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The 1924 Oskar Fried recording of the Mahler 2nd is important in its own right. He was an associate of Mahler, and he managed to get the 2nd on acetate within a reasonable amount of time after Mahler's death. Also, Fried conducted the M2 with Mahler in the audience, so - one hopes - that he would have received some guidance from the composer himself. That set is important for many of the same reasons, though not all of them, that the '38 Walter 9th is important. I am less inclined, though, to grant great authenticity to the 1950s/60s-era Walter and Klemperer recordings, simply because they'd had forty years to forget, to misremember, and to invent their own performance style.
The Fried record was also notable for being the first complete Mahler symphony recording. I think.
I have that Fried recording (Pearl) and it's been played less than a half dozen times in the 10 years that I have it. It's sitting next to the Mahler piano rolls which are, frankly, more fun. But that does have real Historic Importance. Walter's interpretations of Mahler really varied and I'm perfectly satisfied with the recordings he made in his later years for Columbia.
You are selling those recordings! Your link is for samples of things that you have for sale. Ofcourse you are going to say that they are important, you wouldn't have a business if you said otherwise. Your opinion is hardly unbiased.
You are selling those recordings! Your link is for samples of things that you have for sale. Ofcourse you are going to say that they are important, you wouldn't have a business if you said otherwise. Your opinion is hardly unbiased.
We've been through this before with him. I think Doc called him out last time, but I've been away for a while. Whenever I see a link to "vintageip," I just ignore it and consider the source.
It's no big deal, you just have to adjust for the distortion.
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New signature forthcoming (or not).
It's hardly a stretch to say that Walter's first act of Die Walkure and Mahler's 9th are among the greatest recordings of all time. The same has been said by a thousand music critics.
Aren't you familiar with these recordings? If not, then I understand where your opinion of them is coming from.
If these antique recordings of dead conductors and dead singers were the ultimate of all time, why should anyone ever bother to go to a live concert? Of course these older recordings are of scholarly interest, that's why I have quite a number of them sitting on my shelf. They just aren't what I choose to listen to on a daily, weekly, monthly or even yearly basis. There are so many terrific modern recordings of inspired performances by great artists of the same music available that give a more complete sensory experience. For me the musical experience is what it is all about -- how close I can get in my living room to the live performance which is my gold standard. Antique technology just doesn't reach the mark.
Linear Mode
