I would like to start a thread, similar to Orpheus’ jazz site, for lovers of classical music. I will list some of my favorite recordings, CDs as well as LP’s. While good sound is not a prime requisite, it will be a consideration. Classical music lovers please feel free to add to my lists. Discussion of musical and recording issues will be welcome.
I’ll start with a list of CDs. Records to follow in a later post.
Berlioz: Symphonie Fantastique. Chesky — Royal Phil. Orch. Freccia, conductor. Mahler: Des Knaben Wunderhorn. Vanguard Classics — Vienna Festival Orch. Prohaska, conductor. Prokofiev: Scythian Suite et. al. DG — Chicago Symphony Abbado, conductor. Brahms: Symphony #1. Chesky — London Symph. Orch. Horenstein, conductor. Stravinsky: L’Histoire du Soldat. HDTT — Ars Nova. Mandell, conductor. Rachmaninoff: Symphonic Dances. Analogue Productions. — Dallas Symph Orch. Johanos, cond. Respighi: Roman Festivals et. al. Chesky — Royal Phil. Orch. Freccia, conductor.
All of the above happen to be great sounding recordings, but, as I said, sonics is not a prerequisite.
Just bought Vladimir Sofronitsky - Complete Recordings Melodiya all NM Vinyl on eBay, to be shipped from Russia. Expected shipping time about a month. Has anyone heard this set or part of it? It was an impulse buy, knowing how much I adore Sofronitsky. The recordings are in Mono. I am not sure about the sonics. Looking forward to playing it on my newly aquired Technics 1200G with cadenza blue cartridge
By the way this piece of music give a taste with only various melodic lines of the synchronised synesthesia of music in heaven.... Dont take my words listen to it... Rivaling with Bach and perhaps beating him at his game is difficult....Listen Bach motets to live the same experience with Gustav Leonhardt interpretation.... Or Gardiner...
JOHANN STRAUSS WALTZES Wiener Symphoniker -- Yakov Kreizberg Pentatone Classics 2004 SACD
The Notes: "In those days this intimate dance for two caused a scandal: bodily contact, public displays of sensuality, lasciviousness and eroticism were frowned upon. The waltz, due to these attributes and its suburban origins earned a dubious name; particularly it’s intoxicating effect would, evidently, lead to a loosening of good morals: "The waltz is an invention of the devil," wrote a Viennese newspaper in 1869. Ballrooms will pave the way for the conception of illegitimate children, or so feared guardians of Christian morality."
"Surprisingly Johann Strauss, as he explained to this third wife Adele, was no dancer."
Sound familiar? The more things change, the more they stay the same. Of course, the Guardians could have been right. :)
eioI love Sofronitsky.I have several collections of his recordings, including Melodiya, Vista Verdi, Brilliant Classics, and Denon (which is Japanese I believe). I find all of his recordings wonderful. Technically, some are better than others, but the playing is uniformly superb. He also recorded with the Beethoven Quartet (Oistrakh, Gilels, Sofronitsky & Mershavov).
eioI love Sofronitsky.I have several collections of his recordings, including Melodiya, Vista Verdi, Brilliant Classics, and Denon (which is Japanese I believe). I find all of his recordings wonderful. Technically, some are better than others, but the playing is uniformly superb. He also recorded with the Beethoven Quartet (Oistrakh, Gilels, Sofronitsky & Mershavov).
Victor Merzhanov a disciple of Feinberg is indeed a giant himself just beside Neuhaus and Sofronitsky my favorite god....
CAPRICCIO ESPAGNOL, Op.34 Anshel Brusilow (solo violin) Philadelphia Orchestra -- Eugene Ormandy Sony Classical 1959 1962 1966 / 2002
Notes: "Rimsky-Korsakov composed the five movement 'Capriccio Espangnol' in 1887. It was first performed, under the baton of the composer, in St. Petersburg on November 12 of that year. Both popular and critical response was overwhelmingly positive. Tchaikovsky spoke of it as a masterpiece, reserving particular praise for the instrumentation."
This work is one of the pieces that drew me to classical music. Back in the days of the 101 Strings. Way, way back, when American Orchestras made recordings. Alborada https://www.youtube.com/watch?v=6F4wfPlnQ90
PIANO CONCERTO NO.5 IN E FLAT, OP.73 Mitsuko Uchida (piano) Symphonieorchester des Bayerischen Rundfunks Kurt Sanderling Philips 1998
The notes point out that this was written during the time of war between Napoleon and Austria, causing the imperial family to withdraw from Vienna. The slow movement reflects the political events of the time. They also mention that by the time of his late concertos, Beethoven was too deaf to be able to play the work in public.
PIANO CONCERTO NO.1 IN C MAJOR OP.15 Leif Ove Andsnes (piano) Mahler Chamber Orchestra - Leif Andsnes Sony Classical 2012 Recorded at Dvorak Hall in Prague's Rudolfinum
Notes: Mostly a very interesting interview of the artist by Alan Rusbridger. Andsnes says that the idea for his playing the five concertos came from spending a week in a hotel in Brazil, that had Beethoven's 1st & 2nd piano concertos playing on a loop in the elevator. "at first I thought I would go mad hearing these works over and over again, but the more I listened, the more I loved the experience."
Just goes to show, it don't take much in the way of gear, to get what music has to offer.
PIANO CONCERTO NO.4 IN G MAJOR, OP.58 Murray Perahia (piano) Concertgebouw Orchestra -- Bernard Haitink CBS Masterworks 1986 (also available on LP and Cassette)
Notes: "The concerto is unorthodox for the time in several ways: in the very opening bars, which are played not by the orchestra, as was traditional up to that time, but by the solo pianist: in the cathedral-like grandeur of the development section of the first movement: and in the poetic expressiveness of the second movement, which achieves Olympian heights of eloquence completely unknown in the concerto literature of the period."
PIANO CONCERTO NO. 2 IN B-FLAT MAJOR, OP. 19 Leon Fleisher (piano) The Cleveland Orchestra -- George Szell CBS Masterworks 1961
Notes: "The Concerto No. 2 in B-flat Major was composed in 1794-1795. Beethoven expressed some dissatisfaction with it, as he had with the C-major Concerto, and substantially revised it in 1798. Even though the work is thoroughly charming and gracious in the manner of Mozart, there is a strength which is incontestably Beethoven."
rok2id. Love the 2nd Piano Concerto. My favorite performance is a fleet, unaffected 1940's recording featuring pianist William Kappel and the NBC Symphony.
I started my musical journey with 78's, but I don't have anything by Kappel. Didn't really get into classical until the early 60's. I do remember the NBC Symphony. That's Toscanini's old outfit. Everything seemed to sound 'better' back in the day.
Here’s a recording I hadn’t listened to in ages. Beethoven’s late string quartets 131 and 135 done by Bernstein with the massed strings of the Vienna Phil. Achingly beautiful.
Also: is the slow movement of 135 really a significant foreshadowing of Mahler's slow movements... or is it just because Lenny's conducting it?
rok2id -- Yeah. And how 'bout that, too! William Kappel on YouTube. The flipside of the record is even better. A blazing, take-no-prisoners run-through of Prokofiev's Piano Concerto #3. My dad gave me the record as a way to perhaps make me practice the piano more. The thing is, I didn't practice more. I just played the record all day long. How old was I? Eight? In any case, I still regularly play the Kappel Prokofiev Third. RCA reissued it on Victrola in 1970.
The 12 Cellists of the Berlin Philharmonic Till Bronner(flugelhorn & trumpet), Simon Rattle(speaker), Janne Saksala(bass) EMI Classics 2002
’ROUND MIDNIGHT
Notes: "For their second EMI Classics release, The 12 Cellists of the Berlin Philharmonic explore the worlds of Jazz, big band, spirituals, film music, and even rap. "It’s a musical celebration of the essential American character", explains principal cellist Georg Faust. "Its sentimental and pragmatic qualities are reflected in the amazing vitality of these pieces, and from many little stones, you make a mosaic!"
Alicia de Larrocha (piano) London Philharmonic Orchestra Rafael Fruhbeck de Burgos Decca 1984
Another one from the dawn of CD. Hanover, West Germany DM37 Notes: "After Manuel de Falla and Joaquin Turina had their celebrated encounter with Albeniz at a concert in October 1907, Turina wrote that "Music should be an art and not a diversion for the frivolity of women and the dissipation of men. We were three Spaniards gathered together in that corner of Paris, and it was our duty to fight bravely for the national music of our country."
National Philharmonic Orchestra Riccardo Chailly Decca 1981
Notes: A brief overview of Rossini’s career and works. He apparently retired at age 37 with 39 opera to his credit, and devoted the remainder of his life to friends, food and drink.
The Cleveland Orchestra George Szell CBS Records 1960
Surrounded by 'controversy'. Always the case whenever Black folks are mentioned.
The Notes: "I am satisfied that the music of this country must be founded upon what are called the Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. When first I came here, I was impressed with this idea, and it has developed into a settled conviction. These beautiful and varied themes are the product of the soil. The are American. They are the folksongs of America, and your composers must turn to them. All the great musicians have borrowed from the songs of the common people." -- Antonin Dvorak
And, 'turn to them' they did. In Blues, Rock & Roll, Jazz, Gospel, Spirituals and all other genres.
Academy of St. Martin-In-The-Fields Neville Marriner Metronome 2CD Set
El cheapo packaging. No notes, no nothing. Just the track listings. Not even the date. The music deserves more, but it is still glorious! Maybe the most effective soundtrack ever.
Notes: "Bach composed no dedicated chamber piece for the trumpet (if we discount Brandenburg Concerto No.2), yet his great choral works contain the most varied and demanding repertoire for the instrument before the 19th century. ...That none of the pieces here was originally conceived for the trumpet would not have bothered Bach unduly; he was the master adaptor who always promoted musical imagination and flair above debilitating dogma and restrictive thinking."
Julia Fischer (violin) Alexander Sitkovetsky (violin) Academy of St Martin in the Fields Harvey de Souza -- Concertmaster Decca 2009 in London.
Notes: Tell of her love for Bach and the influences on her development, mainly, Yehudi Menuhin and her teacher in Munich. She looks very young on the cover photo.
Discovered a new Russian pianist sofja gulbadamova playing Brahms string sextet 1 in b flat piano version on IDAGIO
I thought her playing was inspired and imaginative. Thoughts ?
Album called Hungarian melody
Judging by this piece only i think you are right about her...To say the least....for me here his playing has a "dreamlike" character that is like enchantment....A genius....
Just listened to arturo benedetti michelangeli play Hayden piano concerto in D. I could never appreciate Hayden until I heard this man play this piece so magically...
European Brandenburg Ensemble Trevor Pinnock Avie 2CD set 2007
Notes: "Our initial preparation took place at the University of Sheffield in the summer of 2006....A thrilling first day of rehearsal was followed by tragedy: the death in the night of Katherine McGillivray, our principal viola player, from an unsuspected brain tumour. The strengthening power of Bach's music and the knowledge that he himself lost many of his children enabled us to complete our week in tribute to Katherine. She remains central to our performances today."
Il Giardino Armonico Giovanni Antonini Teldec / Warner Classics 1996-97 / 2015
Concerto No.3 in G major, BWV 1048
Notes: Deluxe packaging with an excellent booklet with a detailed synopsis of each Concerto. "A distinctive and unusual feature of this concerto is the absence a slow middle movement. Instead, Bach provided only two minim chords forming a Phrygian cadence and a tempo marking "Adagio"."
Notes: "Concerto No. 4 in G provides an interesting example of a work in which "solo" and "grosso" elements coexist. On the one hand there are the ripieno strings and, on the other, a violin and two treble recorders comprising the solo group."
Gustav Leonhardt - Harpsichord and Conductor Period Instruments Sony 1977
Notes: Cheap packaging. Includes a folded sheet of paper with cover photo and another sheet folded inside written in Japanese. Interestingly, they do contain a list of the instruments played by the players and the date of their manufacture. No stradivarius.
Here is one of my favorite violin concertos, Penderecki’s, Violin Concerto No. 2 (Metamorphosen).
This is from the second part of his career, after he became more tonal than he was during the early part of his career.
In all honesty, I tend to like thornier sounding atonal music than this. But for some reason this overcomes, for me, being more tonal. Might one describe it as "neo classical"?
Here is the debut, played by Anne-Sophie Mutter, who Penderecki wrote it for.
A long time ago someone recommended Kiril Kondrashin's semi-historic (1981) recording of Mahler 6, which I finally acquired and am listening to.
Reviewers resort often to the adjective "brisk" to describe this interpretation, and one can immediately understand why. Still I enjoy his rubatos, and the recording itself is remarkably good.
Jos van Immerseel (fortepiano) Vera Beths (violin) Anner Bylsma (violoncello) Vivarte / Sony 1999 / 2000
Notes: "It is, however, with the Op.97 trio, the so-called "Archduke" trio, that Beethoven attained his greatest and most profound expression of the form. This Trio, the last he would actually play -- because of his increasing deafness --derives its moniker from Beethoven's close ties with the heir to the Austrian throne, Archduke Rudolph of Austria."
Jos van Immerseel (fortepiano) Vera Beths (violin) Anner Bylsma (violoncello) Vivarte / Sony 1999 / 2000
Piano Trio in D major, Op.70, No.1 "Ghost"
"...Macbeth, alas, was to remain incomplete, because of Collin's premature death, but some of the "ghostly" atmosphere of the witches' scene found it's way into the D Minor Largo of Op.70 No.1."
I was invited to another most agreeable dinner by means of a very friendly note from Beethoven, who had not been able to reach me in person. It was given by his hostess, Countess Erdody. I was so deeply touched there, that my pleasure was nearly ruined. Imagine a very pretty, small, delicate woman of twenty five who had been married at the age of fifteen, had contracted an incurable illness at the time of her first confinement, and in the ten years since then, has not been able to remain out of bed for more than two or three months...The only pleasure for her is music, and she plays even Beethoven's music quite well, hobbling from one fortepiano to the other, on her very swollen feet...and then we got the very temperamental Beethoven to the fortepiano as well. He improvised for a good hour from the depth of his artistic feelings, ranging from the highest heights to the deepest depths of the celestial art, with mastery and versatility, so that ten times at least tears came to my eyes." -- Johann Friedrich Reichardt (German critic and composer)
From the notes of the Archduke and Ghost Trios CD.
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