Classical Music for Aficionados

This Ristenpart version was my best one because of the perfect tempo all along... On vinyl...

I loose it when i go digital thirty years ago...

😁

No version beat his tempi and dynamic...

My best is now Hogwood recording which instruments recording is better but dont beat Ristenpart dynamics... Ex Aequo in my mind....

Perfect description of Ristenpart for me 😊 :

The players (including Rampal, Andre, and Veyron-Lacoix) are superb and the tempos are sane. Their is energy in the music, demonstrating that one doesn’t need hyper caffeination to sound involved

Nowadays we have even more perfect audiophile recording but none i listened too had the integrated musical timing and dynamic of Hogwood and Ristenpart even if the sound could be  more beautifully recorded ... Playing together  with the same answering timings responses as in a spontaneous jazz dialogue is  a difficult art ... For me Ristenpart and Hogwood had it ...

My prefered version of Mozart Requiem is Hogwood for the same reason ...

I love the Hogwood Mozart Requiem, but it’s a curio because he refuses to use any notes that might have the taint of Sussmayr, so it sounds very truncated.  I think that is being a bit extreme, since Sussmayr was an accomplished 18th century composer, had been a student of WAM, and was the choice of Frau Mozart to finish it off.

  I found digital copies of all the Ristenpart Bach recordings, a 6 CD set from France, via eBay, at about $15 per CD.  A bit pricey, but I had bought a turntable and phono pre just so I could play treasured LPs that are unavailable digitally, and a substantial fraction of my lp collection are the aforementioned Ristenpart Bach recordings.  I had bought a handful of other Nonesuch and Vox/Turnabout recordings that I now have been able to locate digital versions as well.  Considering selling the analog rig as listening to these noisy, poorly pressed records is reminding me of why I got out of vinyl in the first place

My Nonesuch and Turnabout LP’s are still in excellent shape. As far as sound goes, with my new analog rig some, but not all, are audiophile quality. I use them to demonstrate the SQ of my set.

I love the Hogwood Mozart Requiem, but it’s a curio because he refuses to use any notes that might have the taint of Sussmayr, so it sounds very truncated. I think that is being a bit extreme, since Sussmayr was an accomplished 18th century composer, had been a student of WAM, and was the choice of Frau Mozart to finish it off.

You are right about the "truncated aspect"...

Sussmeyer addition sound right ..

But to defend Hogwood choice, observe that it drive the orchestra and chorus and soloist as in an opera not as in a mass... This dramatic choice is the reason why in my mind this version is so enthralling and hypnotically efficient suggesting at the same times what lack in any other version : the childish fear of death and fear of the Grime reaper and the childish innocence and aspiration to death as a mother; the two contradictory emotions creating the drama ...

No other more liturgical interpretation touch it ...

It is like an operatic mass...Or a sacred Mysteries introduction as with "the enchanted flute "mysteries drama... Mozart was a serious freemason after all ...

Hogwood is a genius...

The amplifiers on my Triton 1 speakers’ subwoofers were broken by a power surge in my neighborhood. Consequently I’m not listening to much music with a lot of bass lately.
I’ve begun a project of listening to the Beethoven string quartets. So far I’ve listened to op. 18. Quartets. Beethoven’s genius is palpable in these works.  He devoured the classical style whole and spit out masterpieces that surpassed even Haydn and Mozart in invention. And this is to mention only one genre he worked with.

The op. 59 quartets are next on the agenda