This is not an easy question to answer. It is so subjective. Besides the "quality" of the performance and the sonic quality of the recording, there is the matter of modern vs. "original" instruments.
Many of the recordings mentioned above are on modern instruments with modern-sized orchestras. To that list, I would add:
Maria João Pires. Chamber Orchestra of Europe, cond. Claudio Abbado (DG, 1995)
For recordings using "original" instruments, etc., the definitive recordings (in my opinion) are by Malcolm Bilson, who has issues the entire cycle on CD. For No. 21, see:
Malcolm Bilson. English Baroque Soloists, cond. Gardiner (Archiv, 1987). |
Mikhail Pletnev is tackling the Mozart repetoire. So far, he's done 9, 20, 23, 24. His pianism is stunning and his grace is astonishing. |
Tweekerman,
I'm with you with respect to Oistrakh, particularly his non-Mozart canon. As for Pletnev, I hope you're not broadly castigating him. As a conductor, yes I agree, and I'm thrilled that he's largely giving that up. As a pianist, I think he's the greatest thing since Emil Gilels. |
Yes, that would be nice, Tweekerman. I live in Chicago, so Barenboim does this all the time with Mozart at the CSO.
BTW: Pletnev's "Pictures From An Exhibition" is terrific, in my book. |
Tweekerman,
Sorry to have taken so long to respond. Barenboim IS the conductor. It's annoying from two perspectives. First, he's trying to pay attention to two things at the same time. Second, the piano is situated so that he faces the orchestra and has his back to the audience! Sucks, unless you're in the seats behind the orchestra.
Hilary Hahn was here last season, but I was out of town and missed her. Contrary to others, I think she has considerable talent, although is not in the same league as some younger violinists (Tasmin Little, Joshua Bell). I like to see these younger people play so that I can make up my own mind instead of being swayed by those with rather pedantic attitudes. |
Buxter,
Some of us like Gilels because he played the MUSIC. He was relatively humble (although I've never met a musician who was truly humble, although George Harrison came close) and connected me to the music via him. Pletnev has the same ability, in my opinion, along with a prodigious talent. Playing by both is (or was, in Gilels case) was warm, sensitive, human....can't explain it any other way.
Same goes for another Russian pianist, Tatiana Nikolayeva (may she RIP).
I'm going to get my ass ripped for saying that any of the above is eminmently preferable to Serkin (father or son). |
Yes, that's exactly what I mean. I do NOT mean, however, that either of them are peerless; rather, of the "younger" generation, I think they are better than Hahn at this stage of her career (although Bell is starting to slip and his jazzy stuff is ludicrous).
I like Akiko Suwanai better than them all, however. Wish she recorded more.
But this was more about pianists than violinists. You have some thoughts on Pletnev and Nikolayeva? I'm not expecting to agree with you on them, either, but am interested in other's opinions. |
I'm in a bit of a rush today, so I'm going to state unsubstantiated opinions for now (yeah, what else is new!?).
Buxter:
I agree with your peach analogy completely vis-a-vis Hahn.
Yes, more of the US Serkin (I agree with the impression of sterility). I have none of the Busch recordings, I'm afraid.
I really like Akiko's Dvorak! I listened to it again last night and loved it. Hmmm... I did not like the Philips engineering, however. One of their worst efforts.
When I said that Joshua Bell was "slipping," I meant exactly what you state. I saw him on A&E (or was it PBS?) sometime this winter and it was embarassing. I had to change the station. Saw Shlomo Mintz in Chicago a year or so ago. He had great "presence." |
Haven't seen Buxter for a long time. But, Gileon, I agree with you. There are those who don't seem to like Russian peformers, period. I really like much of Gilels, Oistrakh, and others. |
