Beethoven. The Nine Symphonies. Barenboim. Berliner Staatskapelle. Teldec.
There are dozens of Beethoven symphony cycles. Some offer chamber orchestras, period instruments, or some variation in the latest and most authentic edition of the scores. However, this is the one that keeps me coming back.
The Berliner Staatskapelle play immaculately. They have real character and warmth. Barenboim could have recorded this cycle with any orchestra of his choosing, and this decision was brilliant.
This Beethoven is full-blooded, big, and bold. Barenboim infuses an incredible sense of energy and momentum throughout all 9 pieces. There is nothing boring or slack, not even for a moment. This cycle has no weak spots, either. I could pick any disc from this set and be instantly enthralled.
Barenboim has adopted many markings of Wilhelm Furtwangler, a famous German conductor known for spontaneity, excitement, and an overarching sense of purpose throughout each movement. While Furtwangler was occasionally erratic, sometimes histrionic, and often dimly recorded, Barenboim puts a steady hand to these polished performances.
The sonics are among the best. The strings have mass, the brass ring-out, and the soundstage is huge. The orchestra plays in a warm, burnished tone, yet with immense clarity.
Beethoven is an amazing composer, and heralded the start of the Romantic era with Symphony #3. I am always struck by the sense of energy, the deceptive simplicity or many of his passages, and the fact that he gets better and better the more you listen. This is a set that sounds great the first time, and sounds even better the 10th or 25th time you listen. |
Tchaikovsky Violin Concerto. Vengerov. Abbado. Berliner Philharmoniker. Teldec.
Beethoven Triple Concerto. Brahms Double Concerto. Richter. Oistrakh, Rostropovich. Szell. Cleveland Orchestra. EMI.
Michael, I am going to totally agree that these two are must-haves.
Vengerov is arguably the best living violinist. He has a masculine, confident, and energetic technique that makes the Stradiverius soar. If I want someone to hear how good my stereo sounds, the Tchaikovsky Violin Concerto is what I play. This piece is amazing from start to finish. Even Abbado, who I find boring and mannered, seems to be inspired. Abbado whips-up the Berliners to have that sense of communication between soloist and orchestra. This piece is accessible from the first listen, and continues to impress with repeated listening. The engineering on this recording is perfect.
The Brahms Double Concerto features some of the best talent put on stage, PLUS they deliver. Szell's Cleveland Orchestra was widely regarded to be world class and perhaps the best in the US. Szell launches into the Brahms with his charactaristic incisiveness, getting full committment from the orchestra. The soloists throw themselves into the music as well, with an inspired sense of communication between all players. Karajan actually does a good job as well. The recording is very good, with a little hiss, but a very warm 'analog' sound. |
Horowitz. Complete Recordings on Deutsche Grammophon.
Vladamir Horowitz is one of the best pianists of the 20th century. Here, you can have about 6 hours of music in a box set at bargain price.
Why is he so good?
One thing is his total control of the piano. He can play the most complicated passages, at any speed of his choosing, effortlessly. Not only does he hit all the keys, but he shapes the note to give intonation and depth to a piece.
Another aspect is his uncanny approach to rhythm and intonation, and his ability to create each piece anew. Even if you have heard these pieces before, he makes them so fresh and natural.
One last attribute is his ability to have fun. You can hear how he is enjoying himself. He plays not just for the audience or for perfection, but also for his own pleasure. Watch some videos on youtube, and look at his facial expression.
Be sure to read the notes inside. After reading about his Moscow concert, you can truly appreciate the electricity and excitement in the air.
This set is priceless. It is a wonderful introduction to the piano. |
Stravinsky. The Rite of Spring (Le Sacre du Printemps). Boulez. Cleveland Orchestra. DG.
This orchestral showpiece is a also an audiophile showcase. One of the great modern works of the 20th century, and yet somehow popular despite the dissonances and lack of an overall melody.
Pierre Boulez brings clarity to the extra-ordinarily complex rhythms. The piece is played and recorded as clear as can be. The instrumental colors and sections are highlighted throughout.
Now some are going to take issue with this particular recording. Perhaps Boulez can be cool, analytical, and episodic. However, his strengths trump those criticisms in my view. There are other conductors who play it faster, more dramatic, and with emphasis on the harmonies. But Boulez strips it down to the pure composition and orchestration with beauty and devastation. Plus, he allows the Cleveland Orchestra to "let 'er rip" on numerous occasions, which is particularly impressive with his style to the climax build-up.
It would be difficult to agree on the best Rite, but this one sounds wonderful, is impressive on an emotional and intellectual basis, and is coupled with a great Petrouchka. I come back to this one often. |
Just to clarify the last recommendation, there are two Boulez Rites. The first on Sony, the second on Deutsche Grammophon. The first is more fierce and free. The second is more measured and refined, with excellent sonics. Either would be good. I was referring to the latter in the post above. |
Brahms. Piano Concertos 1 and 2. Fleisher. Szell. Cleveland Orchestra. Sony.
Here is a recording for the ages. Leon Fleisher's career was cut short from a crippling dystonia of the hand. In this recording, his playing is sublime and ethereal. The notes are coaxed from the piano and float into space. Tempos are perfect. Szell contrasts with a firery accompaniment. Pianists, conductor, and orchestra are in total communication. This one gets better with repeated listening. The recording is warm and analog-sounding. There is a slight hiss, but you will not hear it once you become engrossed in the performance. |
Mahler. Complete Recordings on Deutsche Grammophone. Bernstein. Volumes I and II.
This is an overwhelming set. In college, I saw Mahler 2 in Cleveland, and I was overwhelmed. No one told me classical music could sound like this.
Mahler was an absolute composing genious. His orchestration is utterly unique. His music is about life and death, love and loss. It reaches the heights of God and man, and the depths of sorrow and despair.
This set has historical importance. Leonard Bernstein may be properly credited with interpreting Mahler for the modern world. He opened the world of Mahler to many with passion and total conviction. Sure, there were others composers before him (ie. Horenstein, Walter, Klemperer, Mitroupolos, Scherchen), but Bernstein, in my view, brought Mahler into real global popularity. Bernstein embraced all of the work, not just a piece here and there. I cut my teeth on this set for all Mahler symphonies, and I still get choked-up listening to it.
Bernstein plays these symphonies 'to the hilt', and gets away with it. He is able to extract every ounce of emotion and drama without sounding mannered. His 'heart-on-sleeve' approach is not the only point of view, but I find it highly effective and suitable. Bernstein also gets incredible playing from the New York Philharmonic, an orchestra led by Mahler himself for a few years.
Bernstein recorded these pieces for Sony and for DG. You will find proponents for each recording. I have several shelves of Mahler, attesting to the concept that their is no single best interpretation. Nonetheless, Bernstein's DG set makes a wonderful introduction to these symphonies with maximum impact. Mahler is less approachable from the first listen than Tchaikovsky, but after several listens, it all falls into place. Familiarity definitely helps here, so don't give-up without a few listens. These pieces also have huge sonic impact, and will satisfy the most discriminating audiophile. |
Tchaikovsky. Symphony #5. Vienna Philharmonic. Gergiev. Philips.
This must have been quite a performance to attend. Gergiev and the VPO play with searing intensity. Gergiev here is guest conductor, and his interpretations generally run from hot to cold. This one is truly inspired. I could picture the entire orchestra sirting up on the front of their chairs. What an incredible sound! It is impossibly lush and lithe at the same time. The music never drags, and you can even get a sense of the electricity in the air. The engineering on the recording is perfect. Big strings and big brass, beautiful winds. This is the unique sound that made Vienna famous. |
