Classical Corner Classical Music Corner

Discussion in 'Music Corner' started by George P, May 29, 2015.

  1. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    I see. So you prefer the '80s masters, George prefers the '90s SBM, and I prefer the 2015 remasters. Happily, there is something out there for each of us! :)
     
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  2. George P

    George P Forum Resident Thread Starter

    Location:
    NYC
    [​IMG]

    First spin of this glorious SACD. Dynamic, clear, with a natural tonality. A worthy upgrade of my old Living Stereo CD.
     
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  3. crispi

    crispi Vinyl Archaeologist

    Location:
    Berlin
    A fine recording, but I feel the overall tone of the first violinist is too thin for this music. I prefer Ansermet on Decca (for stereo) and Fricsay on DG (for mono).
     
  4. drh

    drh Talking Machine

    Interesting--it's been many, many years since I heard the Ansermet, but I remember back when I did I found the Reiner preferable because I thought Ansermet's violinist hopelessly wimpy. I wonder how I'd react with my ears of today? Not likely to happen any time soon; I haven't burned out on Scheherazade as I have on, say, The Four Seasons or The Water Music (on the radio three times last week, including when my clock radio alarm went off--talk about a bad start to a day!), but I'll freely admit it's not a piece I seek out very often any more.
     
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  5. Jazzicalit

    Jazzicalit In the Tradition

    Location:
    Italy
    Yesterday I have bought this cd, because I was curious about Stokowski's orchestration of Mussorgski's masterpiece:

    [​IMG]

    The result is very different from the well (and mostly) known Ravel's orchestration: the strings are prominent and the music sounds "sour" and "rough" and therefore (maybe) closer to the composer's feeling.
    After having listened to this version, Ravel's orchestration could seem "mellowed". In conclusion, it's worth having both versions ;)
     
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  6. ToddBD

    ToddBD Forum Resident

    Celebrating Mahler's birthday tonight by spinning this "oldie"...unfortunately, the Dynagroove treatment mars this performance, but there is some very nice playing here, especially in the slow movement.
    [​IMG]
     
  7. Steve Mc

    Steve Mc Resident Nice-Guy

    Location:
    United States
    Listening to Copland's Third being performed live in Tanglewood on WCRB.
    Great work.
     
  8. George P

    George P Forum Resident Thread Starter

    Location:
    NYC
    Let's try this:

    [​IMG]

    Now enjoying some Chopin Nocturnes, from Rubinstein's first mono set. Transfers by Ward Marston.
     
  9. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    Yes! :righton:

    Looks like a wonderful CD all around.
     
  10. George P

    George P Forum Resident Thread Starter

    Location:
    NYC
    Yeah, I love the original Rubinstein Collection packaging, the ones in the book-style case. Even the paper and the font is classy. Great liner notes, too, with tons of info that is not included in the later, re-release of the set in the pink box.

    I collected the first 35 volumes from the first issue of the collection, as they follow his recording career chronologically and I wanted all of the recordings from his early years. I later got the full set for a good price when it was reissued, but it's the old CDs that I return to.
     
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  11. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    Sounds like it was a worthwhile investment to buy the early ones when you did, as too often the re-releases are scaled down--as you describe.
     
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  12. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    Playing music of Ravel tonight from this album by John Browning. Works include Sonatine (1905), Le Tombeau de Couperin (1917), and Gaspard de la nuit (1908).
    RCA, U.S. pressing (and former radio station copy), 1968.

    [​IMG]

    Ravel's Gaspard de la nuit is based on the prose poems by Aloysius Bertrand. The first movement is titled "Ondine."
    Some of the inspirational text is printed on the album jacket and is the basis for the cover art. It reads:
    "Listen, listen, it is I, Ondine who taps at
    your window with drops of music
    in the pale light of the moon.
    See, See, there on the balcony
    how the lady of the castle
    in her splendid robe of velvet,
    studies the starlit night
    and the slumbering lake below?"
     
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  13. George P

    George P Forum Resident Thread Starter

    Location:
    NYC
    Very cool.

    I have some of his concerto work (Barber, Prokofiev.) Browning would be a great pianist for them to feature in one of those big boxes.
     
  14. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    Agreed!
     
  15. drh

    drh Talking Machine

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  16. Wes H

    Wes H Forum Resident

    Location:
    Virginia
  17. George P

    George P Forum Resident Thread Starter

    Location:
    NYC
    [​IMG] [​IMG]

    Now enjoying CD 07. Lovely, light, playful performance of Op. 49/1.
     
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  18. drh

    drh Talking Machine

    Last night I revisited another set I hadn't played in many and many a year: Mozart's "Coronation" piano concerto recorded in 1937 by Wanda Landowska on piano with a studio chamber orch. under Walter Goehr. Sad to say, modified rapture here; it turned out to be a perfect example of the "Dresden china" approach to this composer that I've come to dislike strongly over the years. That said, it was a fine recording job for its day, and my copy played clean as a whistle (however clean a whistle may be) even with a stock Shure spherical stylus. The last side was given over to the D Minor Fantasy K. 397, again played as if she was afraid she'd break it if she touched it too firmly. Can't say that I recommend this one even to historical recording fans unless they happen to like their Mozart dainty.

    I have higher hopes for the next things in my queue: three more Mozart cti. (nos. 17, 20, and 24) played by the Swiss pianist Edwin Fischer.
     
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  19. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    This afternoon I'm enjoying these Impromptus and Preludes by French composer Gabriel Fauré. Beautifully performed here by Jean-Philippe Collard on this very fine Pathé Marconi EMI album. Released in 1982.

    [​IMG]

    I can think of at least five albums that I have with Collard playing solo works of Fauré--all excellent. My only other recordings of the complete piano music of Fauré is on couple of Vox Box volumes from the early '60s by Evelyne Crochet, which is also a very fine set.
     
  20. Wes H

    Wes H Forum Resident

    Location:
    Virginia
    Playing music of Debussy for late night listening. Album includes Images (Books I & II), Des pas sur la neige ("Footprints in the Snow") from the Preludes, and the 3-part Estampes ("Prints").
    Ivan Moravec performs on a Hamburg Steinway Model D piano.
    Vox Cum Laude LP, U.S. plating and pressing by Europadisk, New York, 1983.

    [​IMG]
    Recording was made at RCA Studio A in NYC, April 1-2, 1982.
    Sounds grand!...and Moravec's performance is lyrical and captivating, as always.
     
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  21. misterjones

    misterjones Forum Resident

    Location:
    New York City
    A blast from the past.

    What do you think of this set? Virtually no info on the internet for this collection or ensemble.
     
  22. drh

    drh Talking Machine

    Tonight's musical highlight: Edwin Fischer in a stormy account of Mozart's 20th piano concerto (the greatly admired D Minor) from November 24, 1933. Fischer conducts from the keyboard, nowadays common practice but back then a real novelty, and he plays his own cadenzas. The interpretation is not what we'd hear today--and thank the good Lord for that! Fischer is plenty sweet in the middle movement, but his take on the outer ones is, to put it mildly, commanding. Definitely more meat on the work's bones than Landowska put on those of the "Coronation."

    I should note that Lionel Salter, in Gramophone, was generally uncomplimentary of Fischer's Mozart and in particular asserted, "And not even his most fervent admirers would attempt to defend his wildly anachronistic cadenzas." Well, maybe Fischer's most fervent admirers wouldn't, but I would--I find them effective and exciting, and Fischer makes a committed case for them. Salter faults Fischer, in another of the concerti, for playing his own in place of one left by Mozart. To which I say, the whole point of the cadenza was to give the performer a chance to improvise and put his own skills up against the composer's, and I can't imagine Mozart would have taken it amiss if an accomplished pianist were to take the challenge. Indeed, if I'm not much mistaken, in Mozart's day "composed" cadenzas were viewed as a crutch for performers not accomplished enough to supply their own. I'm glad Fischer was bold enough to strike out on his own path.

    I only wish my copy played better. It looks beautiful, with shiny, rich black surfaces, but I had real trouble getting it to play cleanly. Apparently somewhere along the line it took some steel needle damage not evident on visual inspection. Best results, albeit not perfect, were with the stock Shure "78 RPM" conical; my truncated ellipticals distorted badly on loud passages, particularly toward side endings. The records are cut with plenty of "oomph"; probably they did not fare well when subjected to the heavy, low compliance pickups of the period when they were new.
     
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  23. fogalu

    fogalu Forum Resident

    Location:
    Killarney, Ireland
    Last edited: Jul 27, 2019
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  24. George P

    George P Forum Resident Thread Starter

    Location:
    NYC
    Thanks for sharing this!

    Looks like they use a lot of different performers for the cycles of works - symphonies, sonatas, etc - something I usually don't like, but I'd be curious to know their criteria for their choices.
     
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  25. fogalu

    fogalu Forum Resident

    Location:
    Killarney, Ireland
    In the 1997 complete edition, DGG included Karajan's 1963 symphony cycle and Wilhelm Kempff's complete stereo recordings of the piano sonatas. The piano trios, violin and cello sonatas were all complete cycles as well but, curiously, the string quartets used different performers for the early, middle and late works.

    This new edition contains about 30 more CDs than the 1997 one so I would expect a lot of alternative performances of the more important works.

    DGG have mentioned some world premieres and rare recordings and I see from the list that three discs are devoted to this.
    I have a horrible feeling that some of those "premieres" might be reconstructed works based on a few short themes abandoned by the composer, the result being five per cent Beethoven.
     
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