Classical Music Recommendations
This is a selection of recommendations from a
variety of sources on the internet, particularly members of
rec.music.classical.recordings. They are the recommendations of music lovers
rather than music critics, and where possible any consensus is indicated as a
‘general recommendation’.
#BACH
Brandenburgs
General Recommendations:
Makzimyuk/Polish
CO EMI Forte
2CD set, with three Christmas concerti by three other (Italian) composers.
Daringly brisk tempi, technically sound, warmly recorded, great horns and
trumpets in the appropriate concerti without period rasp (if you are not a HIP
person).
Akademie
fur Alte Musik/Harmonia Mundi. Probably my current favorite.
Lamon/Tafelmusik - a very good conventional
performance, squeaky tpt in 2. My single favorite performance of any one
movement from the Brandenburg's is probably Tafelmusik's first movement of the
5th where Jeanne Lamon turns in a spectacularly Valenti-esque performance of
the cadenza replete with a marvelously sensitive application of a
tension-exploiting rubato completely responsive to the harmonic language of the
piece.
Stravaganza set on Virgin; certainly more "ear-popping" at
times than even MAK Hans-Martin
Kothe gives a spectacular performance on the baroque trumpet.
Il Gardino Armonico (Teldec cd number:
4509-98442-2). My current favorite, this is very lively performance of the
Brandenberg. They are no where near as eye opening as their version of
Vivaldi's 4 Seasons- although after hearing Goebel, it is hard to be more ear-popping.
This is my favourite HIP.
Jordi
Savall/Le Concerts des
Nations set recently reissued at mid-price on Astree – performances chock-full
of rustic character and panache
Collegeum
Aureum (1960's)
some brief moments of suspect intonation but they aren't half so bad as the
brief moments of suspect intonation in the orchestral suites coupled with them
on CD. Leonhardt is heard to much more distinctive and lively effect than on
Sony
Leppard - fastish tempi, many like it
Goebels with
Musica Antiqua Koln on the "archive" label (fast tempi)
Ristenpart (Chamber Orchestra of the SAAR) widely liked. But the CDs are
mono/stereo
Munclinger/Ars Revivida Supraphon
I Musici - non-HIP: after listening
to countless recordings, I settle for I Musici.
Particular Recommendations
Koopman (introvert)
Pinnock (uneven, some strong supporters, some say
boring)
ECO/Britten (some consider it surprisingly bland)
Leonhardt ??
Scherchen
Vienna State Opera 1959 stereo, Paris mono set is superior and wonderful
Munch, BSO
w. Lukas foss piano
Adolf Busch
w Evelyn Rothwell
Anthony
Newman & Friends on CBS ca. 1970.
Some period instruments e. g. violino piccolo, viole da gambi. Tremendous keyboard playing (of
course!).Sprightly tempi in fast movements.
>To be avoided like the plague is the Leonhardt and an all-star lineup on
Sony
Can't stand
Harnoncourt's first recording either. Too slow for one thing.
Pinnock strikes me as the very epitome of the "neoclassical
Stravinsky" style of supposedly authentic performance practice
characteristic of too much HIP. -david gable
> Tafelmusik on Sony leaves Pinnock in
the dust
> After listening to "HIP" performances
by Pinnock, Koopman, Lamon I settled for Lamon/Tafelmusik
> I have heard many versions of Bach's Brandenburgs. To name a few:
Dart (Philomusica of London), Rampe (La Stravaganza, Hamburg), Pinnock (English
Concert), Britten (English Chamber Orchestra), Ristenpart (Chamber Orchestra of
the SAAR), Baumgartner (Festival Strings Lucerne), Scherchen (Vienna State
Opera Orchestra), Ledger (English Chamber Orchestra), Leonhardt (with Bruggen,
Kuijkens, Bylsma and co), Goebel (Musica
Antiqua Koln).My vote goes to Leonhardt
(HIP) and Ristenpart (non-HIP).
> Goebel: I don't understand why anyone wants a Bach that is "completely
nuts" (and I do agree wholeheartedly: their tempi sound like a LooneyTunes
soundtrack.) Surely no-one believes that Bach or the players of his time took things that fast?
> Goebel
on Archiv is... interesting. I enjoy the set immensely, but not as a stand
alone.
> Linde on EMI/Virgin is bland. Hogwood on L'oiseau-Lyre
is competent - nothing surprising in it at all.
> At the risk of sounding like a stuck record or a
salesman, try the new Stravaganza set on Virgin; certainly more
"ear-popping" at times than even MAK. I too like the Giardino
Armonico; stunning horns in 1 -- but then so does Stravaganza.(SR)
>Koopman is OK except fro tpt in 2 ) Crispian Steele-Perkins as in Tafelmusik
Vln Concertos
Tafelmusik/Lamon – strong HIP performances, better
than Manze
I think two stand head and shoulders -- heck, probably
torso as well -- above the others:
Manze's on Harmonia Mundi
Chiarappa's on Denon
(the former is a mid-price reissue of a recent
recording on one disc of the usual three plus a violin version of BWV 1060, the
latter a two disc set originally issued on Koch Europa containing not just the
usual three but lso un-transcriptions of other concertos -- i.e., attempts to
reconstruct lost violin originals of harpsichord concertos). Both offer
remarkably alert, lively performances of some flair and exuberance -- qualities
lacking in all the other HIP recordings, which, by comparison sound terribly
earnest -- though I suspect they may be a bit extreme for some (if so, the
Huggett/Koopman disc on Erato may be the safest bet, relaxed without being
lazy). If I had to have just one of the two, I d probably pick the Denon,
because I like to have all the other works as well. (SR)
* Oistrakh/Philadelphia Orch, E. Ormandy 24/12/1955
COL ML 5087, PHI A 01239L, MEL M10-46429 See www.oistrakh.com
Solo
Keyboard works:
Die
Wohltemperte Klavier
Feinberg
Nilolayeva
Edwin
Fischer
Pearl
- best transfer
Naxos – not
liked
EMI
references – newer better than older pressings
Glenn
Gould
Richter:
1969 live -
Revelation 20003
1972 - BMG 60949
(also Melodiya)
1973 live -
Victor Japan VICC 60071/4 (also Parnassus PCCD 20001/4) in Stiftskirche Wilteu,
Innsbruck, 4CDs
1973
different live version - Parnassus (?)
Neither the
RCA/BMG/Melodya version nor the live 1973 Innsbruck recording (available from
Parnassus) are in very good sound,
but each
contain some transcendental interpretations, as well as some that seem to
misfire.
Others liked by some: Schepkin, Schiff, Koroliev
Solo
Vln Sonatas
Milstein/DG Later, better recorded
Milstein/EMI earlier, better - more confident but less flexible
though others disagree. Recording OK but DG is better. I like the Milstein EMI
a lot more than the DG. It's got a
purity and serenity that I find lacking in the DG version.
Heifetz
Szeryng mono CBS/(MP2K 46721) and stereo DG (437
365-2). I've not heard the Sony set, but the DG is one of my favorites. Robustly played, fabulous tone and
intonation, and beautiful phrasing.I am a huge fan of Szeryng's playing
generally, especially before late 70's. I do find the phrasing in Milstein's
EMI a bit more crisp than in Szeryng's DG. (While Szeryng's tone may
occasionally have lacked some of Perlman's color, I find his playing enormously
characterful and recognizable, indeed often fervent, and don't know how Perlman
could have referred to him publicly as a "musical chameleon") I have
the earlier Szeryng recording, as well as a number of the above-mentioned. Szeryng seems to me the very best of the
best.
To me,
Szeryng appreciation depends a lot on mood; his playing can give the impression
of concentration, which is good. But he
can also appear colorless and perhaps too uniform (the faster movements are
relatively slow and unlively), and sometimes even the concentration seems to
lag. To those who don't want a meditative
type approach to all of it, this might not work.
Josef Suk on EMI
Kuijken - The two sets by Sigiswald
Kuijken are probably the best performances on record of JSB's music. The first
is right up there with the best of them, sure. But the more recent recording?
Not for me, I'm afraid.
Shumsky (ASV), leading Sitkovetsky by a short head—9+/10 to 9–/10 (rates
Milstein 6/10) The most
expressive recordings I know are Oscar Shumsky and Oleg Kagan (Erato). Shumsky
is quite intense, and uses a time-honored sturdy legato and hardly any dropping
of volume towards phrase and note ends to sound more non-mournfully passionate than anyone else I know. (Menuhin
occasionally has some of the same.)
This may not be to all tastes, but I like it.
Sitkovetsky (Orfeo/Harmonia Mundi)
Szigeti on
Vanguard. The Vanguard set was recorded late - in the 50s iirc. I hoped I would be able to get through
the intonation problems to hear 'the
heart of the matter'. I was unsuccessful. That set is a special case, in my
opinion, and not unlike the Enescu version in that respect. Both are flawed,
but still have moments of sheer genius and are not to be missed. We are very
lucky to have them both. I'd say the same about Sandor Vegh's set as well. But it is a shame that Szigeti didn't get to record them all in his prime.
There are recordings of this music from circa
1930, which are excellent, but incomplete, unfortunately, - superb performances
of the first two Sonatas (rec. 1931 and 1933) and a couple of isolated
movements from two of the Partitas.
They were all issued in Ward Marston's transfers on a Biddulph CD.
Oleg Kagan
(Erato).Expressive
Grumiaux
- first choice for several, a bit "stiff" for others (a bit too straight-forward),
Mullova -
I'm particularly fond of Viktoria Mullova's recording on Philips. Amazing
technique, as always, but I also find her musicianship and
interpretation
to be judicious and intelligent -- and, in this particular recording, quite
warm. She plays on gut strings, by the
way. The
one "problem" is that the recording only contains the partitas, not
the sonatas, and I have no idea if Mullova plans to do the sonatas.
(Another
problem is that I believe the CD might be out of print.)
Kantorow.
My favorite. Beautiful, stylish and unhysterical performances. (I would have
played like this myself if I had been 12000 times better).Nearly perfect
recording to my ears
Perlman, in
his EMI set includes all the repeats,
etc., but I'm not crazy about his version.
Novotny Few performers give all the voices such
independence. Supraphon
11 1806-2 112.
Podger
for HIP good but not great - best only in the fast movements where she has fun
Van Dael
on Naxos is pretty good HIP too. (good but not great)
Zehetmair
(too fast at times)
Tenenbaum
(a bit rough in execution).
Ehnes and Fulkerson
versions got 10/10 reviews on classicstoday.com.
Solo
Cello Sonatas
Bylsma
(earlier set, on Pro Arte), altogether the most satisfying HIP I've heard. I LOVE Anner Byslma, and
his baroque playing with detached notes and few slurs is delightful to listen
to. Tempos are slow and steady for the
most part.
I thought
Bylsma's earlier set was the one on Sony Essential Classics
Bylsma I –
here his HIP-ness may seem a bit
extreme compared to Wispelwey or Bylsma II
Rostropovich - I find him overly romatic as
well.
Starker RCA reaches depths I've never heard before. ?
his 6th recording of the works. I enjoyed the old Mercury, but it is
nothing like this – I’m bowled over not only by the musical depth but by the
dexterity and flexibility of the execution. This surpasses all his previous
recordings and becomes a top recommendation
I don;t
like Starker - at all. Overly dry and pedantic
Fournier is my choice for non-HIP Hardly qualifies as
excellent modern sound, but it does sound pretty good. Performances ought to
fill the bill. Plenty of dancing, but no lack of expressiveness and even
romance. Fournier is lush and deep-toned, Schiff as good but more brisk and
dancelike.
Though I
like Bylsma 1, Schiff's energy, and Casals' restless inventiveness, I haven't
heard any sets that match Fournier's (live?) version for Swiss Radio, released
at one time on Adda. It's noble, elegant, passionate without maudlin excess,
superbly paced, and lovingly articulated. Hearing it made me want to throw the
rest of 'em out (I didn't, of course).
I spend
most of my Bach Cello Suite listening time with Pierre Fournier [DG], Heinrich
Schiff [EMI], and Erling Blöndal Bengtsson [Danacord],
though I
enjoy many others nearly as much. Fournier is red-blooded and deftly romantic;
Schiff is a lean, mean Baroque dancing machine;
Erling
Blöndal Bengtsson
[Danacord Bengtsson is unadorned but not plain, being neither too this
nor too that yet not lacking character -- like a good-looking Amish woman.
Casals vastly improved sound (and lower
price) on Naxos
Schiff brisk and dancelike. Over years of listening I've
finally settled on Wispelwey II and Heinrich Schiff as all I need. Bylsma's two CD's on Sony Essential Classics
are a good alternative choice if you like his close-miked intensity; I've
concluded that I don't.
Wispelway
II is controversial, some think an excellent HIP
choice. Either love or hate him. Again,
a baroque, not overly romantic
approach.
My problem
with Wispelway II is not that it is uninteresting, but that it sounds so
manufactured that one wonders if the performance can be captured live. It seems
overly rehearsed, not with any spontaneity. He is performing the suites live in
NYC next year, and I will get to find out if I am correct. In any case, the
phrasing tends to be somewhat choppy, which doesn't lead to
"dancing".
Tortelier There
are two sets of Tortelier, although I must admit neither moves me terribly much
Ma the 2nd series recorded is the better of the two.
However, a quick, sometimes, too fast tempo.
Not overly romantic.
Carlos
Prieto -
wonderful...
Cazba
Onczay - this is a
cheapie Naxox 7.99 set - the Hungarian
cellist did not draw rave reviews, but I love the ringing overtones that come
from his Gofriller instrument. Excellent recording. Steady, even pacing, making each note count.
Maurice
Gendron. I wonder
if someone else likes him. Casals may have a stronger rythmic quality and
Whisperley may sound better, but I tend to play Gendron more often than any
other version. Very nice tone and rhythmic sense, maybe not the most personal,
but fine.
Maisky - avoid at all costs. Unless you wish to hear his snorting and
snuffling breathing along with the most disgusting over romanticized schmalz -
why oh why every note has to be life and death is beyond me. What he does to
the first prelude he should hang for.
Organ
works
Chapuis: very spontaneous, revealing a love of playing.
Great instrument and recording for 1968. Recently rereleased. On that set Chapuis
recorded the preludes and fugues on the Schnitger instrument at
Zwolle--certainly one of the greatest instruments ever built! AFAIK, the rest
of the series was recorded on modern instruments. His interpretations are very
exciting: fast tempi, cleanly articulated, and dramatic. The Chapuis set is
tremendously exciting - my favorite by far
Michael Murray’s recent recording on
this instrument is one of the great Bach organ recordings (IMHO) -- what a
contrast with his earlier "Romantic" performances such as the one at
Methuen!
Rubsam on Philips: Infinitely better than his later
ponderous Naxos. His technique is better
than Alain's. Here's what the pipedreams web page says about it: (Philips 438 170-2; 16-disc box, including
Art of the Fugue) offers arguably the finest recording of Bach's music ever
made, featuring an exceptional pair of Metzler instruments vividly captured in
rich ambience. Interpretations are
always cogent, imaginative, and involved. Rubsam's playing combines the finest
aspects of his teachers, Helmut Walcha (discipline and total integrity) and
Marie-Claire Alain (subtle nuance and rythmic verve). The Naxos discs do have
the advantage of low cost and easy availability, while the big Philips set may
be maddeningly hard to find, though it's sure to please
I recently bought, used, the complete Bach organ music
on 10 cd's, Philips, Wolfgang Rubsam. I
am listening to some choral preludes now and am in heaven. Not only is the music incredible but the
sound is the best organ i've ever heard - both recording (perfectly clear) and
organ tone (orgasmic - organsmic?).
Anyone else share my enthusiasm here?
anyone dare try to tell me this isn't as good as music gets? i've tried to look up reviews of this set
but don't find much, though people say they're less fond of Rubsam's current
Naxos series for its willful playing than the old philips one. what they should be saying, however, is GO
BUY THE PHILIPS SET!!!
Rubsam on Naxos. In Rubsam's more recent Bach cycle
(on the budget-priced Naxos label, available separately) you'll enjoy a greater
variety of historic and modern instruments, but the artist's interpretations
are somewhat more individualistic, even provocative, still arresting if not
quite main-stream. I'm only familiar with the Clavierubung III from the Naxos
series. Despite being played on the Silberman organ at the Freiberg Cathedral,
it is a very sludgy performance.
Hurford's first recording is fine but on inauthentic
instruments. I dumped it after acquiring the Rubsam.
While I wouldn't dump my Hurford for anything--his
performing is just too good--I too find his choice of instruments highly
disappointing. I wasn't aware of a second recording until hearing it mentioned
on this NG. I suppose it never was released in North America. A most
interesting CD is the Peter Hurford / Northern Sinfonia "J.S. Bach Organ
Concertos". Maybe, Handel got his inspiration from Bach...
Tachezi In 1985 Teldec released a special edition to
mark Bach's 300th birthday of Herbert Tachezi playing The Art of Fugue, BWV
1080. The playing, registration etc is exceptional. This was on a phonograph
record. I don't know if it is available on CD.
Herrick is expensive and nothing really special.
Fagius' recording of Mendelssohn is fantastic--the
best I've heard--but I did not find his Bach to be a first choice by comparison
with Chapuis.
Walcha There seems to be not one but TWO Walcha sets
available in Canada (but not the US) -- a 12-disc set and a 16-disc set. The 12
disc set is the set he recorded in 1956 and 1962 in Alkmaar and 1969-70 on the
Silberman organ in Strasbourg -- a classic recording.
Heiller. I have always been partial to Anton Heiller.
Wolfgang Stockmeier/Orgel My suggestion: go to http://www.zweitausendeins.de/ and
click on "CD's". In the "Suche per Eingabe" menu select
"Nach Nummern" enter the magic number 40718, press the button
"Suchen". You should get: Bach, J.S. "Das Orgelwerk"
Art & Music. AAD. 20 CDs 39.95 DM. 12. 5 GBP nr 40718.What you get is 20 CD's (the complete Bach organ works)
for 39.95 DM (a little over $20) +shipping, performed by Wolfgang Stockmeier. I
won't argue whether or not this is the best recording in the world - its a
great performance on a selection of nice organs around Germany, and at this
price, a "must" for the Bach specialist!
Bach, J.S. "Toccata & Fuge BWV 565, Schüblersche Choräle BWV
645-650 u.a." Lionel Rogg/Silbermann-Orgel von Arlesheim. Harmonia Mundi
France. ADD. CD 15.95 DM. Nr. 49799. 5GBP
Bach, J.S.
"Orgelwerke" Ton Koopman/Orgel (Christian-Müller-Orgel/Waalse-Kerk
Amsterdam, Gabler-Orgel/Basilika Weingarten). Laudate. DDD. 2 CDs 9.95 DM.
Nr. 49315 3GBP
Bach, J.S. "Orgelbüchlein
BWV 599-644"
René Saorgin/Orgel von Luxeuil. Harmonia Mundi France. ADD. CD 15.95 DM.
Nr. 49798. 5GBP
Bach, J.S. "Orgelwerke
Vol. 2 - Neumeister Choräle BWV 1090-1120, Präludium & Fuge BWV 549,
Fantasie BWV 570 & 571, Triosonaten BWV 527 & 528, Passacaglia BWV 582,
In dulci jubilo BWV 729, Toccata & Fuge BWV 538 & 540, Klavierübung 3
BWV 669-689 u.a." Hans Fagius/Orgel. Aufnahmen von BIS. Brilliant
Classics. DDD. 9 CDs 29.95 DM. Nr. 49427 9GBP
What’s your all-time 12 favourite Bach organ works?
1. OK, there's no
way not to put the Passacaglia and Fugue on the list, so I'll start off with it
as well.
2. "Vater unser im Himmelreich," BWV 682. One of the most deeply
moving works Bach wrote.
3. Toccata & Fugue in d minor, BWV 538. The fugue certainly ranks as one of
his greatest achievements in the genre.
4. Prelude & Fugue in D Major, BWV 532, the most exciting of his
works--ranking right up there with the most exuberant of choruses from his
cantatas and oratorios.
5. "Ich ruf zu dir Herr Jesu Christ," BWV 639 and
6. "Ach Herr, mich armen Su:nder," BWV 742. Two of his earliest and
tiniest of works, as well as most
beautiful.
7. Sonata in e minor, BWV 528. They're all great, but right now I can't seem to
get that one out of my head :)
8. Toccata and Fugue in F, BWV 540. I don't think it's an early work—maybe late
Weimar or early Leipzig--still a great work nonetheless.
9. "O Lamm Gottes unschuldig," BWV 656. Another chorale prelude of exquisite
beauty.
10. Prelude and Fugue in b minor, BWV 544. A paragon of technical
assurance, balance, and restraint.
11. Canonic variations on "Vom Himmel hoch," BWV 769. The Art of
Fugue and Musical Offering's little sister.
12. Prelude & Fugue in a minor, BWV 543. It doesn't just *grow* on you,
it's more like a drug that hooks you and makes a junkie out of you on the very
first listen
Choral
Works
Bm Mass
Robert Shaw on RCA Living
Stereo Far and away. Great choir (about 35 strong), excellent soloists and
nicely refurbished sound. There are
influences from scholarship, but as this recording was
made in the late 1960s, there's nothing in it that would be considered
"HIP" by
today's understanding of the term. Mid-priced.
Richter
Fasolis.Arts 47525-2, 1998
Max/Capriccio
Schreier on Berlin Classics,
Klemperer/EMI
Herreweghe on Harmonia Mundi.
Christmas Oratorio
Rene Jacobs on Harmonia Mundi.
Ralf Otto, many people’s favorite on Brilliant Classics
(licensed from Capriccio)
Richter - great recording, very dramatic with unbeatable soloists
(Wunderlich, Crass, Janowitz, Ludwig WOW!) “devout, a bit heavy”
Lehmann – very fine old style inc Helmut Kreps. I
finally retired the LPs several years ago because they were completely worn
out. Perhaps
the reason the complete set has not been reissued is because two (if I remember
correctly) were not conducted by Lehmann.
The set won the Grand Prix du Disque when it was first issued, as I
recall. This set is definitely non_HIP.
I personally don't care if HIP or "modern" practices are
followed. I just care about what the
performers find in the music. I have
perhaps 400 recordings of individual works; I love Gardiner, hate Harnoncourt,
love Leonhardt, love Richter, etc.
Munchinger – Nice performance
with Pears and Ameling, v. good sound
Kurt Thomas/Leipzig beautiful meditative performance
with great soloists (F-D, Traxel, Giebel,Hoffgen) – old style but inferior to
Lehmann
Collegium Aureum – Good
Grischkat – rather slow and heavy
Werner – OK
Tolzer Boys Choir under Schmid Gaden with Altmeyer.
wonderfully airy atmosphere provided by the boy sopranos. The trumpets are
pretty rough and the soloists sing like kids, but I still like the overall
effect.
Jochum ’73 – big choral forces
Harnoncourt – Good “I found Harnoncourt's way with the
music rather stodgy”.
Ledger
Koopman – good 13 strings, 21 singers
Sixteen/Christophers – english style 14 + 18
Pickett one to a part, 12 singers sounds nice
Suzuki – 11 strings, squeeky clean
Gardiner's recording leaves me
cold.
Maderna -
there's a wonderful recording by Maderna with a lot of other bach stuff,
available of Berskshire for like $2. It clarrified for me lots of the
structural problems with the work...not politically correct for HIP, but
wonderful
St Matthew Passion
Harnoncourt
I (mid-price
on Teldec)
Harnoncourt
2 - 2000 recording
Leonhardt
Richter (second recording-with a superb
Schreier)
Scherchen's superb performance (mono), reissued on MCA
Millennium, for $8.97.
Corboz
Herreweghe - I
would probably recommend Herreweghe over Brueggen, partly because Brueggen's
soloists are more controversial (esp the Evangelist: I like a lot, but many may
find too small-voiced).
Munchinger
Karajan -
fantastic cast of soloists. I still
pull out his SMP to hear Christa Ludwig sing "Buß und Reu".
St John Passion
Fasolis
Max/Capriccio - An excellent inexpensive HIP St
John
Willcocks Belart (formerly Decca) Peter Pears and the
vague, fluffy tone of King's Cambridge - sung in English
Mid-price - a grand old-fashioned performance on
Hungaroton, featuring pretty stunning singing by the soprano, and excellent
soloists.
Cantatas
Best Cantatas, some
suggestions:
BWV 6, 12, 21, 51, 76,
78, 80, 82,140, 106, 147, 198, 199,
My personal favorites and
my favorite recordings of them: 8
(Herreweghe), 21 (Suzuki), 34 (Gardiner), 50 (Gardiner or Koopman), 51
(Rilling/Auger, Gardiner/Kirkby), 54 (Herreweghe/Scholl), 66 (Herreweghe), 79
(Leonhardt almost by default),80 (Herreweghe -- he uses WF Bach's trumpet
parts, which most recordings nowadays omit), 130 (Harnoncourt or Koopman), 150
(Suzuki or Leonhardt), 172 (Gardiner), 190 (Koopman). 140 and 147 are probably
the most popular -- but neither are favorites of mine.
JLE: Two star:
21,32,39,106,131,140
JLE: One star:
1,5,6,7,8,12,13,20,27,34,40,48,57,61,67,68,85,90,100,104,105,115,116,120,147,151,152,155,158,159,166,180,182,198,199
http://www.classical.net/~music/comp.lst/works/bachjs/rateindx.html Ratings And Comments On All Cantatas
Rilling
– the Secular set has its ups and downs and
mixes recordings of Koopman, Goebel and others but overall is pretty good. Even
better, if you're willing to have modern instruments, is Rilling's new
traversal on Haenssler. Rilling really has woken up in the last few
years and delivered excellent conducting with a fine group of young soloists.
His recent recordings in the series are a
wonderfuil mix of HIP-insight and the modern style (his St. Matthew & St.
John should be top recommendations). His earlier cantata efforts on
Hanssler are a bit choppy for my taste.
Most of Rilling's that I've heard (nowhere
near all) strike me as quite dull, especially compared to his latest efforts (his
rerecordings of the passions especially).
Hanssler: Cantatas are done with modern
instruments and mixed voices by Helmuth Rilling. I find most of his cantata
recordings stodgy and dull. I'm told that his recent recordings are more
interesting. Remaining pieces are a mixed bag.
Rene Jacob's secular cantata set on Harmonia Mundi (also recently
re-released) - one of the best cantata sets ever recorded.
Herreweghe
Harmonia Mundi has assembled
Herreweghe cantatas at extreme bargain prices. They are excellent!! (HIP, of
course.)
Many find them bland. Listen to
the range of rougly contemporary composers conducted by, among others, Rene
Jacobs, Konrad Junghanel, Goebel etc and you realize just how limited and
limiting Herreweghe's performances really are.
I haven't any idea whether
Herreweghe will be recording all of them, but while he's not exactly ideal
either, his slowly continuing series strikes me as being preferable to Koopman
and Suzuki. What we need is a series of recordings that offer a clear contrast
to the style adopted by Koopman and Suzuki and Herreweghe (yes, there are
differences, but they're all from the same school, as it were), but given the
current state of the classical recording business that seems unlikely (Archiv
ditched Gardiner's series because he wouldn't pay for it, but given the results
of the first release that doesn't seem much of a loss).
Gardiner
Gardiner's Bach is quite deep and
beautiful.
Different strokes for different folks. I find nothing in Gardiner's approach
that I would describe as deep or beautiful. To me it's fleet to a fault. In
fact, the one overriding characteristic of Gardiner is that he favors tempi
that never let the music sink in. I used to think they were under-interpreted
by Herr Professor, but I now simply consider them a-interpreted (as in atonal).
He's rather the anti-Christ of Classics in my book.
Harnoncourt/Leonhardt
I've been making a re-acquaintance
with the Harnoncourt/Leonhardt series and am appreciating it more; despite its obvious
flaws (poorly balanced tenor and bass sections in the Viennese choir,
occasionally rickety brass, the occasionally unreliable treble, occasional
dullnes from Leonhardt) these are on the whole superbly characterized and - at
least by the adults - superbly sung. They also have strong dance rhythms and
are excellently recorded.
As far as HIP or HIP-influenced Bach, I
would start with some of the early Harnoncourt series. His St. Matthew remains
one of the better all-round versions.
Harnoncourt/Leonhardt contains
some good individual performances, especially of solo cantatas, but many of
them seem rather
rickety and tentative in execution, for all that interpretatively these two
conductors have better ideas than the other three put together.
period instruments, boy singers in choruses and
some solos. The boys vary from the sublime Sebastian Hennig to ... others
better left unnamed. Brass playing quite shaky, especially in earlier
recordings. Overall highly variable in quality: some cantatas are wonderful,
some painful to hear.
Karl Richter
I also have a very soft spot for Karl Richter's
cantatas on Archiv. They're not all great, but they're certainly deep (and by
that I don't mean solely on the basis of the slow tempi). And I'm not a big fan
of Schreier, Fi-Di or Haefliger, so it's not the solo singing that carries the
day for me in these recordings.
Gonnenwein
St. John & St. Matthew on EMI are also very
good. For the B-minor, I'd look no further than Robert Shaw's RCA effort
re-released to spectacular effect last fall on Living Stereo.
Koopman
My boredom
with the Koopman series shows no signs of abating
I find it maddening that the current complete
Bach Cantata series underway from Koopman and Suzuki should be of the same
general type -- gentle, understated, "respectful" etc. I've given up
on both of them.
I don't feel Herreweghe's recording are
significantly better than Koopman's -- in fact, often they are almost
indistinguishable. I've been collecting the Koopman series, but not with
notable enthusiasm. Some of Koopman's performances are really top-notch; some
of the more bumptious cantatas, such as 40, 65, 75, 190, and the Hunt and
Peasant Cantatas, come across with great zest in Koopman's hands. But many
others are perfunctory, even a bit tired - sounding. Generally, the
Koopman series has improved as it has gone along. Vol. 6 was quite wonderful,
and I just received vol. 9, which boasts the contributions of tenor Christophe
Pregardien and bass Klaus Mertens -- but the alto grates, and the soprani are
nothing special
Suzuki
My dislike of the Suzuki series
shows no signs of abating
Having listened to everything
through the St. Matthew and Vol. 11 of the cantatas, I'd say the choir is best
thing Suzuki has going. The orchestra, while well drilled, is one of blander
period ensembles I can recall in terms of sonority. The "Holy Bach"
syndrome. Everyone seems to excuse Suzuki's longeurs by claiming that he's
cutting to the "spiritual" core of the 18h c. Lutheran church music.
Funny thing is, such dull performances are rarely accepted with such good cheer
in any renaissance or baroque repertoire other than Bach. Listen to the
range of rougly contemporary composers conducted by, among others, Rene Jacobs,
Konrad Junghanel, Goebel, Savall, Marc Minkowski, Diego Fasolis (on a good
day), Hermann Max (despite occasionally awful soloists: Monika Frimmer!),
Francois Lassere (excellent recordings of Monteverdi and Schutz on Pierre
Verany) Ludger Remy, Il Giardino Armonico and, going back a bit further, but
still in the sacred domain, Paul Van Nevel and Roland Wilson, and you realize
just how limited and limiting Suzuki's (and Koopman and Herreweghe's)
performances really are.
Suzuki and Koopman both offer
middle-of-the-road, safe, HIP performances of little character, though on the
whole – except for their decidedly mixed groups of soloists -- well
executed. I haven't any idea whether Herreweghe will be recording all of
them, but while he's not exactly ideal either, his slowly continuing series
strikes me as being preferable to all of those.
I was quite impressed with the Suzuki series
until I heard more of it. It's so uniformly shiny and polished and perky that
it starts to cloy. It's sort of digitally-generated Anime' Bach. But as Simon
says, no one series is likely to be totally satisfying. Bach's cantatas are
remarkably elusive pieces to perform effectively and consistently. It seems
that every conductor/ensemble that can produce some good cantata recordings
also produces some clunkers
Schreier
Secular cantatas conducted by Peter Schreier is
really a disappointment. The orchestra (Berlin Chamber Orchestra, on modern
instruments) is playing clumsy and several instrumental soloists use awful
ornaments that don’t belong in baroque music
Leusink
I just made another attempt to listen to the
Brilliant cantata boxes I have and when I began I thought, well, these aren't
bad at all. But then a tenor solo appeared and he just wouldn't do (Knut
Schoch); a later tenor solo (Nico van der Meel, who's usually not this bad) was
even worse. So at the very least these can only be listened to if the
tenor arias and recitatives are programmed out, which is hardly ideal.
And yes, the performances are very inconsistent aside from this: some cantatas
are performed as though by well-prepared interested musicians, the rest as
though by a collection of bored, tired sight-readers. I still don't think that
Koopman and Suzuki are worth nine times as much per disc, and there are
problems with Leonhardt/Harnoncourt; so I continue to find all the complete/to
be completed sets unsatisfactory in various ways. Individual performances
seem the better solution.
Rifkin
Of course chamber organs and organ positives
existed. What I meant was, that a certain invented HIP tradition claims, that
the chamber organ (Truhenorgel) has to be used in nearly any of Bachs church
cantata (see Harnoncourt series). Rifkins arguments for cembalo (sometimes two
of them) and continuo strings usage (plus lute/bassoon were appropriate)in
this case is much more convincing in my eyes.
Rifkins series was discontinued, but he has his successors. E.g. the Jeffrey
Thomas Bach Cantata series (Koch records). Lets take an example of it, Vol. VI,
BWV 78-80-140 (quite a good one, only Bott was not in full form) with a scoring
of the b.c. in Rifkins way (Thomas worked with Rifkin): a Violone playing colla
parte with Vcl, Cembalo, Organ, partly also w. bassoon and lute. Reduced, when
suggested by the musical material (e.g., lute and cello only in the soprano
aria of BWV 80). I know that this has been and is, a real battlefield among
Bach enthusiasts
Coin/Ensemble Baroque de Limoges Astree
label (3CDs) All the works feature the
violoncello piccolo, which Christophe Coin himself plays. The choir is Concerto Vocale Leipzig, soloists
Barbara Schlick, Andreas Scholl, Christoph Pregardien, and Gotthold
Schwarz. Scholl
and Pregardien, in particular, are wonderful. The interpretation reminds me of Herreweghe,
but a bit more textured and "earthier". Coin remarks that, "The
choice, for this recording, of a charming little church on the borders of
Saxony and Thuringia was justified chiefly by the presence of an organ by
Silbermann. This instrument, which
still has its stops with their rustic warmth and its original pitch (A =460Hz),
obliges the organist to transpose down a tone (extant copies prove that the
Cantor practiced that during the years he spent in Leipzig)"
In all, the
recordings sound both HIP and old-fashioned at the same time. Highly recommended. Cantatas included are 6, 41, 49, 68, 85,
115, 175, 180, 183, and 199.
Rotzsch
I actually enjoy Rotzsch very much - they are produced
under the Virgin Classics record lablel. Some of the recordings are
excellent (106, 71, 172, 21, 137, 4). Also, they are cheap( $10 a CD).
Darryl
Kuijken' s sacred cantata set on Accent. Probably the
best ever cantata recording.
Good
individual discs
Argenta's newly reissued two discs on Virgin
(including a great 51) the bass/baritone cantatas discs by Kooy, Goerne and Mertens
the alto cantata disc by
Scholl on Harmonia Mundi (his
54 there is far superior to his 54 with Koopman); ,
4: Suzuki. Nothing comes close (have not
heard the latest Junghanel)
8: Herreweghe
21: Herreweghe/Suzuki. Koopman is not in his best here, IMHO.
50:Gardiner, which consists of no more than a magnificent
double chorus .
51: Ziesak
54: Oberlin and
perhaps Van Nes
54, Kirkby,
Stich-Randall, Baird (her remake on Koch)
80 Ein Feste burg – Herreweghe is good here
82: Hotter on EMI for singing only. Really horrible
oboe...
82: Fischer-Dieskau
82: Mertens/Kuijken on Accent for the singing and the oboe playing of
Ponseele. Any cantata recording in which Marcel Ponseele plays the
oboe is often a must even if the singing is not always the best...
84: Ehmann. Although it's generally
recorded as a *minor gem* my favourite Bach Cantata is BWV.84 ('Ich bin
vergnugt mit meinem Gluck'), but *only* in the fifties recording which has
never been reissued on CD with Agnes Giebel in an incredibly *beautiful* and
moving interplay with Helmut Winschermann's oboe with Ehmann conducting. Other
versions of BWV.84 totally lack the magical effect this one has on me.
95: Suzuki. Actually, his vol 11. is probably
one of the best.
106: Koopman 1st, Suzuki 2nd.
Rotzsch
Kantaten BWV 12, 24, 36, 41-43, 51, 57, 65, 57, 65,
67, 72, 73, 79, 92, 95, 103, 106, 111, 117, 119, 131, 137, 138, 144, 177, 179
Johannes-Passion BWV 245 +Orgelwerke:Toccata & Fuge BWV 565
Präludien & Fugen BWV 540 & 545 Giebel, Wagner, Höffgen, Lutze,
Haefliger, Thomanerchor, Gewandhaus-Orchester, Rotzsch
Günther Ramin/Orgel Thomaskirche Leipzig 12cd 130DM 40.5 GBP
Kantaten BWV 1, 4, 10, 14, 21, 26, 29, 31, 36, 40, 50,
61, 66, 68, 71, 79, 80, 106, 110, 119, 134, 137, 140, 172, 173, 173a, 192, 198
Magnificat BWV 243 Auger, Schreier, Adam, Lorenz, Wenkel, Thomanerchor, Neues
Bachisches Collegium Musicum, Gewandhausorchester, Rotzsch 11cd, 130DM 40.5
GBP
ach,Johann Sebastian (1685-1750):
Leusink – 9.99GBP
Vol 1 BWV
16,33,37,42,56,61,72,80,82,97,113,132,133,170.
Vol 2 BWV
22,23,44,54,57,85,86,92,98,111,114,135,155,159,165,167,188.
Vol 3 - BWV
17,35,87,90,99,106,117,123,153,161,168,172,173,199
Vol 4 BWV
13,45,69,81,102,116,130,138,144,149,150,169,196
Vol 5 BWV
6,26,27,46,55,94,96,107,139,115,156,163,164,178,179
Vol 6 BWV
2,3,8,60,62,78,93,103,128,145,151,154,171,185,186,192
Vol 7 BWV
9,36,47,73,91,121,125,110,121,129,152,157,166,184,198
Vol 8 BWV
18,30,40,49,79,84,88,89,100,108,136,140,176,187,194
Gardiner:
DGG Archiv Kantaten
BWV 106,118,198
Kantaten
BWV 11,37,43,128
Huggett:
Virgin
Veritas Kantaten BWV 51,82,199
Virgin
Veritas Kantaten BWV 84,202,209
Virgin
Veritas 2CD Kantaten BWV
51,82,84,199,202,209
Kuijken:
Accent ACC9395D Kantaten
BWV 49,58,82 CD 37.95 DM 11.85GBP 9.99 GFAS
Magnificat
+ BWV 21 Bekummerniss EX!
Herreweghe: Harmonia Mundi www.
Veritas5617212 Kantaten
BWV 39,73,93,105,107,131 2 CD 49.95
DM 15.6 GBP
Kantaten
BWV 39,93,107 CD 39.95 DM
12.5 GBP Ö, x, x
Kantaten
BWV 73,105,131 CD 39.95 DM
12.5 GBP Ö, Ö Ö, Ö
>HMX 2951659 Kantaten BWV 8,125,138 Mit Fried CD 19.95 DM 6.24 GBP Ö, Ö ,
Ö
>HMX 2951328 Kantaten BWV 21 & 42 Bekummerniss CD 23.95 DM 7.5 GBP Ö Ö,
,x
>HMC 901644 Kantaten BWV 35, 54,170. Alto Scholl c-t GramEdCh 7.99 gbp
CDSl Ö ,Ö+, Ö+ 4.99
>HMX 2951365 Kantaten BWV 56,82,158 Bass CD
23.95 DM 7.5 GBP ÖÖ, Ö Ö, Ö
>HMX 2951270 Kantaten BWV 78 & 198 Trauerode CD 19.95 DM 6.24 GBP ÖÖ, Ö
Ö
HMC 901594 Kantaten BWV 57,110,122 (xmas) CD
19.95 DM 6.24 GBP Ö+, Ö , ok 4.99
HMC 901690 Kantaten BWV 29,119,120 Wir danken CD
37.95 DM 11.85GBP Ö+, Ö , Ö+
HMC 901605 Kantaten BWV 36,61,62 advent CD 37.95 DM
11.85GBP ok, Ö , ok
HMC 901326 Magnificat + BWV 80 VG!
HMX 2951479
BACH Ascension Oratorio Schlick, Patriasz, Pregardien, Kooy, Collegium
Vocale/Herreweghe Harmonia Mundi £7.00
HMX 2908070/7
BACH Festive Cantatas Schlick, Rubens, Jezovsek, Wessel, Patriasz,
Connolly, Taylor, Pregardien, Padmore, Kooy, Collegium Vocale/Herreweghe
Harmonia Mundi 4cds £28.00
HMX 951676/78
BACH St Matthew Passion Bostridge, Selig, Rubens, Scholl, Gura,
Henschel, Choir and Orchestra of Collegium Vocale/Herreweghe Harmonia Mundi
3cds + free cd rom £34.50
HMX 2951513
Easter Oratorio Schlick, Wessel, Taylor, Collegium Vocale/Herreweghe
Harmonia Mundi
HMX 2908091.95
Vergnügte Ruh, beliebte Seelenlust BWV 170
Widerstehe doch der Sünden BWV 54
Geist und Seele wird verwirret BWV 35
Ich habe genung BWV 82
Ich will den Kreuzstab gerne tragen BWV 56
Der Friede sei mit dir BWV 158
Ich hatte viel Bekümmernis BWV 21
Am Abend aber desselbigen Sabbats BWV 42
Liebster Gott, wenn werd ich sterben BWV 8
Mit Fried und Freud ich fahr dahin BWV 125
Warum betrübst du dich, mein Herz BWV 138
Trauerode BWV 198
Laß Fürstin, laß noch einen Strahl
Jesu, der du meine Seele BWV 78
Rene
Jacobs
HMC 901273 Kantaten
BWV 35,53,82 alto cantatas Ö,?, ÖÖ
Junghänel Werke
v.Knüpfer, Schelle, Kuhnau Cantus Cölln, Junghänel
HMC 901694 Kantaten BWV 4,12, 106,196, CD 37.95 DM Ö, Ö +, ÖÖ,Ö
Koopman 3CDs at 110DM =34.5GBP
V1 Kantaten BWV 4, 21, 31, 71, 106, 131, 150, 185, 196
Schlick, Wessel, Mey, Mertens, Amsterdam Baroque Orchestra & Choir, Koopman
V2 Kantaten BWV 2, 20, 44, 73, 101, 119, 130, 134,
134a, 180 Stam, Chance, Agnew, Mertens, Amsterdam Baroque Orchestra &
Choir, Koopman
Bach Collegium Japan/Suzuki
7773293 BWV 12,54,162,182
7945234 BWV 163,165,185,199
BISCD Vol?: BWV 18,143,152,155,161
BISCD Vol?: BWV 21 & 31
BISCD 751 Vol?:
BWV 4,150,196 – CDSelections £5.99
BISCD Vol?: BWV 46,95,136,138
BISCD Vol?: BWV 61,63,132,172
BISCD Vol?: BWV 71,106,131
BISCD 901
Vol.8: BMV 22,23,75
BISCD 931 Vol.
9: BMV 24,76,167
BISCD 951
Vol.10; BMV 179, 105 & 186
BISCD 991
Vol.11: BMV 136, 138, 95, 46
BISCD 1031
Vol.12: BWV21, 147
Rilling
BWV 56,82 Fischer-Dieskau,
Bach-Collegium Stuttgart/Rilling CDSelections £5.99
Richter:
MAGNIFICAT IN D MAJOR Maria Stader, Hertha Topper,
Ernst Haefliger, Dietrich Fischer-Dieskau, Munich Bach Chorus & Orchestra
(recorded 1961) Conductor: RICHTER, Karl
DG 439 489-2 (CD) BUDGET
Coupled With: Cantata for the 1st Day of Christmas,
BWV.63; Cantata for the Feast of Epiphany
Cantatas Nos.4, 56 & 82 DF-D Munich
Bach Choir & Orchestra, Richter ARCHIV
427 128-2 (CD)
BWV 67,108,127 Pears CDSelections £4.99
Bruggen:.
Title: CANTATA, BWV.82: 'ICH HABE GENUG' Max Van Egmond (bass), Baroque Ensemble
Conductor: BRÜGGEN, Frans RCA VICTOR GD 71956
(CD) MID-PRICE
Coupled With: Cantata, BWV.56
Bach-Meisterwerke in bedeutenden Aufnahmen
History, ADD, m Rel.Date: 21.8.2000 20 CD, 2970271
Das Wohltemperierte Klavier 1 & 2
Italienisches Konzert BWV 971
Choräle BWV 147, 599, 639, 734 (arr.f.Klavier)
Die Kunst der Fuge BWV 1080 (Orchester-Version)
Partita BWV 825
Goldberg-Variationen BWV 988
Chromatische Fantasie & Fuge BWV 903
Englische Suite BWV 807
Französische Suite BWV 817
Violinsonate BWV 1016
Magnificat BWV 243
Kantaten BWV 82 & 147
MatthäusPassion BWV 244
Lieder & Arien BWV 493, 505, 515, 518
Geistliche Arien aus BWV 12, 68, 81, 112, 232, 244, 245, 248
Toccata & Fuge BWV 565
Präludien & Fugen BWV 534, 541, 545, 548
Fugen BWV 543 & 578
Choralvorspiele BWV 611, 653, 654, 656, 665, 731
Brandenburgische Konzerte Nr.1-6
Cellosuiten BWV 1007-1009
Partiten BWV 1002 & 1006 für Violine solo
Bearbeitungen für Gitarre
Orchestersuiten Nr.2 & 3
Sinfonia aus BWV 249
Violinkonzerte BWV 1041-1043
Cembalokonzerte BWV 1052 & 1055 Casals, Fischer, Landowska, Schweitzer,
Menuhin, Souzay, Lemnitz, Erb, Caratelli, Thomanerchor, Gewandhausorchester,
RO Beromünster, Orchestra Bach Cantata Club, Paris SO, Scherchen, Ramin,
Leitner u.v.a.
39.95 DM. Nr. 49898 12.5GBP !! http://www.zweitausendeins.de/
#BARTOK
Music for Strings,
Percussion, and Celesta
Boulez and the BBC Orchestra more of the mystery of MSPC
Solti 60s.
Reiner
Fricsay
Marriner
Kubelík's
Mercury
Concerto for
Orchestra.
Fricsay, Ferenc Edition Wilhelm Hansen , 1962, p.
74 Introduction
par Yehudi Menuhin. Format: Pappband Gr.-8vo. 74 S
http://www.amazon.co.uk/gp/reader/0521485053/ref=sib_dp_pt/203-0708277-8263145#reader-page
Zoltan Kocsis and the Hungarian National Philharmonic orchestra
on Hungaroton. It will knock your socks off. It is the best
conducted,played,recorded and paprika filled version on disc-hands down. I've
been listening to this work for 40 years and have heard most
of 'em...Reiner,Stoky,Ormandy,Dorati,Szell,Koussy,Lenny,Leinsdorf...but this
one with Kocsis is simply the best.
Stokowski 1961 - CD is much better and it's
interesting to hear principal trumpet Armando Ghitalla early in his career
(Houston).
Koksic trumps all others I've heard-and I own 7 or 8 of
the best. Hear it! If you don't you are not hearing the best.
Berlin Radio
SO/Fricsay.
Cleveland/Dohnanyi on Decca You can get Szell's clarity and vigour
plus the missing mystery and tenderness-and an even better orchestra in better
sound (with no cut)...? (available now
from MHS) with the Cleveland of 20 years later. It is my favorite Cfo after the
Kocis.
Great playing and sound, you hear a lot of detail you don't get in most
other recordings plus a lot of sense for color, drama, as well as the lyrical
side. Pretty groovy playing too. Plus it comes with a nice performance of
Lutoslawski's CfO.
Chicago SO/Reiner found subtleties that everyone else misses. Coming back to the Reiner/CSO recently after many years, I felt its virtues all the more. The playing just seemed stupendous--free and disciplined, expressive and single-minded. The concentration is spellbinding to me, but I admit that once one gets used to it or plays it too often and it starts seeming dry and inevitable. Reiner's account, is well played, but I cannot quite put my finger on it, I feel it lacks any sort of panache to these ears. Quite plain in fact. Quite generic.
Pittsburg SO/Reiner Early recording –
atmospheric
Boulez/NYPO The 'keys' are that there are layers, and that the music is Bartokian. The top layer is exemplified by the Bernstein/NYPO recording. The layer that Boulez reveals with admirable finesse is presented 'in-your-face' by Fricsay. There are several good performances of the top layer, only those two (that I've heard) that adequately reveal the deeper layer.
Dorati with the LSO Dorati takes this point of view – that it’s
essentially Hungarian - and defends it
brilliantly - the Mercury perf (LSO) is admirably "Hungarian" - but I
don't know if you will find it a revelation.
Dorati/Hungarian National Philharmonic – Hungaraton. Very good recording and playing.
Performance rather slick.
Dorati/Concertgebouw Eloquence,
with a stunning MSPC by Ivan Fischer as coupling. I listened to it a few nights
ago, and thought it very good indeed. Some very dramatic playing, but precise
playing as well. Good sound too.
ACO/Dorati, available on Int'l and Aussi Eloquence
Chicago/Boulez – the earlier NYPO is better
Hungarian
Festival Orch/Ivan Fischer
Kubelik/Boston SO w Ozawa Miraculous Mandarin DG Galleria 437
247-2 is
excellent in almost every way...interpretively equal to the feted Reiner.
Solti
Philadelphia Ormandy I have a soft spot
for the great brass choir in the first movement and the virtuosity and wild
dancing of the last movement. I highly recommend it. It also comes coupled with a
very nice Sonata for Two Pianos and Percussion, featuring the Casadesus family
Haitink on a Philips Duo, coupled with the piano concertos (Bishop/Davis) is
preferable – for me - to either Szell or Reiner.
Chailly is excellent - beautifullly played--no more tender than the Reiner, necessarily, but with a great sense of color and modern sound (not that the sound on the Reiner is anything but great). You'll get a different experience from Chailly.
Celibidache - For a uniquely interesting performance, though I wouldn't say he's
the standard.
Arpad Joo's recording on Sefel may provide some new insight into the piece
Blomstedt/SFO is magnetic. OP, but I understand can be ordered
as a one-up transfer. That one had something special going for it that seemed
unique
Tibor Ferenc and the
Hungarian National Philharmonic Orchestra is a very dramatic, hard-edged,
serious minded 'layer one'
performance; an interpretation recommendable for those qualities. Well
recorded too. The CD - IMP Classics PCD 1013 - also contains a good performance
of The Miraculous Mandarin (the suite) and the best recording of the
Kossuth-Symphonic Poem I've heard anywhere. These recordings were made in Budapest in
1988, and I suspect that the orchestra no longer exists, but this was a highly competent
group of musicians. The CfO spotlights them, and they answered the challenge
admirably.
The top layer is amenable to a
'straight' interpretation as a concerto for orchestra, a la Bernstein/NYPO and
Fischer/BFO. The mood is upbeat, the whole thing is sort of a celebration of
orchestral colors. The deeper layer (according to Fricsay and me at least) is
the composer's presentation of a trip to another dimension, one our physical
senses can't get much of a handle on. There are 'presences', and things are
happening, but not much of those things are happening in the three dimensions
our senses are designed to interpret. If
you've taken a couple tokes too many, and don't trust Bartók's implicit
assurance that you'll get home OK, the goings-on can be pretty disturbing. The
last two movements (the downslope of the arch) represent the journey back to
our familiar space. Many folks don't get hooked by that layer in the
Boulez/NYPO recording. If you are one of those, try the Fricsay/BRSO version. I
think he's too obvious about it, but at least you'll know how to catch the hook
when you listen to Boulez/NYPO again. That's my story and I'm sticking to it.
Images
Boulez on DG
Sketches
Boulez on DG
The Wooden Prince
Boulez on DG
The Miraculous Mandarin
Boulez on Sony is very good
Boulez/Chicago Symphony Orchestra on DG. It is coupled
with a recording of "Music for Strings, Percussion, and Celesta".
Antal Dorati. On London with the Detroit SO in a great sounding Digital, or on
Mercury in a much dimmer acoustic from the 1950s. I really like Dorati's
Detroit account, on London. Some of his best Bartok, IMO.
I haven't heard Adam Fischer, but those who have rave
about it and him.
Abbado's (now mid-price on DG Masters) LSO recording
is very good, IMO, [but it's coupled with a lousy Janacek Sinfonietta].
Martinon / Chicago SO,w. Hindemith Nobilissima Visione and Varese Arcana RCA "High
Performance" 24/96 CD's
Dutoit/Montreal complete ballet recording and forget
all the others, you won't need 'em(?)
Divertimento for
Strings 25 minutes
Boulez on DG
Orpheus Chamber Orchestra has a terrific all-Bartok CD
mid-price DG Masters series: 445 541-2 that leads off with the Divertimento. I
recommend this one without reservation.
Kossuth
Two Pictures
Rhapsody for Piano and Orchestra
Two Portraits
posthumous Violin Concerto
w.Roumanian Folk Dances cw Stravinsky;
"Pulcinella" and the "Dumbarton Oaks" concerto.
Dance
Suite
Short, rhythmic, not too dissonant.
Piano Concerto 1
Andras Schiff and Ivan Fischer on Teldec.(Warner mid
price) Fischer betters his earlier recording (with Kocis on Philips) because
his orchestra knows and plays the music better. Schiff certainly rises to the
challenge (like Anda, everything is *there* but nothing is overstated) and
easily surpasses some sluggish performances I heard him give of Bartok Two in
London. The recording is very fine and it makes a point of placing the
percussion right up front for the First Concerto,
Kocsic/Fischer
Anda/Fricsay
Pollini/Abbado I am a big fan of Pollini's #1. Somehow his charging energy just amplifies
the (already) percussive effects, and Abbado and Chicago sound almost demonic.
Bishop bargain Philips
Jando on Naxos.
Bronfman/Salonen
Serkin/Szell (Sony, don't know if it has ever appeared with its original
coupling of Prokofiev 4 on CD)Serkin treats the First like middle period
Beethoven!
Barenboim/Boulez in 1 & 3, from 1970 or
thereabouts.
Piano Concerto 2
Kocsic/Fischer
Pollini/Abbado
I second the virtues of Pollini
in 1 and 2
Anda/Fricsay.
Bishop bargain Philips
Jando on Naxos.
Bronfman/Salonen
Weissenberg/Ormandy (r. 1969 and last seen on RCA Gold Seal) steely –
assertive. It was on CD on BMG/RCA Gold Seal 09026-61396-2, paired with
Rachmaninoff's Pf. con.no.3
Piano Concerto 3
Kocsic/Fischer for its fire and passion. It's a nice complement to the
Anda. Great sound too.
Schiff/Fischer now available on
inexpensive Elatus. wonderful orchestral playing and recording – a beautiful
account of the slow movement. Of the post-Anda complete sets I am most
impressed by Schiff & Fischer. The orchestral playing is better than on
Fischer's earlier (Kocsis) set, as if that recording was a rehearsal for the
more recent one. The production is splendid, great sound and the forward
placement of the percussion in the First Concerto absolutely following Bartok's
instructions in the score (rarely obeyed in concert because they cause a lot of
disruption to the stage).
Sandor/Ormandy - the transfer on Pearl is excellent, as are the
discmates, the Reiner/Pittsburgh Concerto for Orchestra and the Portrait
(what we would now know as
the first movement of the youthful violin concerto) with
Szigeti/Lambert/Philharmonia. As for Geza Anda, Kocsis, Bishop-Kovacevich and the
first Sandor, they are all good, highly recommendable in fact. Even after
hearing 12 versions, Sandor's premiere of the Bartok 3rd concerto w/Ormandy was
a revelation. Ditto Schiff's, only 14
by then. Go for it!
Sandor II is marred by terrible Sony sonics. Pure orchestral
mud, with the piano sounding hysterical.
Katchen/Kertesz Katchen doesn't believe in being louder and
faster than the competition - although he is much faster than Anda and only
slightly slower than Pennario. Nor does he seem to believe that Bartok's PC3 is
written for percussion. In general Katchen's interpretation is natural,
melodious, colourful and so well structured that it is easy to listen to. The general mood is melancholic. Add to all this
Katchen's beautiful tone ...
Anda/Fricsay
Anda/Karajan live performance from Salzburg on DG
Annie Fischer with Fricsay it's coupled with
an absolutely devastating account of the Tchaikovsky 'Pathetigue'. One of my
desert island discs. on Orfeo. For
3, my favorite remains Annie Fischer with Fricsay (live performance). That is
awesome in all respects. I have been a lifelong fan of Bartok's music, and
Annie's performance of PC 3 touches me profoundly every time I hear it
Annie Fischer/Markevich. the perfect
balance between energy and repose I also recommended AF in #3, albeit the studio
recording with Markevich. That one, it
seems, is nla.
Bishop bargain Philips(2 CDs) 438 812
VlnC#2(Szyring),Concerto for Orchestra. w/Haitink+Colin Davis
Jando on Naxos.
Bronfman/Salonen $3
Argerich/Dutoit superb finale in a performance that emphasises the virtuosity of the
work
Barenboim/Boulez
Ogdon PC 3 is superbly
shaped by both soloist and orchestra, but it's also a tad too cold for this
melancholy, heartfelt work.
Lipatti - sound is
definitely historical with 78 swish
Claude Helffer and the Monaco opera orchestra with Bruno Maderna
conducting. The orchestra is crappy, but what a performance!! It has an unique
atmosphere.
Violin Concerto 1
Chung/Solti
Isaac Stern with Bernstein, and NY Philharmonic, currently on Sony SMK
64502
Violin Concerto 2
Szekely/Mengleberg
Chung/Solti
Isaac Stern with Bernstein, and NY Philharmonic,
currently on Sony SMK 64502
Gotkovsky
Perlman.
Szeryng/Haitink
Menuhin recorded it three times, all with Dorati, in '46
(RCA/BMG), '57 (Mercury), and in the '60s (EMI). Furtwaengler, 1953 EMI CDH 769
804 2 (with his 78 recording of the solo
sonata) I believe the CSO has issued a
live performance under Reiner as well
Szekely/Mengelberg Philips "Legendary Classics" CD oop
Gertler/ Ancerl - Supraphon - was on sale at HMV for
6.99
Gitlis/ Horenstein - VOX 10 quids or less including other superb concerto
performances
Zehetmair/Fischer; Berlin Classics Seconded.
Zukerman/ Slatkin
Takezawa/ Tilson Thomas
Sitkovetsky/Pesek
Midori on Sony (BPO/Mehta
Tibor Varga with Fricsay on DG
Cantana Profana
Boulez on DG
Bluebeard's Castle
Ludwig/Berry/Kertesz
Marton/Ramey/Fischer
Sonata for 2 Pianos
and Percussion
Kontarsky brothers
Kocsis & Ranki Hungaroton
Bishop-Argerich on Philips,
Richter-Lobanov on Philips
Chamber recordings on Naxos, played
by Jando, Pauk, Berkes, and the Kodaly Quartet. It includes the two violin
sonatas, Contrasts, the solo violin sonata, the duos for violin, and the piano
quintet. I recommend these three disks very highly.
Quartets
Julliard Quartet recorded the complete string qts three times,
in 1949, 1963 Columbia D3S-717 (LP), and 1981. I don't think the first set has
ever been transfered to CD, but the last two are currently available on CD in
Japan as SRCR1824,5,6 (1963) and SRCR1804,5,6 (1981). The second 60's Julliard breathed this music. The
50's and later Juilliard performances are no substitutes Best in 5 and 6. It is or was
available on French Sony CD's. It has also been released under Sony UK's "Retrospective"
series
Tokyo Quartet 1970 I
don't find the Tokyo set interpretively similar to the Emersons; it is less
aggressive, more flexible, and (esp.) less intent at spotlighting the
virtuosity of the individual players at the expense of the ensemble. I have listened to
both sets of the Bartok quartets as done by the TSQ and I like their second
one on RCA a whole lot better. The DG one the notes just seem to sit
there. The music does not come to life for me at all.
For me the DG is THE desert island set if I could only have one set.
Full of rhythmic sparkle (moments such as the opening of the finale of
the 4th are just so perfectly captured to my ears). As far as the RCA
set, I could never abide Oundijian's whiney tone in any of their
recordings, so whatever their relative merits otherwise, that is just a
stumbling block that I cannot overcome.
Tatrai Quartet on
Hungaroton . It's my favorite recording of the Bartok quartets. Very idiomatic,
exciting but not excessively driven, warm analog sound (the bright digital
sound in the Emerson set bothers me sometimes).Unfortunately, the Tatrai comes
in a 3CD set (with some undistinguished orchestral filler), but it was midprice
($30) when I bought it.
Get the Tatrai set - otherwise you'll be setting yourself up for kicking
yourself later for having lived without them
Takacs - second recording(on Decca)
- full of inner insights and wonderful playing. The *first* Takacs cycle on
Hungaraton is a very different line-up from the more recent Takacs set. There is
a wonderful youthfulness about the set, reminiscent of some of the work that
the young Barenboim and Du Pre did -- the Takacs ensemble had been students
only nine years before recording the Bartoks. To my mind, though they aren't in
the front line of cycles, they contribute a perspective on the music that few
others do. On the other hand I feel that if this was the only version I had, I
would be missing quite a lot of what these quartets are about.
I like the second Tackacs(Decca-London) a great deal, but it is a quite
over the top in places. They are very agressive and almost hysterical.
But it should be in everyone's collection. The first set (Hungaraton) was
recorded some 12 years or more earlier and has a different lineup of players.
The first one is a much more smoothed out performance in general.
Keller Quartet (Erato) best and the
truest Bartok set of quartets reissued as a "two-fer" by WEA I do
recommend the Keller Qt on Erato Ultima Double (ie it's cheap!). It doesn't
strike me as off-the-wall (but then in these works there is so much room, how
do you define off-the-wall?) but very clear-cut rhythmically, with excellent
dynamic range and great control over the tone. Right from the beginning of the
Keller version I was struck by a greater engagement on the part of the players
a real sense of ensemble, excitement in the faster passages, and above all a
Hungarian sound. I would certainly recommend them in preference to Novak
Fine Arts Quartet version
(I sold my LPs when I bought the Hungarian Quartet cycle, though I wonder how
much nostalgia is affecting my memory!) is one I miss.
Hungarian Quartet (DG - The
Originals - 1956?) - lyrical approach. The Hungarians strike me as particularly
good in the last 3 quartets
Vegh Quartet, on Auvidis - wonderful!!! some beautiful playing but lack the
intensity and commitment of the 60's Juilliard. I most often turn to the Vegh (the stereo
remake is good, the HMV mono electrifying) or early Julliard.
Emerson. (If anyone recommends the
Emerson Quartet recordings, disregard any other musical advice they give you.)
I think the Emersons give a preferable account of Bartok. They're not just
virtuosic: they're exciting.
Eder qt. on Teldec - very good.
Talich - The hard-to-locate
Talich Quartet cycle on Collins Classics is also outstanding.
Violin Sonatas
Oistrakh/Richter.
Naxos with Pauk & Jando
2 Violin Sonatas, 2 Rhapsodies, Contrast or Piano
Quintet should be recommended. Naxos
Piano Sonata (1926
Perahia
Kocsis on Philips.
Out
of Doors
Perahia
Piano
music
Bartok Sony Masterworks Portrait Books IV,V,VI of
Mikrokosmos and a
performance of Contrasts with Benny Goodman & Szigeti.
There is the complete piano music set by Kocsis on Philips, and the excellent
Microcosmos and For Children by Ranki on Teldec. Also, a fine recital by Schiff
on Denon. There is also the Hungaroton piano collection played by Bartok
himself. The sound is poor, but his performances are superb.
There is also Sandor's recording of the piano version of the Concerto for
Orchestra, a magnificent performance on CBS (possibly deleted CD).
Sonatina, Out of Doors, Sonata, Microcosmos Books V-VI. Beroff good in some
Bartok playing his own piano music, particularly Book 6 of Mikrokosmos Bartok
was a gifted pianist, and his piano compositions are varied, colorful, and
idiomatic. BTW, his recording of the Beethoven Kreutzer
Sonata (with Szigeti) is one of the best ever.
-Sony's Masterworks portrait (Microkosmos, contrasts)
-ZYX music's "Bela Bartok spielt Bela Bartok"
-EMI classics composers in person (works by Bartok and Dohnanyi)
-Hugaroton's Bartok recordings from private collections (4 cd's where Bartok is
playing a lot of his own work and a magistral performance (fragments) of his
second pianoconcerto) Siegfried
Among the essential recordings are Bartok's own, released on Hungaroton in a
box that could be out of print. If you find it, grab it. Bela was an incredible
pianist and (of course) one of the strongest personalities to ever make piano
recordings. The old recordings of Gyorgy Sandor are very fine; his remakes for
Sony are below that level, but still idiomatic and well-enough played. Kocsis
and Ranki are now the co-reigning kings of Bartok. I do wish Naxos had employed
Jando insted of Szokolay, although the one CD of his I've heard is quite good.
It's just that Jando has more personality (a must in this music).
#BEETHOVEN
SYMPHONIES
Boxed sets
Blomstedt/Staatskapelle
Dresden on
Brilliant Classics--the cheapest of the lot and better than most; an excellent
choice that at www.broinc.com will set you back a whopping $10.Very good
Pastoral, it's a work that suits his relatively spacious, old-fashioned
conception.
Excellent
(a robust orchestra, great sound, always engaging performances)
Gunter
Wand/NDR good value
if you can find it from a European source
Szell before Karajan - brisk, high-energy
version of traditional Beethoven style.
The main problem you might have with it is the sound, which is generally
OK, but not state of the art even for its time (late 1950s and early 1960s).
One of the
great orchestral achievements of the twentieth century.
Klemperer available in an EMI slimline box
with the piano concertos (Barenboim).
Nine discs around $50. 1960s,
but sound very good. These performances
are definitely in the "broad and majestic" camp. I've enjoyed them a lot.
Furtwangler
(an EMI box set,
great performances but very dated mono sound from c. 1950)
Gardiner on Archiv.
Karajan from 1962/1963 very good, but
completely different. While his 1963 cycle may be the best overall, there are
better performances of
individual
works both before and after. For example, he disliked the Sixth and never did
much more than rush through it, but he always offered an excellent Ninth (aside
from his seeming hatred and consequent backward balancing of the chorus in the
finale), and the '77 is superior to the '63. His very last recording of the
Fifth is also better than '63 (more rugged, a touch less timbraly monochrome).
I actively
dislike all of the Berlin recordings of it, but I do *not* find that to be the
case with the Philharmonia recording. It's a bit generalized, but
there are
qualities of warmth and affection, as well as glorious solo playing. OTOH, his
Berlin recordings feature glorious ensemble playing (not even touched by any
other conductor who worked with the Philharmonic after that), while this is not
so in his Philharmonia recordings.
Bruno
Walter/Columbia SO
Berkshire sells this set with "minimal" packaging for an acceptably
low price.
Schmidt-Isserstedt/VPO (if available) for a more spacious
view. Avoid Szell
Schmidt-Isserschedt
is well recorded and played, and unsurpassed singing in 9. I could see how people would like it, even
though I don't.
Brueggen
my favorite HIP
set, http://www.kuijperklassiek.nl/
32.95 Euros plus shipping
Barenboim
on Teldec. It's simply in a class of its own (and IMO has the best 9th I've
heard)!
Horenstein
has been issued in a much better transfer.
Weingartner/VPO
Krips set is
excellent of its kind (Central European - kapellmeisterisch). “Krips is mighty
dull.”
Separate choices
Monteux Get the two Decca twofers with conducting ##1-8
(about $30 for the pair), then Furtwangler’s 9 - 1942
1,2, and 3, Bernstein Sony
5 and 7 Kleiber on DGG,
6 and 8 Vanska on BBC, or Boehm for 6 on DGG,
9 Bernstein on DGG.
No 1+3 NDRSO/Gunter Wand (RCA)
No 2+8 London Classical Players/Roger Norrington (EMI)
No 4+6 Columbia SO/Bruno Walter (Sony)
No 5+7 VPO/Carlos Kleiber (DG)
No 9 BPO/Herbert von Karajan (DG 1977 recording)
1:
Fey/Haenssler, Brueggen/Philips
2: Fey/Haenssler, Bernstein/Sony
3: Scherchen/Westminster, Savall/Astree, Bernstein/Sony, Abendroth/Tahra,
Furtwaengler/WWII/Tahra, Harnoncourt/Teldec
4: Bernstein/Sony, Zinman/Arte Nova
5: Szell/VPO/Orfeo
6: Mengelberg (Mackerras has the best storm)
7: Brueggen/Philips, Bernstein/Sony, Harnoncourt/Teldec
8: Brueggen/Philips, Casals/Sony, Scherchen/Westminster
9: Furtwaengler 1942 (Bernstein/Sony for the scherzo)
3:
Furtwangler (12/8/52 performance)...runners-up would include
Furtwangler (wartime), Klemperer (mono), Scherchen (MCA)
4: Furtwangler (wartime)...followed by Zinman and Brueggen
5: Furtwangler (5/47)....various other Furtwangler, Reiner, Liebowitz
6: Furtwangler (various), Walter, Reiner, Bohm, Scherchen
7: Barenboim/Staatskapelle Berlin, Furtwangler (wartime), Liebowitz,
Toscanini (36 or 39)
8: Scherchen, Toscanini (39)
9: Furtwangler (1942)
1. Brüggen
(Philips).
2. Gardiner (DG)
3. Klemperer (EMI-mono)
4. Furtwängler (M&A-wartime)
5. Kleiber (DG)
6. Böhm (DG)
7. Gardiner (DG)
8. Brüggen (Philips)
9. Gardiner (DG)
Symphony
1
Symphony
2
Reiner on Sony/Columbia Masterworks
Symphony
3 - Eroica
NYPO/Bernstein I know lots of people here like this, and I like a
lot of Bernstein's recordings, but this just does not convince me. I do not hear the excitement that everyone
speaks about.
I prefer
this over the Szell. It's about as
exciting as I can imagine the Eroica being (which is pretty darn
exciting).
Bernstein/VPO (DG).
As with many Berstein/DG recordings, this is a little too slow and
sounds like it is conducted by a feeble man.
Pierre
Monteux/ Concertgebouw Philips 420 853-2
(recorded July, 1962). My favorite "Eroica". It was re-issued 3 times
in CD. First of all on its own in the very first years of CD, in a Philips
Legacy (or similar) series. Then as a part of a huge set with all Monteux's
recordings, and a second time with Schubert's Unfinished. It has been out of
print for many-many years.
I like the
Concertgebouw, but I actively dislike the mannered and comparatively slow VPO
on Decca. "Old fashioned" for
some reason is the description that comes to mind.
Walter Columbia Sym
no one performance can unite Walter's wonderful
singing lines with Scherchen’s excitement. Walter's stereo version captures
best my conception of this admittedly great work, far more than Kemperer's
stereo 61 version. I always reach for Walter rather than Klemp in any
Beethoven. I think Bruno Walter demonstrated you can have both 'lyrical
touches' and 'thunder' in the same performance.
Walter: 1958 (Columbia) is very beautiful but 1957 is
livelier.
Walter NY Phil 1949
Szell late 50s Epic/CBS.- a gripping
performance, one of the best of his cycle. I heartily agree with the Szell
recommendation. From his Beethoven
cycle, I think the 3rd may be the best. Szell is very well played and you
should try to hear it for the amazing horn contributions to the scherzo's trio
and the finale's coda if nothing else. He also explains the shifting rhythmic
scansion of the first movement brilliantly, though it is done at the price of a
slightly slow tempo relative to Beethoven's metronome mark.
The Szell performance *is* much slower than either
Bernstein / New York or Toscanini, and you really *do* want it faster.
The 1957 George Szell Eroica became the benchmark
recording for this symphony, for me, as soon as it was released. The only recording to match it is Levine's
with the Met, though if you can find a private release of Szell's 1970 concert
version--his last performance in Cleveland--you will be one lucky
collector. I was present at the
performance. At the end some gets in an
early bravo. I'd like to think it was
I.
Munch/BSO
Savall/Astree is very
exciting, in part because of the very close recorded sound; head and shoulders
above any HIP competition I've heard. An excellent, wonderful-sounding
performance with very flavorful period instruments. The dull thud of the timpani in the funeral march creates a very
sombre atmosphere. Fleet tempi and lots
of energy.
Reiner/CSO - from 1954 was on
RCA LM1899. Sad to say, it was not
recorded in stereo
Von Matacic/CzechPO from '59 It's out on
Japanese Supraphon.It has been on CD, twice - once on Supraphon, once, in
superior sound, on Urania (the American one, not the Italian one); not sure
whether either is still in print. Von Matacic was a conductor in a not
un-Mitropoulos-like mold, and his Eroica is one of my great favorites. On the evidence of the Von Matacic
recordings that survive, what an odd career he must have had! His repertory included all kinds of offbeat
opera. I think he was a far better conductor than a number of celebrity
maestros including Giulini and Karajan
Matacic's is a rougher, more worldly reading,
certainly less precise than Monteux's, but perhaps a companion with more
character.
Norrington/Haenssler (not his earlier
EMI). The careful attention to
dynamics, superb phrasing, and all-around vigor of the Stuttgart
orchestra are a marvel to hear. Superb in every way; I
didn't think ol' Sir Roger had it in him.
Norrington (2002) has the fastest Funeral March ever,
even faster than Beethoven's marking, which places it beyond the pale of
'greatness' for me.
Sawallisch Concertgebouw
Karajan 1962
Solti 1989
Dohnanyi
Bohm DG
Fricsay some find it very boring!!!
Giulini/LAPO (DG) The Giulini is a very special
performance; by which I mean it's unusual, granitic and broadly-structured, the
sort of slowness one associates with Klemperer and Celibidache.
Jochum/DG in the Original Masters set
Schuricht BPO (1941)
Leibowitz would have been a
contender if he had taken the first-movement repeat.
Klemperer Philharmonia 1955 Mono
Klemperer: Royal Danish Orch (1957, Testament). Avoid the
ones from 1970.
Klemperer 1961 Stereo
– the two EMI recordings are among my favorites
(perhaps the earlier mono is preferable) -- but don't expect more
"excitement" than Bernstein provides. Klemperer's mono Philharmonia
recording is like a map of the harmony and his steady speeds allow string playing
- especially cellos and double basses - of phenominal insight and detail.
Believe me, you can hear the difference when the double basses know the
harmonic implication of their lines! BTW this was recorded in the days just
after Karajan performed the Eroica with the same orchestra, which might have
something to do with the polish of the execution. Whatever one thinks of him,
there's no doubt that Walter Legge was a very canny guy; the idea of an Eroica
rehearsed by Karajan but recorded by Klemperer is audacious!
The two Klemperer Eroicas I have on EMI were recorded
in 1955 Legacy series (dated 57) and 1959 The P date of the second Eroica is
1961. The second is the only one released in stereo. The mono was recorded at
the same time as the first Klemperer studio recording of the 7th which was
recorded in experimental stereo and has been released in both mono and stereo
formats in the CD era. Beethoven 3 (??) -- Kingsway, 3-4 Oct 55 and 17 Dec 55
Beethoven 7 (experimental stereo) -- Kingsway, 5-6 Oct 55 and 17 Dec 55. in the
same Legacy" series is LvB's Symphonies 4 and 7. Alas, not in the same
league. These recordings were made in 1957 and 1955.
De
Sabata. The finest
performance of the Eroica I know is by the London Philharmonic under Vittorio
de Sabata. It was recorded by English Decca in the late 40's. And while it
lacks some of the speed and whiplash of my previous favorite: Erich Kleiber
with the VPO, it has an awesome majesty to it and incredible tension from
beginning to end, without ever seeming the least bit slow.
I adore Vittorio de Sabata but I am not quite
convinced by his Eroica. Many times extremely insightful detail, but also a lot
of pure dragging to
my ears. Funnily enough, I hear no such thing in de
Sabata's sublime recording of Verdi's Requiem, where others do.
Erich Kleiber/Concertgebouw (Decca) . I
think the Amsterdam is a little better played and, as a recent Decca
"Legends", easier to find.
Erich Kleiber/Vienna Phil (Decca) Eric Klieber's early 1950s Vienna and
Concertgebouw recordings are both very good all-rounders. Kleiber: Vienna
(1955), unless you hate the repeat in I, in which case Concertgebouw (1950).
Furtwangler 1944
recording with the VP Testament or Tahra. The Tahra reissue (in FURT 1034/39)
is said to be correctly pitched. I know that it is about 2% slower than
Bayer's. I didn't like the Eroica very much until I heard excerpts of the
Furtwängler wartime recording (VPO Dec. 1944). It became my favorite symphony
afterwards! The funeral march in this recording is absolutely fantastic! Check
out the thrilling performance by Furtwaengler and the Berlin Philharmonic made
in Dec. 1944. It's now available on a
Tahra CD.
Furtwangler 1952 If I had to pick one Erocia, it would be the
Furtwangler from 12/8/52, if I have to choose one: Furt 1952
Toscanini1939 is in his earlier
style. That is, meaning with greater freedom of line. More rubato, more
breathing. That is the one on
Naxos. It was also on the RCA Toscanini edition and
Relief, Nuovo Era etc. Toscanini, reportedly, blushed when he heard a recording
of this
concert. I do cherish the 1939
"Eroica," especially in its last incarnation in the "Toscanini
Edition," taken not from the published 78s but from NBC's transcription
discs
Toscanini 1949 - Try hearing his 1949 recording of
the "Eroica," made in Carnegie Hall, not Studio 8H. The older
"Toscanini Collection" set contained 1949, but this set may be
deleted by now, and the separate 1953 Eroica on Gold Seal may also be deleted.
The last time I heard the 1949, it seemed to me the finest of AT's official
three recordings.
Toscanini 1953 - 6 December The
1953 was also made in Carnegie, but with an audience. The current "The
Immortal" set contains the Eroica.
I wish there was an Eroica in half-decent sound so that one could judge how
accurate the RCA sound was in reproducing what T was conducting.
Richard Taruskin performed a useful experiment,
comparing the tempi chosen at five key places in the fast section of the first
movement of Beethoven's first symphony, for which Beethoven set the (initial) tempo
at half note = 112, in six "literalist" interpretations
(Toscanini/BBC, Toscanini/NBC, Karajan 1961, Leibowitz, Hanover Band and
Hogwood. Toscanini/BBC starts at 104, jumps to 112 at the "bridge",
drops back to 104 at the second theme, slows to 99 at the cello theme, and
jumps to 109 at the development. Toscanini/NBC is
similar: 107, 111, 103, 98, 111 -- each time a variation of 13, i.e., more than
10% overall (a wider variation than Karajan, Leibowitz or the Hanover Band).
(Of course, Mengelberg's range in the thrilling performance issued by Philips
is wider -- a difference of over 30 points -- and, interestingly, he starts
faster than Beethoven asks for (115) and at one point greatly exceeds it (123
at the development).) If you want to read more on this (to me rather
interesting) subject, look at Taruskin's Text and Act, Chapter 8.
Toscanini, particularly in his later years (and 1939 already counts as his
"later years"), seemed to favor tempo fluctuations that were
extremely subtle and took place over a longer span than with some other
conductors, or which applied to sections rather than individual phrases. In the
second movement of the Eroica, he would ease the tempo just slightly as it
shifted into the major, to heighten the sense of relaxation and brightening of
mood, then resume a slightly faster pace when the section ended, to
re-emphasize the tension, and then adding an ever-so-slight quickening of the
tempo as the fugato section proceeded, to heighten the drama and sense of
approaching climax. And in the second movement of Beethoven's 5th, in his 1952
performance, one of the least inflected of his available recordings of it, I
sometimes thought that there was no tempo change at all. But listening closely,
at the very end, for example, I once again heard the tiniest easing of tempo as
the movement drew to a close, so subtle that I wouldn't hear it without
specifically listening for it, but yet would still feel it as a change in the
mood of the music when I wasn't listening analytically.
In performances as tightly knit as Toscanini's often are, more subtle
adjustments often carry the same weight as grosser adjustments do in
performances where there are frequent changes; and if the tempo is always
changing, within and across phrases, those changes sometimes almost lose their
impact altogether through the lack of a strong reference tempo which can
adequately establish a basic psychological and "felt" sense of
pacing.
The type of performance style you mention I do in fact hear in Toscanini's 1953
live performance of Wagner's "Siegfried's Death and Funeral Music"
(and in some of his Strauss "Tod und Verklarung"
performances)—constantly changing tempo, sometimes even within the phrase. But
those are very different styles of music than Beethoven, and it suggests that
while Toscanini's style was in general quite a bit less inflected in his later
years, he did not really eschew any particular style at all, except with
reference to particular compositional styles in which he thought it
inappropriate. Bill
Scherchen 1958.( Avoid 1951) Westminster - Beethoven
Symphonies 3 & 6 DG it is ADD. If you don't think Bernstein/NYP is exciting
and if Toscanini is too slow, I'm not sure what one can say. Maybe Scherchen's super fleet first movement
will do it for you. Only one Eroica "does it" for me: Scherchen's
stereo recording on MCA or Westminster.
The first movement is even faster than Gardiner's, but it manages to
combine sheer speed with a sense of wildness and untamed abandon which I have
not heard before.
Before you head for the frantic near-train-wreck of
Scherchen's stereo VSOO recording, I would give Szell a try.
Scherchen/Westminster (the stereo version) is my
favourite. Mr. Hermann's Wild
Ride. A performance that throws caution
to the wind.
Mengelberg His 1930 NYPSO
recording (Biddulph) appears to be the first to include the first movement
repeat. There are so many things in
this recording to enjoy, when he and Toscanini were really not so far apart.
His 1938 recording (Tahra) seems more monumental by
comparison. Easily a first choice if it were available in better sound.
I am not so fond of his Telefunken recording (the one
that was used as replacement for his 1940 live cycle), during which he seems
inhibited. How do people feel about his incomplete recording from the 1940
cycle on Tahra?
Mengelberg:
Frustrating: 1930 has the repeat in I, but is a bit too slow for that; 1940
(studio) leaves out the repeats in III; 5 March 1942 isn't as lively; and 6 May
1943 has bad sound.
Fried I
believe it has the fastest scherzo of all.
He made it fit onto a single 78-rpm side!
All but two commercial recordings before 1945 fit the
scherzo on one side: they cut one or both repeats. The first uncut recording
was Mengelberg (1930), which took 2 sides. After that came Koussevitzky (1934),
which fit on one side but is correspondingly the fastest on disc (a record not
worth breaking). The practice of cutting those repeats was dropped after the
war, with a few exceptions: Walter (1941 and 1949), Scherchen (1951), and Munch
(1957).
Symphony
4
Knappertsbusch’s mono Beethoven #4
on Decca Legends CD c/w the PC5 with Curzon has been one of my favorites for
almost 50 years
Monteux
Symphony
5
Carlos Kleiber For an unbelievably intense first
movement (that takes the repeat!) Carlos Kleiber's famous DG recording is
pretty hard to beat, IMO. The VPO play like their lives depended on it. This is
probably one of the more memorable recordings made in a while.
Reiner/ RCA for an unbelievably intense
fourth movement that unfortunately does not take the repeat + features some
incredible trumpet playing from Adolph "Bud" Herseth
Toscanini/New York Philharmonic-Symphony 1933
Toscanini/NBC Symphony 1939 (live)
Toscanini/NBC Symphony 1939 (studio)
Karajan. Definately the best.
Leinsdorf/Boston SO
Symphony 6 - Pastoral
Schmidt-Isserstedt/VPO on Decca.
Cluytens/BPO The Cluytens has much of the beauty and serenity
of the Walter, but his storm has more weight and fury.
Bohm/VPO
Walter/ColSO on Sony. The
Walter is "bucolic" to the nth degree, with glowing, lyrical playing
throughout. The one problem - and it keeps this recording from being my
favorite - is the underpowered storm.
Monteux/VPO London/Decca "DoubleDecker" with
1, 3, & 8
Klemperer/Philh. (slow 3rd movement)
Reiner
Harnoncourt's Pastoral is very good - I didn't keep
Harnoncourt's set, and that's the recording I miss most from it
Steinberg/Pittsburg - There were two LP recordings of
the "Pastoral" by Steinberg and the Pittsburgh SO: a mono recording
for Capitol (reissued on CD: EMI Classics CDM 7243 5 66553 2 4, paired with the
Fifth symphony) and a stereophonic one for Command (Command 11033SD).
Steinberg's recordings were always impressive
Bernstein/VPO on DGG
Zinman - You might want to charm the airily graceful
and swift Zinman on Arte Nova
Mackerras on Eminence (if nothing else, it has the
most thrilling storm on records, beating even Reiner and Bernstein II).
Karajan - The only conductor who seems to get the
tempo close to right in the second movement is Karajan, though I don't think he
otherwise does what you want (how anyone can look at the tempo directions
Beethoven gives, or have encountered a brook -- as opposed to, say, the
Mississippi on a hot, humid evening -- and come up with the tempo that's
usually conjured up for that movement I can't understand; urbanites' fake
nostalgia?).
Furtwaengler/EMI
Schalk/EMI
Mengleberg/Conc. '38
de Sabata (now on Naxos),
Weingartner (1938)
Leibowitz (with Royal Philharmonic, very relaxed
indeed).
Symphony
7
Symphony
8
Symphony
9
PIANO CONCERTI
I enjoy Fleischer/Szell on Sony. Fleisher's
interpretation is both valid and very effective - once you accept his premises;
Szell's 'warmth and poetry' is an excellent foil. Strong interpretations,
though some disagree on the strength of the pianism.
I enjoy Kempff/Leitner on DG (I only have them on LPs). Gentler.
I sort of miss the Katchen/Gamba set. More
flamboyant on all counts (Australian Decca)
The best bargain is Kovacevich/Philips (it might be my first choice,
period); in addition I wouldn't want to be without Kovacevich/EMI (faster,
chamber-scale performances),
Schiff/Haitink (the best conducted
of any, probably, with stunningly good playing by Dresden; Schiff's playing,
you should be warned, is not nearly as extrovert as Beethoven usually receives,
but imaginative and interesting none the less)
Gould (especially in 1, 2 and 4) has some strong
performances
By far my favorite Gilels performances of this
music are the much livelier - if less polished - live performances with the
Czech PO cond. Sanderling from the late 1950s, available in tolerable mono via
Multisonic (and one or two other labels). Gilels/Ludwig is truly beautiful but
a bit too refined to make the absolute top of my list.
Solomon, whom I find very appealing, and post-war
Gieseking cycles offer some positive straight-ahead performances, though in
some cases conductors are changed midstream. The quirky live
Michelangeli/Giulini have some wonderful moments as long as you don't have to
look at ABM's grimaces (these were recorded on video as well as audio), but
he's best heard in LvB concerti, IMO, in earlier radio and/or concert
performances in (alas) poorer sound on lesser-known labels. Schnabel/Sargent
(though I've never really been totally sold on their Emperor)
Piano Concerto 1
Richter/RCA/Munch, not
Richter/Eschenbach which is also RCA.
Vogt/EMI,
Schiff/Teldec,
Michelangeli/DG
Gould
Schnabel
Lupu
Kempff/Van Kempen/BPO (DG)
Piano Concerto 2
Argerich/London Sinfonietta Denon/BMG/Ricordi
or EMI (CDM763575). is a better performance than the one with
Sinopoli/Philharmonia. The former, to
these ears, is riskier (successfully) and gritty. The orchestra seems more responsive. The Sinopoli, OTOH, while quite pleasant, appears to me to be
more homoginized and measured. The
former makes me want more; the latter leaves me as "OK, that was
nice." I think the BMG/Ricordi has a lot more fire and passion, which
works great in this work. The Haydn coupling is wonderful too. This is one of my favorite discs!
The EMI/Ricordi/Denon is better recorded (none of the
aural fog DG was so fond of adding back then) and more crisply conducted/played
- the London Sinfonietta sounds somewhat more like a chamber orchestra (which,
presumably, it was). You might want to check any French online sources, as the
London Sinfonietta disc somehow made it into a RCA-twofer with some added
chamber music and solo piano performances.
Gould/Leningrad is a real corker!
Schiff/Teldec
Pletnev/TDK DVD
Lupu
Kempff/Van Kempen/BPO (DG)
Piano Concerto 3
Annie Fischer/Fricsay. DG Nobody outdoes
'em--the closest thing to a "definitive" version It's in the
historical box in DG's Beethoven Edition.
Richter/Sanderling with the VSO, on DG.
Kovacevich/Philips
Rubinstein/Toscanini
A Fischer/DG
Gilels/Szell (the best of that set)
Haskil/Markevitch (Philips)
Solomon Naxos
Piano Concerto 4
Fleischer/Szell still takes top
honors, for me. I won't use the "definitive" descriptor, but I do
love this version
Gilels/Ludwig (or/Szell, or/Sanderling
Musonic) NB French EMI, complete Gilels EMI set /Vandernoot /Cluytens with the
triple concerto (Oborin/Oistrakh/Knushevsky/Sargent), VC(Oistrakh/Cluytens)
romances (Milstein). Also Philips GPC w.Mozart 27 Boehm/VPO(dull) Bach French
Suite No. 2, Bach/Busoni Prelude and Fugue in D, and various Debussy, Ravel,
and Weber items
Moravec/Turnovsky VAI or
Moravec-Ancerl on Praga.
Pollini/Boehm
Schnabel/Sargent, (Arabesque, GPC
probably Naxos now or soon)
Schnabel with the CSO under Frederick Stock; both are
good, particularly the former, but not, for me, in the Gilels class /Stock
w.PC5
Gulda/Stein
Perahia/Haitink on Sony
Rubinstein /Beecham the best, but /Leinsdorf or /Krips
will do in a pinch, and of course they sound better. /live Mitropoulos I find
the best of his six, but mediocre sound
Serkin/Ormandy
Bishop-Davis (Philips)
Claudio
Arrau/Bernard Haitink (stereo, easily available)
Arrau-Galliera (EMI, so-so sound).or/Haitink
Bakhaus/Clemens Krauss
Backaus/ (video w.Bohm)
Backhaus/Knappertsbusch/VPO (TDK DVD)
Yudina/Sanderling
Casadesus/Van Beinum
Casadesus/Mitropoulos
Kempff/Kempen (50s)
Barenboim/Klemperer (a total must hear)
Lupu
Hofmann (not sure which one),
E.
Fischer/Jochum
Levin/Gardiner (Archiv): HIP
Hansen
Michelangeli.
Belgrade, 70s (?was it really ABM?)
Piano
Concerto 5
Fleisher/Sony
Fischer/Furtwängler
Backhaus in stereo with Schmidt-Isserstedt or mono with
Krauss
Michelangeli.
The finest among ABM's 6 or 7 performances is the Helsinki live recording from May
1969 with the Swedish Radio Symphony Orchestra under Celibidache. For an
exciting, riveting performance by both orchestra and pianist, the ABM to have
is on Praga with Smetacek and the Prague Symphony Orchestra. It'll pull you to
the edge of your seat. Also included is ABM's spectacular Chopin Sonata 2.
Horowitz/Reiner.
Casadesus/Mitropoulos/NYPO (Sony France)
Kovacevich/Philips
Grimaud/Teldec
Perahia/Sony
Gieseking/various (the intense wartime
Gieseking/Rother with anti-aircraft obbligato!)
Cor de Groot/Willem
Mengelberg, available [even more easily available alternate
Fischer/Furtwangler]
A.Fischer 3 is available in the Beethoven box of the complete edition,
historical recordings, from DGG:
Beethoven, Ludwig van (1770-1827) Complete Beethoven
Edition Vol. 20 "Historische Aufnahmen"
Symphonie Nr.3 (Berlin PO,Schuricht);
Symphonie Nr.5 (Berlin PO,Nikisch);
Symphonie Nr.7 (Berlin PO,Fricsay); Stereo
Symphonie Nr.9 (Lindberg-Torlind, Jena,Sjöberg,Danish
RSO,Busch);
Klavierkonzert Nr.3 (A.Fischer,Bayr.RSO,Fricsay);
Klavierkonzert Nr.5 (Kempff,Berlin PO,Raabe);
Violinkonzert op.61 (Wolfsthal,Berlin PO,Gurlitt);
LeonorenOuvertüre Nr.2 (Dän.RSO,Busch);Leonoren-Ouvertüre Nr.3
(Staatsopernorch.Berlin,Klemperer);
Coriolan-Ouvertüre & Egmont-Ouvertüre (Berlin PO,Furtwängler);
Violinsonaten Nr.5 (Schneiderhan,Kempff) & Nr.9
(Kulenkampff,Kempff);
Rondo a capriccio "Die Wut über den verlorenen
Groschen" (Kempff);
5 Lieder (Schlusnus,Rupp, Peschko)
+Mozart:Klavierkonzert Nr.20 (mit Kadenzen von Beethoven) (Richter,Warschau
PO,Wislocki)
*** Original-Image-Bit-Processing *** 6 CDs EUR
71,99
Violin
Concerto
Szigeti/Walter
Stern/Bernstein
Menuhin/Furtwangler
Milstein/Steinberg mono
Perlman is very slow.
STRING QUARTETS
All
Juilliard Quartet on Sony (the silver box), which
isn't expensive either
Alban Berg Quartet
Talich Quartet – liked them in op. 18 very much, but I
was disappointed with the late quartets. They seemed sometimes not very
imaginative, and most of the time a bit reserved and
tame. Not bad, but those pieces must sound like lightning, thunder and
earthquake
for me.
Musikverein/Platz or the Melos/DG
Budapest(Bridge)
Smetana (Denon).
Busch
Vegh Quartet
Cleveland
Lasalle
Early
Quatuor Turner/Harmonia Mundi; Wonderful!
HIP
Budapest (Bridge) Lean, muscular, but highly poetic
performances in very decent mono sound.
Juilliard (Sony) 60's set of all 16, cheap from
European sources (about $40), and contains the best non-HIP Op. 18 that I've
heard.
Alban Berg on EMI whose Op 18 is one of their best
efforts, two single discs at about 5
pounds each (EMI 5732672 and 5732652) or the complete quartets for around 17
pounds
Italiano
Smetana (Denon).
Emerson
Turner
Lener
Fine Arts
Quartet Kodaly on Naxos
Cleveland on Telarc
Tokyo on RCA
Guarneri on RCA
Lindsays on ASV, but leader has tuning issues
Mid
Berg/EMI or Melos or Emerson SR
Budapest(Bridge) x 2
Smetana (Denon).x2
Amadeus
Late
Melos
Italiano/Budapest(Bridge)
Smetana (Denon).but 127, 131, and 132 in Supraphon's
50th Anniversary Smetana Quartet set.
Smetana (Denon)
Busch x 2
Budapest Library of Congress Live
Budapest (esp. Op. 130), Juilliard (esp. Op. 133),
Yale.
Juilliard's RCA recordings of Opera 95, 131, 132, 135; Juilliard's
Epic/Columbia Middle and Late Quartets (as opposed to the Library of Congress
live set); and the Yale's 127 and 131
“For op 18, I've got Turner. For 59, Takacs. For late,
Budapest (LoC), Busch, FAQ, Juilliard (that recent Sony cheapo box of live
recs), and Yale. And for complete I've got ABQ, Hungarian (stereo), Vegh
(ditto). So do I really need more?! I know EUR 34 isn't much to spend for the
new Juillard set (and I'm in the UK so shipping isn't an issue), but shelf
space is getting tight ...”
General sets
I should say
here that I like intensity and drama and all that a lot - but don't necessarily
want unrelentingly fiery and dramatic in all these works. I seem to go
for some fairly disparate styles even in the same piece - not because they all
offer an ideal total package, but because they have something to say about
parts of the pieces. (Hardest quartets for me to find the kind of performances
I like: Op. 135, Op. 130. My ideal would be playful, a bit mercureal,
with good balance and warm sound. And appropriately emotionally gripping and
coherent. It's tough - hopeless? - to find it all in one.) Lena
Budapest Quartet
I've never heard any of the early live Budapest Quartet material that's out
there because I've found their commercial recordings from the 50's comparatively
disappointing, but everybody says the early live stuff is much better.
1) 1920s Op. 130 the 1927-28
version with Hauser, Pogany, Roisman, Ipolyi, and Son, is on Biddolph LAB 159
Coupled with the first "Rasumovsky" and the GF Put this CD alongside
the Calvet and Lenar versions, and you'll have a good sense of what Beethoven
Quartet playing was like in the first third of the century. Then put on
the Rosé version for a totally different (and IMO much better) musical
experience.
2) 1930s
Op. 130 the '30s
EMI, performed by the group comprised of Roisman, Schneider, Ipolyi, and
Schneider. The is the Budapest's finest performance on record, regardless
of personnel (although I have to admit that the 1960 LC recording, which is
accompanied by a stupendous Great Fugue, is growing on me).. The Ward
Marston transfer of the EMI op. 130 was released on Odyssey LP, but afaik it
has not been reissued on CD. This one of Op.130 is one of the greatest
recordings of anything I've ever heard...
3) 1940s The Masterworks Heritage
sets date from the 1940s, mostly with (as in the stereo set) Roisman, Kroyt and
the Schneiders, although I believe one or two performances from set of earlier
quartets were made with Edgar Ortenberg as second violinist.
4) 1950s Library of Congress
Masterworks Portrait Op. 18 derives from the 1950s Library of Congress integral
cycle, when Gorodetzky was second violinist. TMK, there have been no other CD
releases of Beethoven from this series to date
5) 1960s
Stereo The MP disc
of Opp. 74/95/133 and the two Essential Classics discs with Op. 59 (duplicating
74) derive from the stereo cycle, after Alexander Schneider had returned as
second violinist. SBK 46545 (Opp. 59.1 & 2) & SBK 47665 (Opp.59.3, 74
and, very oddly, 133). The recordings appear to be from 1960 & 1962.
Budapest is my favorite, but the set I love so much isn't on CD (and may never
be), their last set, in stereo, for Columbia. I have the LPs and I feel there's
nothing quite like them. If you're CD-only, the earlier Budapest cycle (which lacks
op. 130) is on a pair of 2CD sets from Sony, brilliantly remastered (from 78s).
Those are available from Berkshire Record Outlet. Get 'em! or get (I mean AND
get):
Masterwork's
Heritage - which I find monochrome tonally and dramatically. I haven't heard
your CD, but reliable reports claim that the Sony Budapest is drier than the
live LC/Bridge recording. I've avoided getting it because even the
Budapest I like a lot can be a bit dry. Unlike Alan, I like Op. 130+133 best on
the Bridge set, but I've heard no other Budapest versions. It would
probably be most correct to say that while the Budapest is a "lean"
quartet in general, the style can vary on this set (from an underinflected Op.
132, which I don't like, to a spontaneous and even transporting Op. 130+133).
> They are too happy to offer repetition and variation with no difference in each presentation.
This really isn't so at least in the parts I listen to consistently on this set
(though you may still not like them). They don't go for the Orford or
Fine Arts kind of varied (and delightful) phrasing, but in Op. 130/i, they give
a very good sense of the overall evolution of the movement - by varying things
appropriately. (E.g. analogous forte
passages are done differently to fit with the different places they occupy in
the movement; the intervening Adagio segments all have a slightly different
character, sequences are always done so they lead
somewhere, etc.)
Basically,
the Budapest's is a decisive, unwhiny, upbeat style with lots of momentum (some
people like that :) ), and their movements hang together quite well.
However, I don't think their lyricism ever goes for the "spiritual"
or emotionally gripping, so their slow movements can sound a bit
superficial. The Budapest is not flawless here (or that well recorded)
and occasionally sounds scrappy. (But the intonation for instance is
pretty good, considering - I've heard tons of more than suspect patches from
many good newer quartets in these!)
Busch Quartet
Busch
Quartet Masterworks Portrait I like very much
I like the Busch for their line (and because their movements make sense), and
for their lyricism and even liveliness. But I don't think that the Busch
Op. 130/i (at least the one on Pearl) is more varied than the
Budapest/Bridge. (The Busch goes here for a rather uniform, low-key style
- appealing, though I prefer more contrasts.)
Smetana
Quartet
Smetana Qt. SU 0074-2 112 is two CDs; The dates noted thereon are:
1/23-28 1967 for Op 132; 9/29-10/6
1965 for Op 133; 4/4-7 1961 for Op 127; and 6/15-29 1970 for Op 131. Denon GF
(1982 recording) is 14:43. The one on the Supraphon CD(s) is 15:46. So I guess
the LP GF is the longest of the three?
BTW, that
early-60s recording of op 127 I feel is one of the half-dozen greatest recordings
ever made of a late Beethoven quartet. Yes, if it is just ONE early 60s
recording. Given that the GF is a different performance, it is entirely
possible that the Op.127 is as well. The GF on the LP is also amazing.
I also have
a 60s vintage Smetana recording on Westminster with Op.18-4 and
Op.59-3. These are definitely different than other performances of the
works by the Smetana that I've heard. Op.59-3 is generally slower and
different phrased.
No.15
Op.132, No.12 Op.127, No.14 Op.131, GROSSE FUGE Op.133 / (Novak, Kostecky,
Skampa, Kohout) Supraphon: SU00742112 @499 CZK (8.3 GBP)
Well worth
investigating are the Smetana quartet recordings from the 1960's. I've got Op. 127, Op. 131, Op. 132, and the
Grosse Fuge on Supraphon SU 0074-2 112.
This may be the wildest performance of the big fugue ever.
My first
recommendations are the Smetana Quartet's recordings from the sixties (big
Supraphon box, inexplicably missing Op. 130),
together
with their later recordings (there is a superior Op. 130 in that set);
Vegh Quartet
First, while I share misgivings with the Vegh Quartet, there are many slow
movements which they probably interpret better than any other quartet, at least
in stereo, conveying a hushed, "inner" quality that eludes most other
groups.
While I wouldn't call them "benchmarks," I think that they are
wonderful performances. The Veghs have that rare ability to draw the listener
into this very difficult music; if you want a sample, try their op. 130--the
Presto has sly wit, the Danza Tedesca has a charming lilt, and the Cavatina is
heartbreakingly beautiful. As for Sandor Vegh's breathing, I don't think I ever
noticed it;
Juilliard
Quartet
a) Perhaps best are the handful of Beethoven recordings the Juilliard made in
the late 50's and early 60's for RCA with the immortal lineup of Mann, Cohen,
Hillyer, and Adam (Op. 95, Op. 131, Op. 132, Op. 135), but there's virtually no
chance of them turning up on CD, although the Japanese have reissued their RCA
recordings of Berg's Lyric Suite, Webern's Five Pieces, Webern's Bagatelles,
and the Debussy and Ravel quartets.
b) The 8-CD
set is the cycle that was gradually accreted between 1964 and 1970 featuring
the lineup:
Robert Mann
Isidore
Cohen/Earl Carlyss
Raphael
Hillyer/Samuel Rhodes
Claus Adam
c) The set
released in three batches, early, middle, and late, is a series of live
recordings recorded at the Library of Congress in the early 1980's and
featuring the lineup:
Robert Mann
Joel
Smirnoff
Samuel
Rhodes
Joel
Krosnick
I own both cycles
minus the live early quartets. I
recommend the earlier set.
Juilliard
1996 disc, which I like very much indeed. (Is there any way of getting their
1980s cycle on CD these days? The (live) Juilliard 80's cycle is available, and
has my so far favorite Grosse Fuge in it, among other things. This Juilliard
cycle does generally a great job with details and voicing (the clarity of
separate voices is very good). They're not as emotionally intense and
sharply contrasted as the earlier Juilliard - this version is lighter, but
still has intensity and expression. Unfortunately, perhaps because of the
concentration on details, or
because it's live, some movements seem to lack overall backbone, though the
Juilliard is very good at that generally, but a lot works very well. An
excellent Op. 131 (one of my favorites) and others. Without qualifying: I like
the Juilliard a lot. The sound is not beautiful as such, it's fairly uniformly
plaintive, sharp, or a bit harsh, or with a slackish vibrato. But even though I
often prefer a warmer sound this is a very rewarding quartet.
The older
Juilliard is uniquely emotional and intense, but it's hard to find - and
actually I sometimes find the occasional movement, like Heiliger Dankg., builds
better in the 80's set...)
If you haven't got them already, I recommend you pick up the set of the
complete Beethoven quartets recorded by the Juilliard Quartet between 1964 and
1970 recently reissued by Sony (and available inexpensively if you shop around
Why the
Julliard recordings of Beethoven (any vintage) is a recommendation is beyond my
comprehension. I gave away the free promos of these almost 30 years ago.
Americans seem to have some inbred allegiance to them.
I like the
Juilliard but find none of their cycles of really memorable quality. The same
goes for the Hollywood. I dislike the recordings by
the
Lindsay, Melos, Cleveland and Guarneri.I am relatively indifferent to the famed
Hungarian Quartet.
I recently
bought from Berkshire and then dumped the mid-'60s Sony Juilliard-Beethoven set, having been
appalled and bewildered by the first
movement of Op. 127 in particular. What
struck me there, and this seems a consistent trait of that edition of the Juilliard,
is that Robert Mann's wiry, all-purpose, "modern music"
muscularity totally dominates the
proceedings, not only in terms of sonic balance but also because apparently no
one else in the ensemble (to the degree that you can hear them; Claus Adam
sounds like he's in the next room playing a cigar box strung with rubber bands
) got a vote as to how a phrase should go. These are string QUARTETS, no?
I think
that it's terrific; the early quartets are about the best non-Turner set I've
heard, and the middle ones are just as good.
I'd recommend this set without reservation.
Fine Arts Quartet
The Fine Arts has a gorgeous, warm sound, and they have varied phrasing, long
melodic lines, can occasionally be quite intense, with excellent balance.
But I find them at times more relaxed than ideal, contrasts can be smoothed a
little in favor of a long line (but never as much as Busch generally does) and
they can be a bit sluggish – not slow, but the phrasing isn't always
snappy. They're very different from the Budapest - but they're
beautiful. Sometimes all that works well with the piece, sometimes less
well. Their Op. 132 has plenty of intensity without being
super-anguished. Op. 127 is also good. (131 didn't strike me as
quite as good as the Yale's or Juilliard's, 135 is good but slightly sluggish,
130 I haven't listened to recently.)
Said it
once, but feel compelled to reaffirm great love of the FA which have been with
me for thirty years as many others have come and gone. To add a bit to
what has been said, the FA made a number of first-rate recordings beyond
Beethoven, including a great Trout Quintet with Frank Glazer released a few
years back on Boston Skyline. Their Bartok set, their Mozart
"Haydn" quartets – Vox - their incomplete Mendelssohn set, and single
disks of Brahms and Haydn are all recordings I treasure and go back to.
I also have enjoyed the Fine Arts a great deal.
A somewhat different style--somewhat moodier and darker--but excellent also
Yale Quartet
Yale set is excellent, with my favorite Op. 132
I like the Yale
Qt. a great deal. Rhythmically incisive. Beautiful sound.
More
aggressive and intense (than FAQ) and very good, even though Simon doesn't like
them :). Also a warm sounding quartet. At their best, I think they
can have a powerful cumulative effect, as in Op. 131, which I think should be
heard. I think they're one of the best sets on the whole (caveat: parts
of 135 suffer from rhythmic stagnancy despite good ideas, 132/ii too, and so
on, so if you're very allergic to this,...).
I'd certainly pick the Yale
set over the Hollywood set. First, because I prefer those performances, second,
because even if you consider them stylistically similar, the sound of the
Hollywood set was so dry (mono, as I recall) that I found them hard to listen
to. The set is still sitting on my shelf waiting for me to try it again. This
is an example of what I like about the Yale set: in the last movement of op.
127, in the finale bars (a kind of coda), Beethoven indicates that the tempo
should be increased (there is no tempo marking at the opening of the movement).
Almost all quartets I've heard do the opposite and slow down there; the Yale
does in fact take note of what Beethoven wrote, and what it meant, and the
result is an ending that has a rollicking wit and energy that I haven't heard
on any other. It's a great set. For razor sharp, perhaps you could substitute
the term "incisive, intense, and energetic". Somewhat different in
style than what you already have; but that's good. The Berg is good, too; but
they just don't seem as insightful or interesting to me as the Yale set.
I also think the Yale set is
rather mixed, some superb, others sounding to me rather ordinary (the best disc
in the set is the one containing op. 130 and the Grosse Fugue, I think).
Alban
Berg Quartet
Alban Berg quartet's live performances (better than the studio set, which is of
course very good) is my second choice after Smetana;
I haven't heard their remakes, but found their first
effort undermined in some instances by the nasty early digital sound that
plagues so many of their early digital recordings (e.g. Schubert); I also don't
think their late quartet performances are as impressive overall as their superb
set of the middle quartets. But you can easily judge this for yourself without
risking much money: they've been reissued in EMI's budget Red Line series
Hollywood
Quartet
I like their Op. 131 a lot because outside i it's more cheerful (!) than usual
- which may not mean anything to you. They have very long melodic lines
and they can and do smooth over contrasts (like Busch, whom they don't
otherwise resemble). Their sound is sharper, less full than either the
Fine Arts or the Yale, and they're energetic, if a bit understated. Like
the Budapest, the Hollywood sounds "decisive". Both are a bit lean,
but they're not otherwise that similar - the Budapest is less inclined to use a
long, uninterrupted legato line, and they have more enthusiasm and contrast
than Hollywood. I like the Hollywood, but don't find myself listening to more
than Op. 131.
I don't think the Hollywood sounds bad at all, though I prefer
chamber music in stereo
It's been a
long time since I heard the Hollywood Quartet Late Beethoven set, but I
remember liking it a lot. They have a
rich Alban-Berg-Quartet-ish-like sound but play even more imaginatively.
Hungarian Quartet
Good and not too expensive. If you do mono and are
willing to consider a complete set that's inexpensive and features lean, taut,
propulsive playing, the Hungarian
Quartet on EMI is worth trying.
Vermeer
Quartet (Teldec)
has bite and musicianship to contribute, despite their relatively thin sound
Italian Quartet
Good and not too expensive
Talich Quartet
Calliope. A really distinguished set of performances
I don't think they offer what you're looking for -- they're
closer to the Vegh Quartet, albeit technically superior.
Orford Quartet
I'm currently exploring this. They're interesting, different (and discs should
be available). They have good details, voicing, balance, all of which can
be extremely enjoyable, at least in 30-second increments :). But the forest
seems unfortunately often lost for all the trees, flora and fauna, though by no
means always. If you want variety in phrasing, here it is. I'm really
kind of fond of them, and though neither lean nor very mean, they can also be
quite dramatic at times. They resemble the HIP Eroica Qt. a little,
though they don't have the Eroica's humor (or intonation problems). There
are some very gripping slow movements. I haven't heard them in all
the late stuff yet (concentrated on the middle ones so far), but I like their
Op. 135 (not lean or mean) and Grosse Fuge (pretty mean) (coupled with Op.
18/6). Their "late middle" quartets (Op. 74, 95) are also very good,
but with the forest vs. trees caveat. Like the Fine Arts, great for listening
for details.
I am impressed by some (but only some) of the Orford Quartet's recordings on Delos; they're all superbly played,
but not all are as characterful as they might be -- their
op 131 stands out in a postitive way -- and they come mixed in with earlier
quartets.
Eroica Quartet
HIP. (135 + 74, 95 only) They're not in the lean and mean HIP style - they tend
to vary their tempi a lot, along with everything else. Unique sound and unusual
amounts of emotion and humor - and good ideas - but also consistent intonation
problems and a tendency to get bogged down in details. If you can take
the latter (I have to "train" myself to listen!), the former can be
very interesting.
Hagen Quartet
I'm not
quite as enthused about Hagen's 131 as Simon is - they're good but don't seem
to displace the Juilliard and the Yale in any way; especially not in their
middle variations movement, which I thought was pretty uninteresting.
Heard only once so far though. Lena
Suske Quartet
Another set to consider, which can now be called
budget and is superb, is the Suske Quartet's. Intelligent, lean in its
way but with a beautiful, rich sound. The Late must be ordered from Europe, but
is as low as $21 from German Music Express (musicexpress.com);
Musikverein Quartet
There are some superb performances among the
recordings by the Musikverein
Quartet on Platz, but these no longer seem to be distributed in the U.S. and
you may be put off anyway by the fact that they're mixed in with earlier
quartets.
Melos Quartet
Another group whose Beethoven quartets convey the
requisite verve and flair (thrilling Grosse Fugue) is the Melos Qt on DG (a comment that will
doubtless incur howls of outrage in some quarters; too bad), not to be confused
with their earlier recordings on Intercord; but these seem to be out of print.
Emerson Quartet
DG are also extremely good in this music (though I
sometimes find their vibrato a bit much), offering bold, extrovert, zesty performances;
but to get their late quartets you have to get the whole lot - doesn't bother
me -- I like the earlier quartets at least as much, perhaps more.
The Emersons
keep quite fast tempi. I like op. 130 best in their set. I also like their op.
133;
Guarneri Quartet
The old Guarneri
set has a good op. 131. Their tempi sound exactly right: slow parts are
slow enough and fast parts fast enough. This combination seems to be quite
uncommon. They always seemed like the equivalent of the Montreal Symphony –
wonderful recorded ambience, and sometimes very good sound, but no one was at
home. Yet they were considered hors concors for over a decade.
I know that I'm in the minority on this one, but I
could never warm to the Yale Quartet's recordings. I've always been partial to the late-60's
Guarneri Quartet's version.
Tokyo Quartet
The Tokyo
qt plays most faithfully to the notes, also very well. Some breathing noises.
New Leipzig Quartet
I'll take this opportunity to put in a plug for a
hard-to-find-but-worth-it CD of the New
Leipzig String Quartet doing Beethoven's Op. 131, plus Schubert's D 703
Quartet movement, on the label MDG. This 1994 German release is superb in both
sound and performance. Very natural, yet hardly bland! -- much of their
Schubert series on the same label is excellent. I see there's also a set of the
last three Mozart quartets which has been receiving rather good reviews. Simon
Pascal Quartet
on Concert
Hall and Readers' Digest (!),
Beethoven Quartet
on Melodiya.
Cleveland Quartet
on Telarc.
Bulgarian Quartet
Very good
Bartok Quartet
Very good
I am
waiting for the Skampa or Petersen quartets to record late
Beethoven. They are both young superquartets.
Petersen
Q. actually
recorded more than half of the quartets, op.59,2 and 95 on Berlin Classics, the
rest on Capriccio (AFAIK the late ones are complete, rather unusually each
coupled with one from op.18), but they may be hard to find (I only have the
Berlin Disc, which is very
good
indeed)
Skampa
Quartet has
recorded opp. 127 and 132; they are fine performances, although they probably
won't displace your current favorites
(Smetana,
Yale, etc.). Their best Beethoven so
far, IMO, is their op. 95—a wonderful performance, equalled only by the Hagen
(I am grateful to Simon for insisting that I hear the Hagen.). The Skampas also recorded a nice 59/2 that
is a required purchase for its coupling, a great performance of the Mozart
Clarinet Quintet. Their Op 95 really is fantastic. Since then, the cellist has
left and joined the Petersen Qt. Which may or may not explain anything. I was a
little disappointed in the Skampa Op 127.
Prazak
Quartet. Another
Czech group that is always worth hearing is the Prazak Quartet. I've been
enjoying their set of the three op. 59 Quartets on Praga very much.
I have the
Epic Columbia Juilliards, Vegh, Italiano plus smatterings of Turner, Takacs,
Busch, Hagen, Emerson, and Mosaiques. In
addition to
the Yales, I'm still eyeing the Petersens + Auryn 130/133, and waiting for an
inexpensive way to get the early Smetanas.
The Yale
Quartet recordings of the Late Quartets were not "originally released on
different labels." They were first
issued on five
Vanguard
Cardinal LPs, and then repackaged as a four-LP boxed set. Perhaps you are
confusing them with the Busch Quartet, whose Late
Quartets
were not all issued by the same label. why not pick up the Vlach / Janacek set
on Praga?
On CD, Opp.
127 & 131 and 132 & 135 appeared on single Omega discs, before the complete set turned up in
a 3-CD box. Perhaps this
is what John
was referring to. On Artemis, they are apparently going to come out in a pair
of 2fers. Whether that means that they'll be spread out or that some additional
material by other artists will be included, we'll have to wait until next week
to find out.
Andy, those
Juilliard SQ early and middle late quartet sets might not be what you think
they are. They're probably the live
Library of Congress recordings from the early 80's and not the recordings made
bertween 1964 and 1970.
AFAIK that's
the way it is. Apparently Sony has reissued the 64-70 recordings in one
cardboard box and a few months later the digital
recordings
in three (Early, Middle, Late) sets as 'Essential Classics'. But the complete
older set should cost roughly as much as the three
smaller
sets of the newer one (at least around here).
Early Quartets
Clevelands and
the Bergs -- but the early 80s Berg set, not the later remake. A third vote for
the early 80's (analog) Berg. Wonderful performances, warm sound.
The Smetana is the best for the early six quartets.
Other excellent choices: the Alban Berg, the Budapest, the Quartetto Italiano.
I don't think the Beethoven quartets find the Talich Qt at their best
The Fine Arts Quartet is excellent in the early
quartets - they have good balance, with the voices pretty well audible, and
they convey the many different styles in Op. 18 - also the humor and the more
relaxed contrasts - without losing sight of the overall piece or without
forgetting the momentum. However, for me, they *could* occasionally have a bit
more drive, as well as a lot more kick to their culmination points. (But it's
not a big problem.) They don't go for a "nervous," wiry sound, theirs
is full, beautiful and somehow very satisfying. While they sound a bit more relaxed
than my other favorites, they also have a lot of expressive details, in
addition to getting the overall shape right. Of all the quartets I've heard,
the Smetana is unsurpassed in one area: balance of instruments and audibility
of voices. Unfortunately, at least their 80's CDs often suffer from phlegmatic
stretches. I do heartily recommend these to myself; for others, perhaps only to
idiots like me who already have 17 other versions... The Emerson is very
excellent in dramatic and intensely lyrical parts, but unfortunately elsewhere
they can sound a tiny bit mannered. They can also be too relentlessly tense;
they never relax their tone, which comes in only one or two different
varieties. This can get nerve-racking, as well as sometimes detrimental to the
music, I think, since uniform sound doesn't exactly emphasize contrasts.
(However, the Emerson 18.1/ii ought to be heard by everyone...) The Juilliard
is somewhat more successful in varying their sound, while still conveying a
good idea of the overall shape of the movement. (Oh, and the Emerson is only
available as a complete quartet set.) The Guarneri has less momentum than the
Juilliard and the Emerson but they're still OK. There's much measure-by-measure
emphasis here, which I don't like, but their approach is more varied than J and
E. I'd probably rank these 2. Fine Arts Quartet 3. Juilliard, 4. Emerson 5.
Guarneri (but the order in 3-5 fluctuates by piece) However, the number 1 spot
for Op.18 as a whole goes to Quatuor Turner. the set is I think only available
in Europe - e.g. www.alapage.com Whoever
they are, they have an expressive, extremely well thought out style with hugely
long lines, great nervous energy, well approached culminating moments, but also
good timing in the more relaxed contrasts.I Another excellent entry into this
mess is the Schuppanzigh Quartet. Their new CD has Op. 18/4 and Op. 59/3. Their
lines are perhaps a bit shorter than QuatuorTurner's, but in the "nervous
sound" category, they are wonderful. Some of the sudden, very exciting
rises to culmination points remind me of Schnabel, they take you similarly by
surprise (sort of). This one is exceedingly HIP, as it's played on Beethoven's
own instruments. My own current must-have list for Op. 18 consists of Quatuor
Turner for the wonderful lines and kick and the Fine Arts Quartet for the
beautiful sound and a more relaxed approach. I do consider Smetana essential,
for pure quartet playing. And I'm holding my breath until the Schuppanzigh's
next outing.
Lener Qt make more sense of these
than any other comlete set I've heard.
Lener sit on my shelves next to performances by the
Bohemian Quartet, the Kolisch Quartet, the Pro Arte Quartet, the Rose Quartet,
the Flonzaley Quartet, and others. Of this group, the Lener are unquestionably
the least played.
Actually,
the complete Lener Beethoven have been out for over a year on
Stradivarius. I have only volume 2 in the series STR 78002. I don't
find any need to own the whole set. The sound is good for the early
electrical. The performances IMO are primarily of historical interest.
Fine Arts on Everest and the Smetana. The single disk by the
Mosaiques includes wonderful
versions of #5 & #6.
Get the two-CD Sony/Columbia Masterworks set of the Budapest Quartet that includes 18/4,
18/6, and 59/3. Fabulous performances, and it they sound great considering
their age. My favorite op. 18 set--the Hungarian
Quartet's stereo recordings--is unavailable afaik, although their mono
cycle of all the quartets may still be available, and is a great value.
Middle Quartets
ABQ For the
middle quartets try the Berg's first recording. Come to think of it, their
first recording of the whole lot is so cheap I'm inclined to suggest it as a safe
place to start (the Hungarian Qt would be too, but it's mono and costs more).
Takacs: their
box of op 59 & 74 is marvellous. This new recording on Decca/London is stunning.
Emerson Fast,
lean, nervous, exciting. Was available seperately in the Beethoven edition of
DG.
Tokyo.
Vegh for dreamy slow movements.
Juilliard's
Sony box (1960's
recordings) is excellent too (as it is in the early and late quartets as well)
and cheap...
You really
should pick up the '60s Juilliard box. I don't think you'll find a better
complete set of the middle quartets,
and their
59/1 and 59/3 are fantastic. (This is on French Sony, btw.)
Budapest
best is the live LC set on Bridge, which is superior to their other
recordings of all the Middle Quartets except for 59/2, imo.
Skampa in 95 and 59/2 for those that like the Vegh
Prazak two-disc set of the three op. 59 Quartets.
Orford's recordings -- check used bins for
singles or get their complete quartets from Berkshire.
Quartet #7 op 59/1
Talich Quartet in 59/1 (listen with headphones;
you will not believe the attention to balance and phrasing).
Quartet
#8 op 59/2
Janacek Quartet's 59/2, for those that like
the Vegh
Quartet
#9 op 59/3
New
Music Quartet is
incomparable in 59/3
Smetana one of their best
Quartet #10 op 74
Musikverein
for 74
Quartet
#11 op 95
Hagen in 95 (thanks, Simon!)
Petersen
Late
Quartets
Quartet #12 op127
Smetana
Yale
Talich (except II)
Orford
Fine Arts (except III)
Tatrai
Hollywood
Bulgarian
Quartet #13 op. 130
Pascal
Yale
Hollywood
Beethoven
Busch
Smetana (except IV)
Petersen have recorded op 130 (plus GF) and 131, on Capriccio.
Excellent. I got mine from Amazon.de
Quartet #14 op 131
Smetana – wonderful first
movement, a weird lunar hush
Yale
Vlach
Bartok
Pascal
Hollywood
Talich
Quartet #15 op 132
Smetana
Yale
Beethoven
Bartok
Tatrai
Fine Arts
Orford
Talich
Quartet #16 op 135
Yale
Pascal
Janacek (1963)
Bartok
Busch
Paganini
Bulgarian
Talich
Grosse Fuge op 133
Guarneri (the earlier RCA set). 16'45. Different voices
come through well, the cello best of all in this group. A bit lacking in
treble, also not much edge in Allegro beginning in bar 533. A lovable,
deeply-felt reading however. There is plenty of joy in the playing. Also these
young guys do not get stifled in front of Beethoven - my favourite is the
Guarneri. The bad news: it is hardly available anymore
Bartok
Vlach. 16'11. Now these Czech guys knew how to play Beethoven! Brusque,
dance-like playing, warm, not exactly fiery. A goblet full of good beer, not to
be taken too seriously. Technically perhaps not impeccable, and the sonic range
is narrowish in this '62 recording, but who cares Beethoven
Italian (18'53). (which are available on a middle-priced Philips two-fer). At
the opposite end of the spectrum, compared to the Emerson. If Vlach is beer,
then Italian is wine, and in abundance.Their set of the late quartets of B. is
a classic, but I think op. 133 remains a bit alien to them. They play extremely
warmly and beautifully; admittedly this produces wonderful effects in Meno
Mosso, bar 159 onwards.
Pascal
Smetana (first) (Slowest LP version?)
Tokyo. 15'56. Perhaps the best possible 'benchmark': technically no inferior to
the Emerson, accurately played, the tempo does not waver, acoustically a big
concert-hall feeling, however a refined performance, not heavy. Meno Mosso from
bar 493 onwards is a real climax (but even here you cannot hear the sixteenths
very well).
Emerson. The duration is 14'42. Enough said about
them.
Lindsay. 16'00. A second-rate Tokyo, monotonous. My own opinion, of course.
Archduke
Suk. Boston Skyline BSD 146 Pretty widely available in
the U.S. retail channel and via the usual U.S. online merchants. But also
available direct, and at sale prices based on multiple buying.
http://www.bostonskylinerecords.com/
Well, the Suk's own 1975 performance (issued on Denon, now apparently
unavailable) is *even better* and the sound is outstanding -- it says it's
early digital.
I respectfully disagree with Mario Taboada's statement
that the Suks' Denon remake of the Archduke is better than the early 60's
Supraphon. I was rather disappointed by the remake, which
I recall as alarmingly fussy, particularly in light of the gorgeously flowing,
long-lined original. P Goldstein
Is it certain that you're talking about the same
thing? I have before me the Denon complete Beethoven trios by the Suk Trio with
Josef Hala, which may be what you're talking about, Paul; in which case I agree
with your assessment. The Archduke performance on it is from 1983. MT described
a 1975 recording, which would put it during the Panenka years. Of course, this
may in fact be the one you find fussy. There are some fine things on this
complete set with Hala, BTW, but the Archduke is decidedly not among the set's
better performances.
Interesting, Steve. I was probably referring to the Hala/1983 version (which I
heard when it was issued, and not since), and I did not know that there were
two different Suk Trio Archdukes on
Denon. I'll have to try to track the 1975/Panenka version down P Goldstein
Do, it's great (unmatched, in my experience). It was
issued by Denon without any coupling (a 39 minute CD). It does indeed feature
Panenka.
The Beethoven trio set with Hala is very beautiful, but Panenka (the usual
pianist of the Suk) was a remarkable musician, especially in chamber ensemble.
To the best of my knowledge, he only recorded trios 3, 5, & 7 with Suk and
Chuchro. I believe that only the Archduke made it to CD. All, IMO, are superior
to the later recordings with Hala
Beaux Arts Trio: the older one is beautiful; the remake is painfully
discontinuous and mannered.)
Solomon-Holst-Pini is another great performance in surprisingly good sound
reissued by APR
Gilels-Kogan-Rostropovich
William Murdoch et al.
Szigeti-Schnabel
Violin Sonatas
Kagan/Richter. Live Classics Nos.
2, 4 & 5 from Berkshire.
Suk-Panenka
Grumiaux/Haskil Mono 50s. For musical insights this tops the list, with Oistrakh
Oistrakh/Oborin, recorded in the early 60's Oistrakh
is somewhat let down by Oborin's tameness, but I find him characterful enough
and like these recordings a lot. So do others. Oistrakh's tone is, as ever, a
wonder! The recording is June 1962(Philips)
Francescatti/Casadesus on Sony France, which is reasonably priced. I second
the Fracescatti/Casadesus. Early stereo, but in imo good
sound.If
you like the Oistrakh, you may find it impossibly lively! Very lively and
elegant, but don't be deterred by the elegance. These guys are incredibly musical.
Istomin-Stern
Morini/Firkusny,
Arrau-Szigeti is, unfortunately, not nearly as well recorded, though the
performances are excellent. The sound is pretty good--I had this set on LP too.
There is also the Szigeti/Bartok recording. Bad sound from the '30s, I think.
Barenboim-Zukerman on EMI or MHS is also very good (perhaps still available
somewhere)
Ashkenazy-Perlman is good.
Bartok-Szigeti on
Vanguard. The sound is limited but good enough to hear how these giants open up
this
sonata like nobody else.
Cortot-Thibaud,
Frank-Frank
seem to be the best of the past couple of decades. Their set is recommendable.
Argerich/Kremer
(mainly for Argerich), but Kremer's shrill-sounding tone is such a turnoff
Rosand/Fissler
(part of a dirt cheap, first rate box) it's really Rosand's
show with piano accompaniment,
Frager/Zehetmair
HIP Teldec
Newman/Johnson
HIP, Frager/Zehetmair on Newport Classics, perhaps the most extrovert, almost
exhaustingly lively performance ever recorded.
Argerich/Kremer. It's a partnership of equals, though
Kremer is an acquired taste.
Piano
Sonatas – Complete sets
Kempff’s mono 50sset is marginally more
interestingly interpreted than the Barenboim EMI. Unfortunately, several
of the sonatas are beyond Kempff's technique, so he has to do some fudging,
mostly (but not exclusively) with tempo. Barenboim (EMI), performance &
sound, or Barenboim (DG), sound & performance. Schnabel Dante is
cheap - seems to me to be the sensible 'starter'. He has his technique problems
too, notably with Op. 106, but in general his interpretations are what the
other folks heard before they made theirs. For far less money than the Kempff,
I would suggest the Nat which has a lot of the same qualities as Kempff and
fewer of the flaws. Except that Nat has none of the genius of Kempff and more
of the pianistic problems! I simply do not hear interpretive insight to
compensate for the technical deficiencies.
I also agree that given op's short list, Kempff's mono set is the way to
go. But I would much prefer either
Schnabel or Gilels (even though the latter is missing a handful of the
sonatas). But is the Gilels available as a box? Yes, as a 9-CD box including 27
Sonatas and the Eroica Variations. It's still listed as available at Alapage.
Do there exist live Gilels performances of the "missing" works? No,
according to the discography at http://www.doremi.com/DiscGilComp.html Arrau is a bit on the slow and
plodding side; kind of like goose liver pate that stayed in the fridge for too
long. Arrau is probably one of the most intelligent and musical of pianists.
The down side is that his later performances can be stolid and even sleepy. You
may substitute the word "monumental" if it feels better. But if I had
to own only one set of Beethoven sonatas, it would be that of Emil Gilels. To
me, he just sounds so "right" and has such empathy with Beethoven,
that I am completely satisfied. He has humor, gruffness, nobility, good technique,
and an abundance of human spirit. Heidsieck/EMI: great set in great
sound and bargain priced. Kuerti/Analekta: Tremendous bargain at 20
euros from fnac.com (includes the Diabelli variations). A bit eccentric at
times, but with intense concentration throughout, almost Gouldian sense of
purpose and drive; not to be missed. As much as a I like Annie Fischer and
Gilels, I don't think either is on-the-mark as often as Schnabel.
I would hurry and get 'Richter in Prague', a 15 cd set.
About 5 discs in the set are Richter playing Beethoven. The Beethoven
recordings used to be available as a separate set, but I think it is OOP. It
looks like the complete set is going OOP too. Richter has recorded twenty-two
of the Beethoven Sonatas. Comparing Richter and Arrau in those sonatas they
have in common is a futile exercise as they're both good and both are
different. If you can track them down Music & Arts has or had two 2 disc
sets (910 and 946) of Richter in thirteen of the sonatas. For a complete
listing of Richter in Beethoven and just about everything else the following
address is useful: http://trovar.com/
Sonata 1
Sonata 2
Sonata 3
Sonata 4 Op 7
Gulda
Heidsieck
Kuerti
Schnabel
Richter slightly below them.
Sokolov would be slightly below him.
Perl and Ashkenazy get my vote for good
"central" performances
Sonata 5 Op 10 1
Op. 10/1, like the op. 18/4 quartet in the same key,
just doesn't strike me as being one of Beethoven's more interesting pieces.
It's also received its share of tedious performances, Gilels' certainly among
them. The problem for me with recordings of op. 10/1 is that most pianists
downplay the first movement just as they do the equivalent in op. 7 -- both are
"allegro molto e con brio" but you're lucky even to get plain allegro
(Gilels/DG is the worst culprit; it's not even allegro). Few get the tempo and
mood right: Kovacevich, Gould, Kocsis, and Gulda all do, Kovacevich, as so
often, probably conveying a wider range of the music's drama and moods than the
others. It's far easier to find good performances of op. 10/3; among older
recordings Edwin Fischer is not to be missed (there are at least two).
Sonata 6 Op 10/ 2
Sonata 7 Op 10/ 3
Fischer Many thanks to simon for
alerting me to the existence of two Fischer Op.10-3. I have the 1954 version on
LP. Is there a CD issue of the other one I should explore? - It's in an
excellent two disc M&A set; a live performance from Hamburg in 1948. (At
any rate, that's what I have; maybe there are more than these two.)
Schnabel It's hard to go past Schnabel and Fischer for
op. 10/3.
Solomon's Op.10-3 is also wonderful though more subtle
than others. It is one of the few Solomon recordings made in stereo.
Arrau goes deep but makes hard work of it;
nonetheless I like his late recording very much for much the same reasons as I
like his op. 7. There's a richness of sound and of feeling here that I
treasure.
Kempff like Brendel seems to move within a smaller
compass
Brendel
Richter's 1960 Carnegie Hall performance, c/w an equally
fabulous set of Rachmaninov Preludes never been reissued since the original LP
release, and the masters no longer exist. These were apparently recorded off
the cuff, against Richter's wishes. Opinions vary - great, to full of fluffs
and below par.
Gould I'm quite fond of in a very different vein, all of the Op. 10 as performed by
Gould. He catches the humor of Op.10-1 in a way that might just persuade those
who claim to dislike this very Haydnesque sonata.
Sonata 8
Sonata 9
Sonata 10
Sonata 11
Sonata 12
Sonata 13
Sonata 14
Sonata 15
Sonata 16
Sonata 17
Sonata
18 Op.31/3
Richter - if you think the Praga Op.31/3 is great (which indeed it
is) look for the bootleg version from
Brooklyn 1965. Variable sound but absolutely great playing,
Sonata 19 Op 49/1
Sonata 20 Op 49/2
Sonata 21 Waldstein Op 53
Sonata 22 Op 54
Sonata 23 Op 57
Richter (1960)
Gilels
Rubinstein (1945) – very fiery!
Ashkenazy
Annie Fischer
Edwin Fischer
Horowitz (1972)
Levy
Serkin (1957 on Ermitage)
Brendel Here I am, listening to Brendel's most recent
Philips Appassionata, with chills running down my spine. Even after listening to Richter's and
Gilels' performances again, I'm unable to agree with opinions frequently stated
on this NG that Brendel's playing of this work is
dull. Brendel
is the performance that I keep coming back to even with Richter and Gilels
providing superb alternative performances.
Rzewski's 'Appassionata', an experience not
soon forgotten. For me the question cannot be "Is it good or is it
bad?", but 'Is there more Appasionata there than there is Rzewski?' Still
haven't decided whether he interpreted it or re-composed it.
Sonata
24 Op 78
Schnabel
Arrau
Sonata 25 Op 79
Schnabel
Arrau
Sonata 26 Les Adieux Op 81a
Schnabel
Arrau
Sonata 27 Op 90
Schnabel
Arrau
Sonata 28 Op 101
Fischer
Schnabel
Arrau
Sonata 29
Solomon
Richter
Pollini
Ashkenazy
Sonata 30 Op 109
Richter Op. 109,
110 and 111 from Leipzig (1964)
Rosen
Arrau
Fischer
Schnabel
Sonata 31 Op 110
Richter Op. 109,
110 and 111 from Leipzig (1964)
Rosen
Arrau
Fischer
Schnabel
Sonata 32 Op111
Richter Leipzig best on M&A, which is out of print.
Doremi CD also, containing the last 3 sonatas, then Russ. Revelation
Sofronitsky. His Beethoven CD on
ARLECCHINO was recommended in this NG. This CD is out of print (and was
recently auctioned on eBay at US$185.49) The 3feb52 recording; this is on
Urania SP 4203.
Michelangeli, Decca/London, out of print.
Very good
Michelangeli
in the Barbican There
is an Op.111 by ABM in Aura's "Seven Wonders" package. I have a
feeling this is from a 1990 Barbican recital by Michelangeli - if it is avoid
it at all costs - a very unfortunate pirate.The artifacts and noise are
unbearable and ABM's playing just sounds harsh. The 1990 Barbican is the WORST
by far. Michelangeli was pretty ill at
that point. I prefer the Decca over the
others, yet the differences are small.
The 1970 Bonn recital disks have a bonus - a beautifully played
Bagatelle which cannot be found anywhere else.
Michelangeli
in Bonn 11th
October 1970 RAI/ Kubelik 1961 Living Stage 2cds [MDT] BEETHOVEN Sonatas 3 4 & 32
Bagatelle Op119/3 LISZT Piano Concerto No.1
Michelangeli BBC I like it a lot, I tracked down the Decca version after a
long search mainly because it drew such high praise from some in this
newsgroup, but was slightly disappointed.
All the i's were dotted and t's were crossed, but I felt like ABM wasn't
fully connecting to the music, or at least how I understood it. Sometimes his immaculate approach is a
little off-putting to me. The BBC
version flows a little better to my ears and answers some of my reservations
about the Decca reading. Rhythmically
it also seems a little looser, but this is just an impression (I haven't done a
serious comparison). Maybe it's not my
absolute favorite, but still one of the handful I wouldn't want to be without.
I also like his 1941 recording of Sonata 3, but have not really warmed up to
the two recordings I have of Sonata 4. 12 is on the same BBC disc as No. 4. The
Beethoven Sonatas that ABM performed on stage or in studio were 3,4,11,12, and
32. Regarding his studio recordings, it seemed to me that Michelangeli's sense
of perfectionism always came forward in a pronounced way for commercial
recordings, while live versions were always a bit freer and spontaneous. Yet, I
sometimes find myself preferring his studio versions (i.e. Debussy
Images). Whether or not you like the
Decca op. 111 - (I do), the technical perfection of the delivery is truly
stunning – every trill is perfection, even passages deep in the bass register
have a crystalline clarity. I've long
thought of the Decca op. 111 as the most technically perfect recording of a
Beethoven Sonata I've ever heard.
Fischer
Schnabel
Solomon,
Yudina.
Levy
Rosen
Arrau
Ugorski
Diabelli
Variations
Schnabel
(absolute first/ desert island for me. Maybe the only one.
Brendel I (Vox) or III (Philips),
Horszowski I (Vox) or II (Pearl, the second is even
better),
Rudolf Serkin (CBS),
Benjamin Frith (ASV).
Rosen
Vladar
I no longer recommend Richter's Philips recording as
it strikes me as heavy-handed. Likewise, I am dropping Arrau's Philips
recording from first rank, although, like Richter's, it has great moments. I
agree, (have not heard Pearl H., or Frith)
Fidelio
Fricsay
Karajan/Vickers, Dernesch. One of my two or three favorite Fidelios,
extremely well sung across the board (though I wish Vickers used as many
appoggiaturas as he did with Klemperer) and dramatically conducted by Karajan
(he and Keleman - near sprechstimme at times - conjure up the angriest,
most spontaneous-sounding account of Pizarro's aria on records) and stunningly
played (the horns in
Leonore's aria let rip like no-one else's). The sound is quite good but has one serious
blot (especially noticeable via headphones): much of
Dernesch's contribution was obviously recorded
separately and patched in; she inhabits a different acoustic from everyone
else, which I find more than a little
disconcerting. I much prefer this to
The Classic of the Gramophone on the same label.
#BERG
3 Orchestra Pieces, Lulu Suite, and Altenberg Lieder
Abbado LSO DG is one if my favorites
Violin Concerto
Annie Sophie
Mutter. My favorite violin concerto
recording hands down.
Krasner/Webern
1936 performance is the only other one that hits me as hard, or harder, but
unfortunately the sound is awful. With
Mutter/Levine you get stunning performance AND sound.)
Wozzeck
Mitropoulos
#BORODIN
Symphonies
Nr 2:
Martinon
#BRAHMS
Symphonies
Nr 1:
Boehm/Bavarian
RSO 1969 (live on Orfeo)
Szell, Cleveland
Klemperer
Levine/Chicago/RCA. A powerful orchestra giving their all.
Abbado/BPO DG - The First from this set is my
favorite recording of that piece.
Walter/Col
SO
Van Beinum-ACO Philips
Stereo
Karajan/VPO Decca
CSO+Wand (Live)
Furtwaengler/NDRSO 1951
Adrian Boult & LPO (EMI)
Levine/Vienna on DG
Horenstein/LSO,
Keilberth/BPO.
Abendroth,
Furtwangler/NDRSO 1951
Mengelberg/Concertgebouw c. 1940 and
Van Beinum/Decca (mono only but great) van beinum epic
lp bc 1035
Toscanini, Paita,
Toscanini made two official
recordings of the Brahms First. A 1941
recording first released on 78s and the 1951recording that was part of
his official RCA Brahms
cycle. Both recordings have been
transferred to CD and were released by RCA/BMG as part of the "Toscanini
Collection". The 1941 disc is now OOP but could probably
be found in used stores with no too much trouble. The 1951 has been re-equalized and released by RCA/BMG in "The
Immortal" collection and is easily available. There are two other
unofficial recordings that derive from live performances that are especially
interesting and remarkable. The first
is the concert/broadcast of May 6, 1940 available on Naxos
8.110805/6 and is white hot.
The second is the 1952 performance that was part of the complete Brahms cycle
he performed with the
Philharmonia in Royal
Festival Hall and available on Testament.
The Philharmonia cycle is especially important as it allows us to hear
Toscanini conducting a first
rate ensemble other than the NBC and the recorded sound is very different than
the close up sound that RCA
favored.
Nr 2:
Walter/ColumbiaSO
Walter/NY Phil, EMI Great Conductors series. The phrasing and flow
throughout is fabulous and the finale is extremely powerful with
incredibly fast playing by
the strings. John Wilson has released it (coupled with an amazingly fast and
exciting 3) as part of his Idlewild reissues project.
Munch/Boston/RCA –
mid 50s a fairly passionate,
seemingly spontaneous performance with an exciting finale. fnac.com couples it
with sym. 4
stereo...might be
available via BMG Japan) BPO+Karajan (80's set) Digital remake + 1964
& 1978 recordings
Monteux/LSO 1962 Philips (slightly preferable to VPO); Philips Classics
Catalogue Number: 4425442 Admirers of the
1962 Monteux / LSO Brahms Symphony #2 might be interested to know that it has
been reissued on Japanese Philips in an excellent-sounding "Super Digital
Transfer." C/w the Academic Festival Overture and the 1963 Schubert
"Unfinished" with the Concertgebouw. It costs about $13.40
postpaid to the US from Deodeo; the order # is UCCP9479.
Monteux/VPO 1959 London Weekend Decca
Stokowski – a marvelous late performance
Steinberg a
thrilling performance c/w Vln conc Morini !! Look for Millenium, avoid
the MCA with crossed channels in the last 2 movts. Millenium UMD 80394 has
immeasurably improved sound and corrects MCA's reversing of the L & R
channels in the last two movements.
Reiner, NYPO live
1960 – very enjoyable, especially the second movement which is just
absolutely beautiful and played most sensitively--not what many would expect
from Reiner. The sound is vastly improved in the NYPO historical box set
version (I have the Arlecchino disc).
The Arlecchino is rawer, but with that rawness comes clearer highs and a
somewhat more vivid experience. The NYP
box version isn’t exactly overfiltered, but there is some musical information
on the Arl. that is not on the NYP. So some people actually prefer the Arl.
version
Klieber/VPO
Abbado/BPO
Horenstein/Danish
RSO (live on Unicorn)
Szell,
Bernstein/NYPO/Sony 1962
Bernstein/VPO DG
Giulini/VPO
Jochum' BPO on DG – good finale
Ancerl
Klemperor/Philharmonia
Solti/ChicagoSO
Chailly/Concertgebouw
Fricsay/VPO Energy and rhythm in OK historical sound.
Busch/DRSO EMI if available
in any form, the greatest recording ever - *everyone* ought to hear it
Weingartner – great mono recording
Van Beinum-ACO (Philips...#2 is mono)
Furtwangler, Vienna
Phil, Jan 1945 on DG which has the wildest
finale I've heard, but isn't as consistantly
good as the Walter/NYPO.
Furtwangler May 1952 Berlin on EMI
Toscanini BBC SO 1938 Testament
Toscanini/NBC/RCA - '52
Beecham/LPO – a happy version
Klemperer (1945)
Van Beinum!
Nr 3:
Reiner/CSO
(BMG/RCA)-
Walter ColSO
Szell/Cleveland
Dorati/LSO/Mercury. Dorati and the LSO are so wonderful here
that I have to mention this cycle again.
Abbado & BPO DG are excellent,
but I wish for slightly more urgency in the final movement.
Klemperer /Philharmonia
Wand,
Karajan/VPO Decca
Monteux in
the Tahra box
Walter/VPO (1936) in an
absolutely fantastic transfer on KOCH (very clean masters, no fake
stereo but exceptionally full and 'present' sound) with his 4th
recorded in 1934 with BBC Sym.
Cantelli/Philh
Koussevitzky/BSO
Schuricht,
Furtwangler on DG 1954
Mitropoulos,
Mengelberg
Claremont/Pearl 31
Nr 4:
Klemperer/Philharmonia
(EMI) Legacy with improved sound. I imprinted on the
Klemperer and Boult versions when they were on LP.
Reiner/RPO (Chesky) - God, how I love the Reiner performance. It is so
rhapsodic, great rubato, fantastic playing and audiophile recording quality. A
winner. Reiner's personal favourite of all his recordings, so rumour has it.
Reiner did symphonies 2-4. All three
performances are superb and make me wish that a Reiner had also left us a
recording of No. 1. Anyway, the Second
is a live performance with the NYPO. I
still haven't heard the NYPO box set release but from what I've heard from the
Arlecchino disc, it is a wonderful performance and ranks up with my favorites. The Third is a studio recording with the CSO
on BMG/RCA (currently out of print perhaps?).
And the Fourth is a studio recording with the RPO on Chesky...perhaps my
favorite Brahms recording period, featuring an absolutely melting second
movement. Anyone who thinks Reiner was
interpretively always cold and stiff should give this particular recording a
listen.
Giulini/VPO (DGG)
Giulini/Philharmonia
Carlos Kleiber &
VPO (DGG) Except for the not so hot recording, love
the Kleiber, too. The VPO is superb. Seconded.
In know no better Brahms 4th.
The sound is quite good, the preformance superlative. I also don't much
care for the sound, which thins out the orchestral tone in ways I don't think
enhance the music - almost makes the VPO sound like a chamber orchestra. I like
it well enough, but I'm not sure about Matty's "blistering" -
the last movement seems rather tepid to
me
Munch -
wow!!! what stirring performance. The timings are very short. His final
movement is only 10:03. Got it at Barnes and Noble on sale for $6.99.
Schumann's 4th with Leinsdorf as filler.
Walter/Col SO
Barbirolli/VPO
Mravinsky
Schuricht,
Stokowski/RCA,
Van Beinum-ACO
Philips Stereo
Fischer-Dieskau/Czech Phil. on Supraphon;
Levine/CSO (RCA LP - may never have been reissued on
CD);
Haitink/BSO (Philips).
Abbado/BerlinPO
Solti/ChicagoSO – Andante is ? too slow
Mackerras was a real eye opener for me after hearing
many rather "heavy" 4ths. The relatively sparse sound allows the
structure of the piece to be seen in stark relief. It has quickly become a
favorite and has greatly clarified my understanding of this brilliant though at
times puzzling symphony.
Bernstein/VPO, DG
Walter NY Phil 1951
Celibidache/Tahra - late 1940s, not the more recent, cooler performances on DG and EMI
Weingartner (EMI);
De Sabata/BPO 1939 (DGG Dokumente, nla)
Furtwangler/BPO 1943 (many labels) – many think this is best
Toscanini/BBC 1935 live is my
favorite
Toscanini/RCA Toscanini 1951, is one of the
best-sounding of all of his late recordings, but it's a rather severe treatment
of the work. For more warmth, either of
the Walters should fill the bill. The
NY Phil recording has a smidgen more drive, and the orchestral playing is better,
but it's mono, and the sound has a rather "dark" quality.
The extraordinary live performances of all 4
symphonies by Toscanini with the Philharmonia orchestra (London) from 1952 are
a revelation. Only recently released because of fluffed trombone entry and some
firecrackers! It is on Testament (in UK) and has the incomparable Dennis Brain
as 1st horn - listen to the horn parts in the first symphony. The whole thing
is absolutely not what you expect. Lyrical, powerful & just breathtaking.
At that time the Philharmonia was arguably the finest orchestra in the world.
Scwarzkopf has talked of their quite perfect intonation and a woodwind section
that has probably never been bettered.
It is mono, (perfect balance)- you will notice the
mono until you are
absolutely gripped - takes about 2 bars! Van Beinum
Epic LP BC 1019
Horenstein - OK; so what am I missing that others
hear? At my last encounter with it a few weeks ago I tried the finale, which
contains some of the slackest, least characterful playing in this work I've
ever heard (particularly unimpressive wind playing). Simon
1st movement Reiner (11:19); Toscanini BBC
1935 (11:44) Philharmonia 1952 (11:08, NBC 1951 (10:54). Stokowski/RCA 1974
(10.48) Dorati (11:56); Levine/VPO (11:30; Levine/Chicago is similar); Marriner
(11:40); van Beinum (11:48); Weingartner (11:23); D'Avalos (10:30!);
Mitropoulos (11:55).
Cycles:
Walter/Col
SO Sony set is pretty good all around,
warmer than Szell/Klemperer
Abbado/BPO,
Bohm/DG
Klemperer
Kertesz/VPO on London
Dorati,
Ultimately, I would recommend the Dorati set most urgently. Fine recording,
brisk performances. Recorded in the late 50's/early 60's, a particularly
fertile time for the LSO. Exemplary
recorded sound--you can even hear the low, growling contrabassoon part in Sym.
1. The overall approach is taut and
urgent, but with the punch of a full orchestra. The earliest recording in the set (1957) is the only one not with
the LSO: the Minneapolis SO in No.
2. It's a fine performance, but in the
end lacks the power and persuasion of the LSO in 1, 3, and 4. As far as I can
tell, this set is in print and readily available. Dorati is the *only* coductor
I've heard, who can actually produce a lithe, genuine allegro in Brahms, as
opposed to something like dinosaurs trying to dance.
Jochum/Berlin/DG Originals is very good (a
wonderfully ecstatic finale in Sym. 2), but you'll have to accept decent mono
sound and timpani that are sometimes there, sometimes not. – more
fiery than his later stereo
Jochum/LPO on EMI
- Stereo but average sound
Haitink/Concertgebouw
Orchestra which is complemented by the good sound in the Concertgebouw
acoustics. The Fr. horns are glorious
throughout. WW playing is exceptional
The 4 CD set of all 4 symphonies, overtures, Haydn var. *and* serenades
is available from Kuijper. This is a
"must-have" Brahms CD set. While you are at it, get the van Beinum
Box of Brahms Symphonies et.al. from
the same source. This is the best set .... so far.
Boult/London Philharmonic
Orchestra (EMI) with the very cheap
DISKY HR 705412 3CD set of the symphonies, Alto Rhapsody, Academic amd Tragic
overtures. (These are the later 1970s 'Indian Summer' Stereo recordings with
the LPO or LSO not the 1950s mono recordings which have some scrappy playing).
Szell/CO on Sony
Sanderling Staatskapelle Dresden (RCA Navigator or Eurodisc) NOT on Capriccio
NDRSO+Wand (early 80's, 2CDs on BMG
Kubelik's VPO-Decca cycle?
Sawallisch on PhilipsI (his old cycle)
Dohnanyi/CO
on Teldec
Bernstein/VPO on DGG
Steinberg/Pittsburgh on Millinnium (??)
Barbirolli/VPO on Royal Classics (but a very weak 4th)
Guilini/PO on EMI
Levine/Vienna cycle on DG, Levine/VPO(?)
Boehm/Orfeo
Solti,
Kempe, either Berlin (on Testament) or later Munich (on Acanta). And his
recently issued BBC SO
Van Beinum/Concertgebouw Orchestra - he recorded
the 1st and 3rd Symphonies for Decca on >78s. I have mono pressings of the
1st and 4th Symphonies, which were also >issued on stereo LP. I am not aware
of Van Beinum making any other recordings of Brahms' symphonies he recorded two
Brahms's #1('47 on 78's and '51 on tape) Van Beinum's Decca recording of the
Brahms Third wasn't with the Concertgebouw Orchestra but with the L.P.O
Walter/NYPO is superb--perhaps my favorite overall (though I
prefer a few individual performances for 1 and 4) I've always
preferred this to his nice, but rather sloppy, L.A. cycle (the Columbia SO was
mostly members of the Los Angeles PO).
Celibidache His first was a big disappointment for me.
Slowish with nothing to compensate. I
like his 2-4, however. That' said, I've
always favored the first having a more muscular approach than the others- You
must be referring to the EMI/Munich cycle, which I do not recommend. I was
referring to the earlier ones -- Italy and Stuttgart.
Weingartner
Toscanini/Philharmonia live concerts rom London on
Hunt Toscanini, Paita
Abendroth,
Karajan
EMI 50s, 2nd and the 4th with the
Philharmonia: these are both excellent - for many, his finest Brahms recordings
Decca with VPO early 60s,
1st is one
I never really cared for: it seems to lack dramatic momentum, and at the return
of the chorale near the end, Karajan applies the brakes very sharply on what is
already a funereal tempo. It is terribly self-conscious. The performance
certainly isn't a patch on his DG recordings
3rd
is nice
DG 3 times –
-
in the
early 60s - more lyrical
-
in the
late 70s - more dramatic
-
a
digital version in the 80s. This last one is an almost unmitigated disaster -
only the 2nd is listenable.
As for the
first two DG cycles - I like them! Although, I must admit, I was never quite
convinced by his way with the 3rd symphony, which has always seemed to me a bit
lacking in depth: plenty of surface gloss, but not much else. The others won't
disappoint anyone, except, of course, those who are allergic to Fluffy.
Well, they
disappoint me, and I'm not at all allergic to Fluffy. There are aspects
of his performances that are extremely impressive in terms of sheer orchestral
control, one of the more remarkable being the late 70s 2/iv, which starts out
as a barely articulate, barely audible smear and erupts into an exciting blaze
of sound. I don't hear much more than clever sonic effects, though, and
overall there's way too much legato for me (this is less a problem in the last
set). I think his late 70s 1 comes closest to "working". SR
Furtwangler (Music and Arts)
My choices for the Brahms symphonies are:
Symphony 1 Three outstanding
choices:
- 1951
Hamburg with the NDR Orchestra.
- 1952
February 10th with the Berlin Philharmonic
- 1947
Lucerne.
Off the three I like the '52 BPO the best
followed very very quickly by the '51 Hamburg. The '52 BPO is hard to locate,
unless you are in Japan, then it's readily available. Simply a great
performance, with great sound, the same can be said for the '51 Hamburg. The
1947 Lucerne is also a great performance, but not quite up to the level of the
52 or 51. One must mention the January 23(I think), 1945 finale (only) with the
BPO. This was Furtwangler's last performance with BPO before he fled to
Switzerland brfore the war's end. It's unfortunate the the entire performance
didn't survive. It's incredible.
Symphony 2 The 1945 with the VPO
(DG VPO box). Good performance, though some heavy handed as someone once
described it. I really like this one.
Symphony 3 The 1954 with the BPO
head nicely on DG coupled with an interesting reading of Schubert's unfinished.
I head the 1949 performance and it's also okay.
Symphony 4 The 1943 performance is electrifying, it's the only choice
for me. It's heard quite nicely on M&A 941 or very very nicely with in the
Wartime Tahra Box.
Knappertsbusch
I'm making my way through a Knappertsbusch Brahms set
of the symphonies, overtures, double concerto, etc. on Arlecchino, which has
two performances each of the 2nd and 3rd symphonies. There are some fine
wartime Mozart and Haydn symphonies on another M&A set.
Avoid the following:
Kurt Sanderling/Capriccio, Thomas Sanderling, Mehta,
Abravanel, Steinberg (mainly for the bad sound and balances), Barenboim,
Eschenbach (unless you want to hear just how slow it's possible to hear the
music played without completely falling apart), Harnoncourt (probably),
Krivine, Kubelik/Orfeo, Mravinsky (there may be good individual performances),
Sawallisch (both Philips and EMI), Stokowski, and Swarowsky (and perhaps some
others I'm forgetting). Szell 4th?
Toscanini 3rd?
Hungarian Dances
Kubelik on EMI, now there's some real
Hungarian-sounding rubato
Bogar on Naxos – earthy and satisfying
Abbado
Piano Concerto 1
Gilels
Piano Concerto 2
Richter/Leinsdorf RCA. The version with Mravinsky is better. I much prefer the Maazel.
Gilels/Jochum - Grander
Gilels/Reiner - More lean
Backhaus/Bohm
Serkin/Szell is a magnificent performance, but I find the recorded sound a bit
dull.
Katchen/Fernencsik provide a reading that highlights the more facile aspects of
all the movements. The simple and
highly effective way Katchen plays the second melody of the second movement's
trio is a good example of this (many pianists seem to use this moment to gush
emotion). There are, of course, many moments where "weighty" (the
main bodies of II.) and "noble" (many moments in I.) are pretty much
required, and Katchen has the goods here.
This wouldn't be my first choice for the concerto (probably
Richter/Leinsdorf for me taking into account both piano and orchestra), but it
certainly offers many differences from many recordings.
Arrau/Giulini French EMI twofer containing both
concertos.
Rubinstein/Krips The Krips is the most mellow of the
three, but still faster and leaner than the norm for this work, and I think
it's the most satisfying performance overall.
Rubinstein/Munch The middle one (the Munch) splits the
difference – not so fast, more mellow
Rubinstein/Coates Any of the first three recordings of
it (mit Coates, Munch, and Krips) fit the bill. The first of these (1929) is
remarkably "lean, fast, and intense," albeit poorly recorded, and
with its share of flubs and mishaps on the part of both Rubinstein and the
orchestra -- even so, it's obvious we are in the presence of a pianist of
brilliant technique and musicianship, and there are many spine-tingling
moments.
Rubinstein/Coates, probably the fastest recording ever
and, if a bit slapdash at times, surely more-or-less within your
parameters. Be sure to get the RCA Rubinstein
Edition transfer, not its dull Claremont predecessor (the difference is such
that it seems almost like a different performance). I have also owned this performance on some other label besides
Claremont -- perhaps Dante (?) -- and while it was not as bad as the Claremont
(Claremont, IIRC, is the one that mucked it up further by imposing the fake
stereo), it was not a transfer in the same class as the one for the Rubinstein
Collection, for either the Brahms or the Tchaikovsky coupling. I guess what I'm
saying is, the
Rubinstein Collection disc is the one to have, and not
only in preference to Claremont
Candidates for extreme fast and lean Brahms 2nd's
would be Horowitz/Toscanini, Rubinstein/Coates, Richter/Kondrashin (Prague
1950), Richter/Mravinsky (1961) and Watts/Bernstein.
Violin Concerto
Oistrakh/Klemperer
Oistrakh/Szell MDT has it on its
February 03 releases list, very attractively priced.
Milstein/Jochum It showed up briefly in DG's Basic
whoever series (DG's first slimline double reissues) coupled with Boehm's VPO
sym 4 and Alto Rhapsody with Ludwig and a few other odds and ends. I got mine from Berkshire several years ago,
but don't think I've seen it in a store since.
(Nor do I think any of this series was ever released in the U.S. as regular
domestic releases.).There was also a Belart, with Ferras/Barbizet in the Op.
100 sonata as a makeweight. I've always
liked this one myself, with Jochum's support a compensation for the occasional
out-of-tune patches.
Piano Quintet
Rubinstein/Guarneri Glenn Gould was
absolutely blown away by the Rubinstein, and it's not hard to see why, it's
jaw-dropping from first to last.
Rubinstein had always wanted a chance to record quintets, and his joy at
experiencing a dream come true is palpable.
Piano Music
Katchen
#BRITTEN
Peter
Grimes
Pears/Britten
There
is/was a video, with Vickers and Davis in fact. That recording is available on
DvD from NVC Arts. Another version,
conducted
by Britten himself with Peter Pears as Grimes, Heather Harper as Ellen Orford
and Bryan Drake as Balstrode, is buried in the BBC's archive. It was recorded
at the Maltings circa 1970, in colour but mono sound, by Brian Large and
produced by John Culshaw.
#BRUCKNER
Complete
Box Set of Symphonies:
Jochum/EMI – available cheapish
Jochum/DGG - Possibly better than the EMI
Celbidache
/ Munic Philharmonic EMI (nearly complete)
Ashini / Canyon Classics
Wand / NDR BMG (?bland)
Tintner is a good cycle too.
The whole
Knappertsbusch Music & Arts Bruckner set is recommendable - see Henry Fogel's
excellent review in Fanfare
3rd (1889)
Knappertsbusch Bavarian State live 11/10/54
Music & Arts CD 257 ............. 51:06 - 18:05 12:37 7:12 13:12
8th (1892)
Knappertsbusch Bavarian State Orch 5/12/55
Music & Arts CD 266 ............. 69:41 - 12:44 13:16 22:14 21:27
9th (Loewe
1903) Knappertsbusch Bavarian State Orch live 10/2/58 Music & Arts CD 896 ............. 52:25 - 21:10 10:17 20:58
--:--
Of course,
there are hopes that the Orfeo issues sound better.
Symphony
0
Tinter /
Naxos
Solti /
Chicago Decca
Symphony
1
Solti /
Chicago Decca
Baremboim /
Chicago DG
Tinter / Naxos
Wand (RCA)
Symphony
2
Karajan /
Berlin DG
Solti /
Chicago Decca
Tinter / Naxos
Symphony
3
Barenboim /
Chicago DG
Karajan /
Berlin DG
Tinter / Naxos
Kna Orfeo
Symphony
4
Barenboim /
Berlin Teldec
Karajan /
Berlin (75) DG (yeah I know...somewhat overplayed, but I like it)
Bohm / VPO Decca
Barenboim's on Teldec
Jochum on
DGG.
Wand/BPO/RCA
Tinter /
Naxos
Symphony
5
Jochum EMI
Wand /
Berlin BMG
Klemperer /
Vienna Philharmonic ( live 1968 stereo! ) Music & Arts (simply, a massive
performance)
Klemperer / Philharmonia EMI
Barenboim/Teldec
Symphony
6
Jochum EMI
Solti /
Chicago Decca (somewhat brutal, but I like it) (‘’appalling’’)
Karajan /
Berlin DG (an under valued reading)
Klemperer
Symphony
7
Klemperer /
Philharmonia EMI
Barenboim /
Chicago DG (somewhat over-blown, but a lot of atmosphere, and it grows on you
with repeated hearings)
Karajan EMI
Jochum/BPO/Tahra (it's early 50's mono, but the sound is fine; this performance
blazes like no other
Tintner /
Naxos
Symphony
8
Haitink /
Vienna Philharmonic Philips
Sinoppoli /
Dresden DG
Karajan /
VPO DG
Boulez/DG
Celi/EMI
Knappertsbutsch/BPO Music and Arts – live. Also on Orfeo
Symphony
9
Karajan
(69) / DG
Barenboim / Berlin Teldec
Walter /
Columbia Sony
Kna Orfeo
#CHOPIN
Sonata 2
Michelangeli/1952/Arkadia. Once past the
remarkably introspective introduction to i, I find this disappointing, with a rather
understated I and ii, and a iii which offers a rather disjointed, excessively
slow Funeral March interuppted by a strikingly still, calm lyrical section
that's more an impressive display of control than anything else. iv, on the
other hand, works well.
Michelangeli/1960/Praga. I vastly prefer this, much livelier and more
intense in i and ii, more imaginative, faster, more coherent yet more flexible
and nuanced in iii (an exceptionally lovely lyrical section); iv is better too.
His 1960 Prague recording (Praga) is more impulsive and less relaxed, but the
Michelangeli control is still there in abundance. It is truly astonishing when
one realizes it is a live recording.
Michelangeli/1959/London (Music & Arts CD-955) is hauntingly
beautiful in its measured structure: the Funeral March is downright unnerving.
Michelangeli/1973/Tokyo on what looks like a pirate recording (Exclusive
92-T-14). Taped live. No notes. Sound is a bit hazy but acceptable. Is this the
CD that also contains Beethoven Sonatas op. 22 and 26? If so, yes, it is a
fantastic recording. M&A also released the same exact performances but
toyed with the acoustics....so this is the one to have.
Rubinstein live in Moscow is also
worth listening to - much better than his RCA studio recording which lacks both
spontaneity and a sense of drive in the first movement.
Rubinstein/RCA. Dreadful, unbelievably pallid, dull, understated,
utterly free of anything resembling drama. By a wide margin the worst so far,
offering no more than bland, generalized lyricism.
The stereo Second Sonata sounds to me cautious and
prosaic -- I find preferable both his mono recording and the live Moscow
performance located elsewhere in the big box. I consider his Third Sonata to be
a performance in a higher class (and it's his only extant attempt at it, at
least in the _Collection_).
A version I like quite a lot is Rubinstein's 1946 RCA
recording, which nobody seems to have mentioned.
Sokolov's
recording of the sonata is superb, very imaginitive and convincing - he turns
familiar phrases in unfamiliar ways and they sound better than ever. The
playing itself is extraordinary and the sheer communicativeness of it all makes
this my favorite version of the modern recordings I've heard. His Preludes
recording is not my cup of tea at all,
Kissen's new recording is very good
indeed. Again it's a case of rich imagination coupled to tremendous
presentation. For example, Kissen pedals the finale in a very interesting and
to my ears effective way. The bonus is that the disc contains a very intense
traversal of the Op. 28 Preludes. I've been pretty lukewarm toward Kissen's
recordings, but this one I thought a gem. Since we're not supposed to like him
around here I'll doubtless lose any credibility I might have by saying that I
love this impassioned, at times even aggressive, turbulent performance
Horowitz's CBS
recording is certainly better than the RCA -- the first movement is more
coherent, at any rate, though I like the oppressive, relentless intensity of
the RCA Funeral March -- I don't think I would rank either very high overall.
Simon
Gilels Live, Moscow, 10/61 torrid
and fierce account Philips Great Pianists set., (terms that do not apply to the
lovely lyrical passages). Gilels is very good at making sense of the work as a
whole, preventing it from becoming episodic. Although he doesn't for me quite
nail the extraordinary last movement. I
also love the Gilels (1961) for its frenzied energy (especially the 1st
movement).
The most compelling Chopin sonata recording for me is
Gilel's recording of #2 and The Sokolov is another one that I like a lot,
though a bit too gigantic. .
Gilels/1955 Testament. 5:46, 6:53, 9:14,
1:16 A model of elegance, extremely lucid, unaggressive but never bland frankly
I prefer a bit more passion, and find his upper lip a bit too stiff in the
lyrical section of iii, but a favorite, for all that. It's a studio recording made in NY in October 1955.
Gilels/1954 Multisonic: 5:14, 6:29, 7:23,
1:18 I see that I also have a live Gilels on Multisonic from a year earlier,
which is several minutes quicker -- I guess I should listen to that too;
perhaps it's more like the one you have, which I don't think I've heard.
On the basis of your other post, it sounds like the Multisonic also turns out
not to resemble the 1961 performance. Track timings for it are: i: 5:33; ii:
6:55; iii: 7:31; iiii: 1:14. In case this conveys anything. Actually I don't
think its ferocity has much to do with tempo.
Gilels/Multisonic seems unnecessary; it's conceptually of a piece with the
Testament recording from a year later (iii is quite a bit quicker, but
otherwise much the same) and has rather dim sound
Pogorelich is the odd-ball but one I
have come to love.
Pogorelich/DG. i isn't as boldly characterized as I exected indeed, none of it
is. iii is surprisingly fast and straightforward, effective in its understated
lyricism. Weirdly shaped iv.
Pletnev/Virgin. Not sure what to
make of this. Not at all like anyone else, with an interesting i made to sound
more textually complex than it often does thanks in part to the uncommon
attention he lavishes on inner voices and "accompaniments." I find
the lyrical section of iii disappointing, oddly fragmented; to these ears this
works best, regardless of how flexibly it's handled, if presented as an
endless, uninterrupted line which is what most do, regardless of their other
virtues/flaws.
Gavrilov/EMI. I suspect there aren't many who like this rather aggressive,
crisp, articulate performance, which short-changes the lyricism in the music
(I'm amazed that the Gramophone reviewer liked it so much) but makes up for
that in other ways; the finale is stunning. I'm very fond of it, but would
perhaps be wary of recommending it to others as a first choice (his DG remake
is similar but a bit less aggressive). Kissin offers comparable
aggression/passion and clarity but conveys the lyricism better.
Kuzmin/Russian Disc. Exciting,
passionate playing in i and ii, but a perhaps exessively fast iii that doesn't
sound much to me like a funeral march a reaction, perhaps, against all those
ridiculous Kremlin funeral processions he doubtless grew up with which
positively barges in, fortissimo, at the reprise.
Fiorentino/APR. A remarkable
combination of passion and lucidity in i, lacking the aggressive tone of Kissin
and Gavrilov (say) as one would expect from such an old-timer (though this is
fairly recent, a live recording from 1993, marginally undermined by the
slightly dull recorded sound). Excellent iii, which sounds aptly sad, sombre
and relentless in the march, deceptively restrained and straightforward in the
lyrical section (where he pays greater attention than most to the left hand).
Interestingly shaped iv (of course, it could be argued that it shouldn't really
be shaped at all...).
Godowsky/Philips. Perhaps the best
thing in this Great Pianists set, featuring a thrillingly passionate but
slowish and powerful i (odd that a recording from then should have the repeat
in i), easily one of the best in this movement a pleasant surprise after most
of the rest of what in
this set; I almost didn't bother listening to it for this comparison session. A
magnificent fast but grand, almost defiant, performance of the march in iii,
and though the lyrical middle section at first seemed too fast and loud for my
taste, I ended up finding it effectively different. Interesting iv, where odd
pairs of notes occasionally leap out of the blur.
Hamelin/Isba Classic. I very much
like his fastish, dramatic accounts of i and ii, but find iii oddly
unsatisfying, the rhythms not quite crisp or steady/relentless enough in the
march, the lyrical section undermined by an accompaniment which is too square,
the first note of each four note
sequence given excessive emphasis.
Cziffra/EMI. He finds more variety
in i and ii than most, an imaginative mix of boldness, aggression, and
lyricism, the typically thin French EMI sound adding to the striking clarity of
his playing. iii is very successful too, the march taken at what sounds to me
like the right speed
(somewhere in the middle of the available range) and conveying an aptly
funereal mood, the lyrical interlude poetically handled.
Cziffra/Philips. Conceptually similar (iv seems a bit more restless, iii
is a bit quicker), but sounds different in part because of the mellower, more
bass-heavy, hissier sound.
Francois/EMI. His usual mix of
clarity (again, the rather shallow French EMI sound helps), fantasy, poetry and
drama his i is as wide-ranging as Cziffra's, but maybe even more captivating.
Janis/Philips, a fairly imaginative,
fairly dramatic performance, lacking the last degree of flair and poetry, but
better than many, including his famous teacher.
Kapell I hear nothing special in Kapell's; it sounds
to me just like a fairly dutiful, fairly literal performance, very
"modern" and not, I think, really competitive with others I've
mentioned as favorites. The performance of 3 displays a bit more passion, at
least in i, but I'm not convinced there either.
Harasiewicz is OK, but rather
ordinary (better than Kapell, though),
Duchable is less than OK, desperately lacking in poetry
and imagination -- you would never identify him as a French pianist (which I
assume he is); this goes straight to the reject pile.
Ashkenazy I don't like either (the nasty, clangy sound
doesn't help, but isn't dispositive); he is vastly more imaginative than the
above three, but i sounds jerky and episodic, and iii is undermined by jerky,
choppy rhythms in the march portions; ii, however, is wonderful,
edgily dramatic.
Friedman is, of course, in a different class from all of
these, but it's a shame all we have are iii and iv.
Argerich, I must say I found rather disappointing --
she's good in the more aggressive parts of I and ii, but shortchanges the
lyrical music (here and in iii) and doesn't offer the dramatic variety of the
performances I like best.
Sonata 3
Percy Grainger's
performance of #3 is my favourite
Cortot is very good
Rubinstein is my longtime
overall favorite I'll take the opportunity to recommend that you get the mono
3rd sonata in addition to the stereo one; it's tauter and more exciting. They're still my two favorite renditions, in
a walk.
Pogorelich
Zhukov – Wigmore Hall I'm inclining to
Zhukov for the first movement, Pogorelich for the second, Bolet for the third,
and then a mixture of all three for the finale. Zhukov's finale is unmatched
(IMHO), but I may be biased having heard him live.
Zhukov –
Ann Arbor there is another unedited live version from Ann Arbor with
Zhukov that I think is at least as good as the Wigmore Hall one: I had your Ann
Arbor recording in mind, which I prefer even though both performances are
wonderful. Has his earlier Melodiya
recording ever made it to CD?
Bolet
Lipatti...
Van Cliburn is superb, its only failing for me being a lack of
ultimate delicacy; It is a superb reading that keeps one riveted from start to end, yet
flows so naturally. And his touch and tone are superb.
Arrau surpasses all.
Gilels is liked by some, not others
Kapell is a serious challenge to Rubinstein
Malcuzynski. His performance of the second and third
sonatas (and the rest of his Chopin) is really volcanic. The Chopin recordings
were available on Capitol LPs, some of it reissued on CD, but not all (an
egregious omission). I don't like Gilels and Argerich
Pollini, which alongside his Schubert's D959 is one of his best
Freire - my favorite - his whole Philips GP set is
extraordinary
Pletnev. uses some extremely slow tempi -- way past
Gilels. There are times when you just don't want to sit down and surrender to it.
But it has many marvelous things in it, and I think it's must listening.
Argerich 1 is not special
Argerich II is good (?EMI one is better)
The worst Chopin 3rd I have is Uchida.
Hoffman – Ist movement only, but maybe the best ever
Ballades
Malcuzynski
Moiseiwitsch
Francois
Zimerman/DG
Etudes op 10
Ashkenazy (Melodya better than later Decca)
For an overall performance I turn to Ashkenazy on Decca. The technique is
there, the music is there and most of all - Chopin is there! According to some
pundits on this ng his earlier Russian recording is even better but I haven't
heard it and can't comment
Pollini Compared to Pollini, Lortie is
technically excellent but the music is somewhat bland. I'd take Polini over
Lortie any day
Between the
two, my vote is for Pollini: crisp, energizing, elegant. Some (including one of
my piano teachers) hate it, calling it cold and mechanical. Others, like me, think it's brilliant and
thrilling.
I used to
like Pollini's set for its almost anti-poetical grimness and technical
perfection, but on repeated listenings I seem to perceive
technical
weaknesses, and one tires of the in-your-face severity.
Lortie Perhaps even better than Pollini. Yes, that
would be my first choice. Others find him cold - technically amazing but single facetted
Cortot musically brilliant but
technically lacking
Gavrilov
For
sheer technical virtuosity and qute a bit of music making as well then Op 10
belongs to Gavrilov (you have to remember that these are studies!) His Op 25 is
not as good with the exception of his stunningly portrayed Op 25/5
Gavrilov's
recording is far superior, in my humble opinion, to the Pollini's one
Perahia is spectacular and subtle in places but maybe not as
idiomatic as others.
Anievas.His interplay of mf down to piano is quite
impressive however I have some reservations about his playing. The EMI sound is
a bit muffled but I can't help but notice that some of the notes are either not
well produced or missing entirely.
Cziffra
Wild (not wild enough)
Magalov
Browning – a bit cold
Lugansky Erato (8573-802282)
Zayas (too mannered),
Biret's is the worst,
sounding awkward, unpoetic and uncaring.
I respect her for some of her other recordings and wonder why she made
such a mess of these etudes.
Etudes op
25
Ginzburg – elegant
and satisfying. For Op. 25 alone, Ginzburg is miraculous. He imbues these "studies" with
imagery so vivid, so seamless, that the rest of the world just disappears.
Perhaps in the last three etudes Ginzburg's technique can't quite match his vision,
but this remains one of my favorite piano recordings of all.
Sokolov's version of the Op. 25 etudes is dramatic and
poetic, especially in the later etudes, and the sheer pianism is magnificent.
In Op. 25 alone, Sokolov is terrific.
He's very poetic and communicative, though not as magically as Ginzburg,
and his technique is among the very best.
Cziffra has an incredibly quirky yet memorable Op 10
but his Op 25 is my favourite. This is Chopin lovingly and tenderly played. I
haven't
heard the much vaunted Sokolov Op 25 but it would have
to be great to beat the Cziffra.
I liked Gavrilov's Op. 10, where he seemed to
complement his fabulous technique with vivid poetic imagery. However, to my ears his Op. 25 sounds pretty
short on the poetic side. Cziffra
sounds rather the opposite, with the most incredible technical Op. 10 that
sounds like a speeded up pianola offset by a commanding Op. 25 filled with
atmosphere and emotion.
Friere
Berezovsky
Matsuzawa
Impromptus
Sofronitsky - no one comes even close
Cortot
Sokolov
Bolet
MAZURKAS
Rubinstein - I prefer the '50s
Mazurkas to the '30s, but wouldn't want to be without both. (The '30s renditions feature some of his
wildest playing.)
Malcuzynski Disky twofer
Rosenthal APR, Pearl, and two brand-new
Biddulphs LHW039 and 40--American Recs, and Chopin respectively, in predictably
superb Ward Marston transfers of some rather difficult source material. You
might want to try Pearl 9963 with mostly HMV recordings, in first-rate Seth
Winner transfers.
Kapell's disc of 28 as a worthy supplement.
Wasowski
Jonas
I've been giving my discs a good listen, and my
favourites in the last series are the following:
36 59 1 Pogorelich
37 59 2 Pogorelich
38 59 3 Rubinstein
39 63 1 Sofronitsky '49
40 63 2 Sofronitsky '60
41 63 3 Rachmaninov
42 67 1 Rubinstein
43 67 2 Rubinstein
44 67 3 Friedman
45 67 4 Sofronitsky '49
46 68 1 Ginzburg
47 68 2 Malcuzynski
48 68 3 Rubinstein
49 68 4 Rubinstein
50 Po Ginzburg
51 Po NotreTemps Ginzburg
In some of them it was very close between
Friedman/Malcuzynski/Rubinstein/Sofronitsky. Michelangeli's 67/4 is very nice,
too (strangely like Sofronitsky's)
Nocturnes
Rubinstein – preferably the early mono
Moravec is much more to my taste
than Pires in the Nocturnes. The nocturned just "blew me away" . I listened to
the entire set twice, parts of it a third time. It was in short one of the most
intense musical experiences of my life. And his live playing is, for me,
spellbinding. No histrionics but his sense of timing, choice of phrasing and
his TONE, live, tend to mesmerize me. It's not often that a live recital
moves me these days, but his certainly do. He must surely have one of the best
pianissimo's in the business? Absolutely clear but absolutely pp, no muffling
to achieve the sound reduction.
I think it is important to also notice what is missing from Moravec's
Nocturnes: cojones! One should listen to Rosenthal and Sofronitsky (or even
Szpilman) for performances that reveal (and live) the full range of emotion in
these works. Moravec does not come close.
I happen to agree... his playing lacks real passion...... a bit dull and
colorless but when one writes thes comments others get very
indignant as if this guy is some kind of God. Moravec has very little to offer
besides subtlety. He certainly does not produce (and never did) revelatory
performances. He is just very polished, and that's it. When I called him a
third rate pianist I cautioned the audience to not take it in a derogatory
sense. Third rate is quite high by my book. And it does not wear well -- at
least to my ears. With every repeat listening, things get less and less
interesting.
Arrau For the " old " version,
I prefer Arrau. But I strongly recommend Maria Joao Pires
Polonaises
Rubinstein's ca. 1950
Polonaises, available in the Rubinstein Edition but also in the cheap "The
Fifties" twofer, sweep the field.
Malcuzynski (the sound is as good as most London
Ashenazys; try Berkshire Record Outlet)
Preludes
Pogorelich
Cortot from the early 1930s - never topped, really
Moravec's - either one. Moravec's VAI Preludes feature
superb recorded sound.
Bolet (on GPOTTC) - You get the rest of a fantastic
Carnegie Hall concert as well)
Argerich's Preludes are hideous.
Sokolov is too unrelentingly aggressive for me.
Scherzi
Pogorelich - astounding
Pletnev on DG from Carnegie Hall
Ann Schein (try Canada)
Freire (try used)
Richter The Helsinki Recital 1976 on M&A - mainly
for the Chopin Scherzo #4 and Etude op. 25/7
Moiseiwitsch
w. ballades
Waltzes
Rubinstein - His stereo Waltzes aren't a patch on their mono
predecessor, which have more wit and brio.
Lipatti – A classic, studio version
preferred
Ballades
Malcuzynski (the sound is as good as most London
Ashenazys; try Berkshire Record Outlet)
#4
Op. 52
Moiseiwitsch - The 4th ballade of my dreams
would be Moiseiwitsch until the final coda, then someone like Richter carry the
baton to the finish line.
Cortot,
François,
Richter,
Hofmann,
Tiegerman
Moravec,
Horowitz,
Malcuzynski
.
Recitals
Horowitz
Chopin recordings on the Aura label (AUR 231-2).
Chopin
Andante Spianato okt-4
Chopin
Ballade 1 mei-47
Chopin
Etude 10/04 jan-52
Chopin
Etude 10/05 jun-35
Chopin
Etude 10/08 nov-32
Chopin
Etude 25/03 mei-34
Chopin Impromptu
1 okt-51
Chopin
Mazurka 07/03 nov-32
Chopin
Mazurka 30/04 dec-49
Chopin
Mazurka 41/02 mei-33
Chopin
Mazurka 50/03 jun-35
Chopin
Polonaise 6 okt-45
Chopin
Scherzo 4 mrt-36
‘Definitive’ performances
Nocturne Op
27/2 Lipatti
Valse Op.
18 Magaloff
Ballade Op.
52 Moiseiwitsch
Prelude Op.
28/16 Lhevinne
Mazurka Op.
7 Friedman
Rachmaninov
- Sonata 2
Hoffman -
Sonata 3, 1st movement
Sofronitsky
- Mazurka C#m op 50/3
Malcuzynski
- Mazurka op 68/2
Rosenthal -
Mazurka C#m op 63/3 (choose from 3)
Scherzo 1:
Sofronitsky
Mazurka
17/4 Horowitz
Etude Op 10
No 9 Cortot
Nouvelle
Etude 2 Rosenthal
Op 34
Waltzes Richter
Polonaise 5
Bashkirov
Nocturne Op
27 No 1 Moravec
Fantasy Op
49 Arrau live
Numerous Mazurkas:
early Rubinstein
Jonas:
Mazurka Op 68/3. Magical.
Horszowski's
recording of Concerto No. 1
Etude op.25
No 7 Richter Helsinki 1976 (M&A)
Andante
Spianato et Grande Polonaise Brillante Zimerman Polskie Nagrania/DG
Waltz in E
minor op.posth Luisada DG
Prelude in
C sharp minor op.45 Pollini DG
Scherzo No
4 Pogo DG
Scherzo #2
- Michelangeli
Polonaise
in Bb - Jonas
Polonaise
in F# Minor - Horowitz
Etude op.
25 #6 - Lhevinne
Mazurka in
Bb Minor – Freidman
#COPLAND
Appalachian Spring –
complete, the full version for 13
instruments was done some time in the mid-1970s. It was evidentally a different score than is typically performed
today.
Copland did record the entire ballet LSO on CBS/Sony,
in the original scoring for chamber orchestra.
IIRC, he did not record the full orchestra version of the complete score
which he prepared at the request of Eugene Ormandy. Leonard Slatkin's is the only recording of which I know. It's a good one and serves well as a
companion disc to Bernstein's classic NYP recording on Sony.
Slatkin with the St. Louis Symphony, EMI. I have always
found his Appalachian Spring to be absolutely superb, as is his complete
unabridged recordings of Billy the Kid and Rodeo as well.
Hugh Wolff with the St. Paul Chamber Orchestra. Teldec
St. Paul
Chamber Orchestra, conducted by Dennis Russell Davies. Most recently available on ProArte
(Intersound).
Tilson
Thomas
Andrew Schenck's recording on Koch with the Atlantic
Sinfonietta. In a fascinating essay,
Schenck explains how he chose certain tempi by studying early performances of
the ballet. The coupling, the original
version of Barber's Medea, is worth the price of the disk in its own right.
Appalachian
Spring – Suite
#DEBUSSY
La Mer
The title Debussy chose for the first movement, De
l'aube à midi sur la mer (from dawn to midday at sea) caused Erik Satie to tell
Debussy that "he liked the work, but especially the bit at a quarter to
eleven".
Trumpets
near the conclusion of the third movement –
With:
Reiner, Toscanini, Monteux, Ansermet, Haitink
Without:
Boulez, Szell
Boulez/New
Philharmonia
Boulez/Cleveland
(DG) I 'm with the
Boulez I and the Cantelli admirers. Boulez II is not nearly as good musically
(though the playing is absolutely perfect, chilling in fact).
Munch-BSO RCA Living Stereo ca. 1957
Reiner, Chicago Sym. +
R.-K.:Scheherazade RCA 60875
Desormiere
(S.Richter’s favourite) Arkadia OOP
Szell/Cleveland (Sony--super cheap, and amazing)
Szell/Cleveland
live in 1957 in Italy on Aura records.
Cantelli Testament. SBT 1011
MTT,
Philharmonia + Nocturnes CBS MDK 44645
?
Dutoit with OSM. Very sonorous and at the same time detailed, just check
the awesome brass chorale near the end of the 3rd movement, nobody gets this to
sound as magnificient as Charles. Still, there is not just excitement, but
plenty of coloristic detail.
Karajan
Salonen /
LA Philharmonic / Sony, more reserved but beautifully shaped and played
Giulini's account with the same LAP (DG), unfortunately not easily available
now, very sonorous and musically exquisetely played.
Mravinsky
Van Beinum
Gielen. - astoundingly good, good sound, very cheap on Vox. It should
satisfy the Boulez-ite for clarity and seductive sonorities
De Sabata,
Rosenthal/Orchestre d'Opera de Paris (ADES)
Toscanini/Philadelphia
(RCA)
Toscanini/Philadelphia
(BBC)
Markevitch
Monteux
Koussevitzky/Boston
Mitropoulos/NYPO
(Columbia)
Coppola
Leinsdorf
Maderna
does La mer in the Arkadia Maderna/Debussy box - terrific, certainly my favourite performance. Remarkably well
played for a Maderna bootleg, and very song-full. The rest of the box is pretty
special too, in fact.
Ansermet/Suisse
Romande
Martinon
(EMI)
Stokowski
(Decca Phase 4)
Barenboim
(DG--controversial, but very "shimmery" and Wagnerian; Debussy's
roots after all, given that Wagner's mature style and aesthetic was basically
French)
Celibidache (1960 Milan)
Celibidache
“I am almost sure I heard a truly soporific Celibidache performance of this.
The music was stuck and didn't move.”
>Celibidache/Munich
I know it's *wrong*, but I can't help it!
Ancerl with
the Brno State Phil on Praga PR 254008 Timings: I:7:50 II: 6:06
III: 6:50 (20:50) together with Ravel, Sheherazade (Danco); Poulenc,
Concerto for two pianos; Roussel, Bacchus et Ariane Suite No.1 (these with the
Czech Phil)
PhilO/Muti
on EMI;
Martinon on
EMI;
Sinopoli/Philharmonia
(DG) on the list. Strong dynamics and very dramatic
Baudo (EMI Eminence)
Haitink (DUO).
Cleveland/Ashkenazy
on US Eloquence is a good performance, well recorded and with a few Ravel
tracks added to boot.
Désiré-Émile Inghelbrecht,
who, despite his name, was a Frenchman who founded the Orchestre National de France
(the French National Radio Orchestra) in 1934. The two recordings are on
Testament (a studio recording from 1954 in mono) and Naïve (a public
performance from eight years later in rather boxy but genuine stereo). For
anyone interested in the real French orchestra sound (a sound that is no longer
with us except on recordings), these CD's are invaluable. Inghelbrecht's
performances shimmer, always move on and pack a wallop when asked to. They are
simply gorgeous. Check them out. They are very much worth it, not to mention
all the other material on both sets.
Images
Reiner, Chicago Sym.
Nocturnes
Monteux/LSO (Philips)