mozart and Haydn Duos (Podger and Rogers - I've played clarinet transcriptions of the Mozart)
St. Matthew's Passion (Veldhoven)
Harp recital (Meijer)
Schubert Symphony No. 9 (Fischer)

I assume our host's forthcoming Bob Dylan's Greatest Hits II also uses it. That's on order as well.

 

Thanks. I love the covers on those Philips reissues, BTW - probably my favourite CD cover design after those gold EMI Classics "Great Recordings of the Century".

 

Thanks for the information. I didn't know about the multi-channel. My EMI box set of 8 CDs is from 2002. Debussy/Ravel Orchestral Works conducted by Jean Martinon. The booklet only says that the Ravel was digitally remastered in 1988 by EMI and the Debussy was digitally remastered in 1998 by EMI Pathe Marconi.

 

Thanks for all the suggestions. I guess I'm just getting more hung up on getting "good" recordings I'm not really getting any. I'll probably try hitting up some thrift stores today, see what I can find. Thanks again~

 

Note—used CDs are a different matter. It's hard to encounter a physically mangled Classical CD and prices are dropping like a stone.

 

Agreed. That was certainly the case with me and everybody else I knew during my vinyl days. Classical collectors are not careless people.

 

Nice list...

Kevin Grey uses the Grimm as well, e.g. his recent APO version of Holly Cole's Temptation.

If you're after great sound, check out the Avanti label, and anything recorded by Northstar Recording Services at Galaxy Studios, Mol, Belgium. Northstar (with all due respect to Soundmirror) is today's gold standard for classical engineering.

 

I don't think I had ever heard anything from this composer,,,great stuff!!

 

I think it would be confusing for people who are avid listeners to both classical music and jazz. But do such listeners actually exist? I have less than a dozen of jazz CD's and it was probably ten years ago that I played any, including the jazz CD recorded by none other than Andre Previn ...

 

I would guess that the number of people who enjoy several (many in my case) kinds of music far outnumber those who prefer mostly just one kind of music. But of course I don't know for sure. Maybe the term "avid" comes into play here....even though I'm retired now and can listen to as much music as I want, there just aren't enough hours in the day.

I've got over 2000 classical CDs and over 32 feet of classical LPs, and that's not the bulk of my music collection. I've got a much smaller but very nice jazz collection and a larger and very nice rock/pop/folk/blues collection and I often wonder if I'll get to hear everything at least once before I kick off. Just speaking for myself, but I love all kinds of music and couldn't imagine not having any of my albums.

Currently listening to Julia Fischer Bach Concertos but after that maybe Joni Mitchell and maybe after that Billie Holiday. How fortunate we are to have so much beautiful music to listen to.

 

I have read Andre Previn's autobiography. A person that grew up amongst Hollywood people and mixed with a lot of the then all time greats in U.S Classical music. One story he tells, is of Jacha Heifesz. How Heifetz had a auction-off party of things at his house amingst friends & acquaintances ...of various gifts given to him. Previn recalls seeing Heifetz's long , loyal and trusted servant having to run in , from the kitchen time to time -to put in bids for some small meagre items, the servant wanted to buy.. Previn puzzled why Heifetz could not have come to some sort of more understanding private arrangement with the servant -prior to what Previn thought was an embarrassing 'skin-flint nature ' situation created by a very wealthy man.

 

Im in the same boat....something like near 7000 CDs or more * (I am too frighten to start really counting ), 60 ft of pristine first- edition classical vinyl , 1700 DVDs and Blurays, 1000 VHS tapes.... One can see why I do not need to ever think about cable TV!.
People have said "what do we do if you cacked it"? My answer, get a dump truck and tip the lot in,on top to help bury me"