Discussion in 'Music Corner' started by George P, Aug 15, 2014.
This is a great little interview of Yuja.
Makes one wonder how many times the Fournier set has been reissued...
Listened to the first disc only. Will probably play the second disc later this week. Wonderful performances.
That's what I was thinking. I wonder what classical recording has been issued with the most covers - say including as a component in a boxed set. My first thought would be Gould's 1955 Goldberg Variations. Any other guesses?
Edit - after a quick look, I think I found 11 different packagings by Columbia/Sony. I am excluding versions from other sources.
Elmar Oliveira is a wonderful violinist in the Barber violin concerto. The Hanson is good, but I prefer the composer conducting or Schwarz in Seattle.
I have owned this CD for a number of years. It is nice to hear Hogwood and Rousset performing on harpsichord together ...
In all likelihood, Fournier probably recorded these works only once ...
there's also a recording made in 1959
Now playing: my favorite HIP-recording of the Four Seasons
I am happy with the DG version and will not bother with this version.
Now playing CD1 from the following box, which just arrived today for a first listen. I am not entirely sure if I will like the box as German baroque ensembles tend to play at a much faster tempos than I am used to. Since some European member(s) at CMC highly recommended the box and consider it a desert island set ...
Café Zimmermann are French, not German. I made the same mistake years ago
It's one of my favourite HIP sets.
Maybe not his finest composition, but a vibrant performance and knock-out audio quality certainly make it sound good! (No "shrill strings" here!)
You can tell I have not even read the liner notes. I like them much better than I do MAK. CD1, essentially harpsichord concertos was a very virtuosic performance with excellent mike positioning as every note of the harpsichord came across crisp and clean instead of mostly buried under the strings. I need to dust off the performance by the English Concert and Trevor Pinnock to compare ...
Can't say as I entirely agree. I would say that we live in a golden age for pre-romantic music, and particularly for music of the Baroque and before, although I'd include Classical era music as well; a deep and constantly growing body of scholarship has mated with highly accomplished modern technical facility to give us music of those eras in a way that lets it breathe and even sing, certainly that frees it to make its own impression. Compare how, say, Bach's B'Burgs were played in the 1930s (which we can hear, at least to a degree, on records of the period) to any modern account, even by a modern instruments group, and you'll immediately be struck by how Romantic era mannerisms smothered them. No, to my mind, what's been lost is a corresponding "historically correct" view of Romantic music. In general, it's far to "straight," far too little "personal" to be "authentic" as we would term a performance of Baroque or capital-C-Classical literature. Those same records seem "right"--and varied!--in core Romantic literature in a way that modern performances, at least to my ear, seldom do.
This arrived in the mail today, and I was quite excited to get it. Upon opening, I thought it was odd that CD 2 was in the first slot…and then I noticed that CD 2 was also in the second slot…GRRRR, two CD 2's in a double pack. On a positive note, though, it sounds great, especially since I swapped out an old CD player for a Toshiba SD-3960 that is 192 kHz and 24 bit DAC.
Maybe it's all wrong, but I love it. Recorded in Abbey Road No. 1, 1956,1957 & 1959.
More fun, of a very different sort. An Erato recording, conducted by Berio.
It occurs to me that the 2 Mozart piano concerto cycles I own and love are both conducted by the soloist (Anda and Perahia). I also have Bilson and Gardiner, but I only keep it in the hopes that someday it will "click" for me.
Actually, it was recorded by Harmonia Mundi.
I am in complete agreement there. I added at least 300 titles of early music to my classical music collection over the past few years. During the height of my LP collection days, there were never such huge selections of early music available on LP. The amount of scholarly research that had been done on many of these recordings was also very impressive. I just flipped through the pages of the book titled "The Music Lover's Handbook" edited by Elie Siegmeister, published by William Morrow and Company in 1943, a book I bought for less than $5 while I was attending graduate school in Morningside Height NY back in the late 70's. The only value of the book is it provides me with a prevailing view of the classical music during the first half of the 20th century. Clearly, it does not add an iota of help to the build out of my music library ...
I love the "Rhenish" symphony's feierlich (solennel) fourth movement. This hauntingly beautiful music is made possible by the trombones, who are obliged to sit through the first three movements without making so much as a peep. Kubelik and his Berliners nail this movement. The other versions I've heard are too fast.
also liking this Moravec Mozart recorded in 1995 with Neville Marriner.
No disrespect drh, but isn't there a bit of substitution in your response? You start out with Classical and then immediately veer into Baroque. I agree completely with respect to Late Baroque. The HIP movement whatever the failings of individual performances have restored these Late Baroque works and in some cases have been revelatory compared with the traditional orchestral style. Early Baroque and Medieval Renaissance have seen significant gains as well although not quite to the level of Late Baroque. The measure of such success is that trad style performances have essentially disappeared from these genres. However in Classical I don't see anything comparable. To me and many others, Beecham or Colin Davis performing Haydn symphonies are as good or better than any "HIP" performance. I hear nothing revelatory in HIP performances of Classical style music at least so far. I gather you also see a difference since you used Baroque music to make your points and there we are in total agreement. Just my thoughts. Regards.
Separate names with a comma.