Discussion in 'Music Corner' started by George P, Nov 3, 2013.
It's a shame that Mitropoulos did not record any more Falla. His "Nights at the Gardens of Spain" with Casadesus is excellent.
Now Listening To
Handel Xerxes (or Serse) Malgoire, Watkinson, Hendricks, Esswood etc CBS Germany.
Malgoire has had the rap from Penguin etc of producing frenetic and aggressive interpretations which baffles me since the several recordings I have and heard suffer from rather gentle or languorous tempos than the reverse. Maybe they confused him with Harnoncourt. Anyway, in this one Malgoire doesn't drag and has very fine singers. Very enjoyable.
Right and it's more about articulations, tempos, tunings and other performance related aspects of "Early Music" than the hardware itself. At least that's the impression the Musicologists and Musicians in Berkeley gave me during my stint at The Musical Offering in Berkeley in the 1990's.
Nice review! Bylsma was responsible for my favorite account of Haydn's first cello concerto; that last movement flies like the wind. (Yeah, I know: Time flies like an arrow. Fruit flies like a banana.) His teacher, Carel van Leeuwen Boomkamp, evidently was an important figure in the early days of the historical performance practice revival and played an important role in the revival of the cello piccolo. He recorded part of Bach's sixth cello suite on that instrument for a 78 RPM series called l'Anthologie Sonore, which eventually ran to at least 14 ten-record volumes, I think the first serious effort to issue a dedicated collection of early music on records. As luck would have it, I own that record, which came to me as part of the first 100 in the series, purchased years ago at a benefit sale for $20 or so for the lot; you could have knocked me over with a feather when I found an online auction result a couple of years ago in which that disk alone went for several hundred dollars.
I don't have a lot of recordings by Jos van Immerseel, but he does go a long way back with me; sometime in the '80s I bought a collection of Clementi sonatas that he recorded, on a period piano (then a serious novelty), for the Accent label. At the time, it was one of the more expensive LPs in my collection.
[Edit] Just for fun, went and pulled that LP off the shelf. It was recorded in October 1979, and van Immerseel played an instrument by Michael Rosenberger, Vienna, ca. 1795, restored and tuned by Derek Adlam of Adlam & Burnett (perhaps those names will mean more to some of our more dedicated period instrument mavens than they do to me). And here's an interesting connection: according to the album notes, he conducted at the Schola Cantorum Basiliensis. That august institution was founded by Paul Sacher, who was also the moving force behind l'Anthologie Sonore.
Found this blog with tons of info/scans of the Complete Rubinstein Album Collection:
I dug around a while and DID find one or two references to HIPP, but only in the context of HIP; the tacit meaning I inferred from this is that its usage is rare.
Looking through the covers I saw quite a few that I own on LP but even more that I didn't even know that they existed. One of these is the recording of Tchaikovsky's Piano Concerto with Mitropoulos and the Minneapolis SO. George, did you have a chance to listen to this yet? How is it?
Probably an impossible question to answer, but how has the sound quality been on the discs you've played?
Oh yeah—Musicological Geekery of the highest order.
What year is that one from? I have been working through the set chronologically.
I assume you are asking me and not yourself?
I only compared the early Nocturnes and found it to be the same transfer, mastered at a higher level. The rest I have heard sounded perfectly fine. Nothing spectacular, nothing terrible.
I believe it must be from 1947. The cover is the 6th image on the website that you linked, maybe cd 16 in the collection (?).
My bad. Never post before coffee.
Yes, I think I did hear it. I don't recall anything specific, sorry.
A few days ago I stumbled on this very interesting piece by Andre Caplet (Debussy's pupil) for harp and string quartet. Worth a listen.
No problem, let me know what you think if you decide to listen at it again sometime.
Coincidentally perhaps there is another current thread on the loudness wars in classical music.
Jean Sibelius – Symphony No.6 Op.104
— New York Philharmonic — Leonard Bernstein (Sony Classics) from:
Franz Schubert – Moments Musicaux Op.94 D780, Sonata for Piano Op.post.164 D537, Ecossaises D529
— Michel Dalberto, piano (Brilliant Classics Piano Library)
I love this piece so dearly, it's a criminally underrated masterpiece.
I haven't heard that pianist, but I LOVE Schubert solo piano music.
I ordered the Rubistein box set, I couldn't resist
From what I understand, when I receive it, I should check for missing or duplicate discs. Are there any other "defects" that I need to be looking for?
That the Sym 6 is underrated is not that surprising because its originality is not as obvious and extroverted as most of Sibelius' other symphonies. Frankly I like Bernstein's performance better in the Sym 1 than the Sym 6. It is a very difficult symphony to perform well. In fact in the Listeners Guide to Classical Music the writer went so far as designating it as his employment test for conductors. We had a short discussion of this work a few iterations ago in Classical Corner.
Yes, I agree that the Bernstein isn't the best version, a pity he didn't record it again in the 80's. Actually it's a piece that is very difficult to spoil. I can think of only a handful of truly bad recordings of this symphony, it's one of those pieces which plays itself just by virtue of the sheer beauty of the music.
Here's an interesting quote from David Hurwitz's review of the first Davis cycle
Can you give a link to the discussion of the symphony on this forum?
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