They want to capitalize on that Bernstein's following. I kind of like Bernstein but cannot say he is my go-to conductor. I still prefer Previn over Bernstein ...
Have to break up my listening since it is such a long symphony. The first 3 tracks are nothing to write home about - out right boring. When the beautiful Schwarzkopf appeared on track 4, she really brightened up the whole work. The remaining tracks are somewhat more interesting ...
I'm wondering this too, I don't know much Schiff Beethoven. I've listened to Paul Badura-Skoda's entire fortepiano cycle (I wouldn't mind owning the XRCD box of this, but not for $250 the last time I saw it used) and I think his style is not too dissimilar from Levit, both quite Austro-Germanic and classical in style. I listened to more of Levit and I think I will be passing on this set. At this point in my collection full cycles need to be exceptional for me to buy them, and I'll just be exploring single or double CD sets of my favorite sonatas. I like how detailed some of his playing is in the final movement of Op. 111 with the voices, for that alone I don't mind having his double CD set of the late sonatas. It almost reminds me of Pogorelich, except Pogorelich's stingy use of pedals makes that recording something I don't want to listen to often. edit: fixed a spelling mistake in Pogorelich's last name, damn autocorrect
Nice, but I prefer Biggs' recordings with Boult. Recorded 1/24-26/94, AIR Studios, Lyndhurst Hall, London. AIR was co-founded by the late Sir George Martin. Producer: Simon Woods. Engineer: Simon Rhodes.
I have a few of Schiff's Beethoven...Levit is not wildly different--maybe a touch more dramatic at times. I agree about Pogo's Op.111..needs more pedal, especially in those imperious opening chords.
Recorded 2/87 in Italy. Producer: Ray Minshull. Engineer: Colin Moorfoot. Artistic consultant: Eric Anther. Issued 1993. Another Record Club CD made by BMG; I have quite a few of those.
I like their clear articulation, the differentiation and contrast of motives and gestures, and I like the way Schiff in particular achieves a wide array of tone colors, often simultaneously to each other. I hear the rhythmic development more strongly with these first two pianists than with Levit. Schiff and Badura-Skoda (the modern piano cycle as well as the fortepiano cycle) just seem to “jump off the page” for me in a way that Levit doesn’t, which is purely a matter of personal taste, so that’s what I meant by their styles being different. Don’t get me wrong — I am definitely not saying Levit doesn’t do those things, or doesn’t do them well
I'm trying to catch up with recent (the past couple of months) acquisitions. I enjoy getting new (to me) recordings, but it means that I seldom play older items from my CD collection, which I started in 1995. This was recorded 5/15 & 20/72, Kingsway Hall, London. Kingsway had separate permanent wiring systems to accommodate the recording teams from Decca & EMI. Producer: Ray Minshull. Engineer: James Lock. Issued on Decca in the U.K. 11/72 & on London in the U.S. 5/73. CD reissue from 1999. I just noted that this cover is slightly NSFW.
A local find? This is how I've bought some of my most rare classical CDs. I was listened to her magnificent studio recording of Beethoven's Op. 109 earlier in the week, her live recording with the 4 Chopin Ballades is also exceptional.
This 2004 CD also includes the Holiday Overture (1944, revised 1961). The Overture & the Symphony (1942, revised 1954) are relatively conservative & have the sound of American music from the 40s. The Concerto (1964-65) is uncompromisingly modern, the kind of music that doesn't "say" much to me. Still, I enjoy such music occasionally, just the texture & sound of it. Recorded 9/15/2002 & 10/27/2002, Ingram Hall, Blair School of Music, Nashville, by K & A Productions, Ltd. Producer: Peter Newble. Engineer: Andrew Lang.
They also recorded for DG, Columbia, RCA & Harmonia Mundi. Recorded 6/82 & 6/84, Rutgers Church, NYC by Elite Recordings, Inc. Produced by Marc Aubort & Joanna Nickrenz. Issued 1986. Another 19-cent purchase.
Hi there. Longtime lurker, first-time poster ... I’ve got a pile of recently purchased music I’m working through but I wanted to introduce myself by sharing the latest box set (of too many) that I’ve purchased — should get here from the UK by the end of the month ...
After reading some sound advice (no pun intended), from crispi, regarding which version of these performances should be obtained, this is now heading to Chez Wugged......
That is the good one. This is also the version they used in the Fricsay and DG Mono boxes. I guess they realised that the Originals mastering was a misstep.
Maybe. At least Abrahamsen really had Barbara Hannigan's voice in his head during composition as exactly the instrument he wanted to hear his work performed with. It's legitimate to put her on the cover. What can she do? She's an attractive woman. The absolute highlight for me is the last section where Ophelia's heart monitor sound audibly flatlines and the Hannigan voice takes its final gasp and takes us to heaven with her character.
Yes, using that beautiful photo was the right thing to do. I love Ms Hannigan! She's a talented and committed artist. If anything the Guardian article will get people looking in to the contemporary music scene. Or not.
Listening to "Codex Chantilly II" performed by Tetraktys on Olive Music. Zsuzsi Toth, Kees Boeke, Kristy Whatley, Baptiste Romain, Carlos Mena, Marta Graziolino and Silvia Tecardi
