I have this one and three other versions. I enjoy it but sure wish Sony would release the 81 analogue recording in DSD SACD. A few months ago I bought the 81 analogue version on vinyl. I think it was pressed in Germany. I was a bit underwhelmed by it. I'm also surprised there hasn't been a Japanese vinyl pressing of the analogue 81.
Salvatore Accardo: Paganini 24 Caprices for solo violin. Recorded RCA Italiana 1961 from Ten More Great Violinists of the Twentieth Century - Biddulph, 2020, 10 discs.
Back in 2000-2001 I was Asst. Editor at the East Bay Monthly and did a profile of Joseph and his shop, Musical Offering. He was an incredibly interesting and friendly fellow, at least to me. Great shop, by the way. Is it still there? Seems like last time I was in there it was mostly a cafe...???? (RE: Rasputin's...my son worked there for a while, circa 2005-6 or so. He had not so nice things to say about the owner who apparently strong-armed employees to help him pick his fruit on some plot of land he owned, maybe a farm? Wisely, my kid quit because he just couldn't stand the insanity after a while...)
You're new to the thread, aren't you? Welcome! Can't help you with anything about California record stores, and Robin L. is, I'm afraid, long gone from the forums, but perhaps some of our current California residents will have some insights. Meanwhile, regarding E. Power Biggs (subject of the post that you quoted), an organ-playing friend used to refer to him as "Exceptionally Powerful Biggs." In addition to the expected organ fare, Biggs did a couple of oddities that you might enjoy exploring, if you don't know them already: two LPs of Scott Joplin rags played on the pedal harpsichord. As his album annotations put it, "The instrument of the salon meets the music of the saloon." Great fun.
Antal Dorati Mozart & Haydn Recordings on Mercury Living Presence Eloquence Australia, 2020 4 CDs The Festival Chamber Orchestra recordings are well done along with the rest. The notes reveal that this orchestra was the Bath Festival Orchestra which included some top-notch players. The Mozart 2:55 minute Allegro "described as Symphony No. 51 KV 196/121 is simply the bright Allegro that Mozart added to the two-part Overture for his early opera La finta Gardiniera in order to make it into a three-movement Symphony."
I'm one of about 20-25 people (most of the others are certainly dead now!!!!) who attended what was probably the only Ives 114 Songs marathon, all done in one day! Sometime in summer of 1974 in a funny room, not a concert venue, somewhere in NYC. I think it was eight hours, with an hour lunch break. Several singers, and likely, several pianists rotated performing duties! I used to have the program, but after a million moves (and I now live in Italy), I think it is long gone. 1974 was Charlie's 100th birthday... Surely a mark of distinction???!!!! Ha ha ha Now, having said all that, I still prefer Ives' orchestral and chamber works...the string quartets are fantastic!!!! And his Variations on America always make me giggle!
Now enjoying the first symphony from the above box set, which was recently recommended above all other sets by David Hurwitz. My personal favorite didn't even get a mention in his survey - Ashkenazy/Philharmonia Orchestra on Decca.
I like the Ashkenazy/Philharmonia. Personally, I wouldn't worry too much about what Hurwitz likes; the best set is the one that appeals to you. And, frankly, it's hard to settle on a single set. Any cycle of this size is certain to contain some great and some not-so-great performances. For example using Ashkenazy-- I find his reading of No. 2 to be superb; his No. 5 is pretty mediocre. (IMO, of course. YMMV.)
Well, here I am!!!!! I don't like it. Period. Nor any other Rachmaninov for that matter. I do like Gershwin, however. He DID write some classical music, and worked hard at it and was driven to be accepted in that world. But he was one of the best show tune/pop song composers in the US, or anywhere else for that matter...finely crafted, sophisticated melodies and harmonies, and splendid lyrics, mostly from his brother Ira... They were a brilliant team! (By the way, like Rachmaninov, Gershwin's parents were Russian...)
Oh, I don't worry about what Hurwitz (or other critics) like, but I do like to listen to their recommendations sometimes, especially when, as in this case, they are already in my collection. In this case, I had bought the Blomstedt Sibelius set years ago, based on a number of recommendations from friends. At first, I didn't like it at all, but with more listens I grew in appreciation of it. I still prefer the more overtly emotional set by Ashkenazy, but the Blomstedt's cooler, more objective interpretation makes for a nice contrast. For me, first impressions have, at times, been a poor indicator of what I enjoy after more exposure. For example, Richter didn't impress me very much the first few times I heard him! (I liked Gould right away, though.)
I agree completely with all you say and I've had similar experiences. I was just concerned that you felt the Ashkenazy set was now less significant (or something) because Hurwitz sidestepped it. He seems to have some frenzied followers who hang on his every recommendation (or pan) as if it is gospel. I can see you and @coopmv are not among them.
Yeah, I just would have liked to hear him talk about the Ashkenazy set. Nothing anyone says will tarnish my love for that set.
Now enjoying CD 14 from the above set. The more I listen to CPE's keyboard works, the more I hear brief (and sometimes longer than brief) passages that sound a LOT like Beethoven. I wonder if Beethoven's writing was influenced by CPE?
I've been listening to Hänssler's CPE Bach Edition and I agree, there are some amazing piano moments that feel like proto-Beethoven, or even the same level.
