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post #46 of 71
Thanks for this list Tyson, truly a great reference.
post #47 of 71
Thank you for your efforts Tyson, many well chosen recommendations in your list.
post #48 of 71
Tyson,

The Emerson Shostakovich Quartets seem to have a veil over the recordings that I don't experience with my other classical recordings. This bothers me, but not enough to miss the music. Does this happen on your copy? I've ripped mine to FLAC and listening through my digital rig in my signature, but I heard this same sound using just the CD player, MKIII and HD580 as well so I don't believe it's a gear thing. The main instrument this bothers me with is the cello. I hear the sound range being generated fine, but I'm missing things like the string noise and pizzicato definition when the cellist plays. I get the same feeling from all the instruments sporadically throughout the series of quartets with some moments of extreme clarity that reveal what it should sound like.

Btw, your recommendation for the Shostakovich cello concerto 1 and 2 by Kyrill Rodin at first listen put me off, but as I kept listening I've really grown to love this album.

Chris
post #49 of 71
Thread Starter 
Chris, glad the Rodin has grown on you! I grew up with the various Rostropovich recordings, and then later the Maisky recording, but to me the Rodin really captures the militant aspect of the works quite nicely.

Re: the Emerson's stuff - it's endemic to all their recordings. I hear it as a lack of air and ambiance, which creates a slightly overly-smooth rendition of the sound of the instruments.
post #50 of 71
Tyson,

I'd humbly submit this album for your review. I've had it for a while and every time I listen to it I get completely lost in the music and voice, moreso than I ever have.

Strauss' Last Four Songs, Death and Transfiguration, Metamorphoses

Karajan, BPO, Janowitz

I've also listened to half a dozen other singers' interpretations and find nothing remotely close to Janowitz's perfection.
post #51 of 71
I have to disagree with the recommendation for Rodin in the Shostakovich cello concertos. Regardless of the quality of the soloist, the orchestra is so low in the mix, it seems to be in a different room! My top recommend is Kleigel/Wit for the set (and the best 2nd), and Tortelier/Berglund for the 1st.
post #52 of 71

Tyson,

 

That is a very good and thoughtful list for the newcomer well done!

 

Ofcourse everyone will wonder why you didn't choose so and so over so and so, but bargains you were admiting. Although... Hewitt's Bach is still quite pricey in 2011 ..especially when the newcomer would probably find Gould more attractive. (my personal fave since you asked for our recommendations would be Schiff)

 

Certainly not a critisism but.. No Handel?? how dare you! plus Tchaikovsky's Symphonies are very hard work when you could could have the Nutcracker for pennies (or cents).

 

But all in all very well done.

 

Lets get this thread going again!!

 

post #53 of 71

Interesting suggesting SFSO over Cleveland for Rite of Spring

 

maybe in modern a good recording of Reich, Music for 18 musicians? Beautiful piece

post #54 of 71
Quote:
Originally Posted by Chrispy View Post

Interesting suggesting SFSO over Cleveland for Rite of Spring

 

maybe in modern a good recording of Reich, Music for 18 musicians? Beautiful piece


The ECM recording of 18 Musicians is pretty wonderful.
post #55 of 71

Nice effort, great list smile.gif

post #56 of 71

Great list!

 

Yes, ECM's Music for 18 Musicians is essential, it's an excellent introduction to this piece and the composer himself supervised/played in this recording, but the one from RCA (Ensemble Modern) is also excellent.

 

ECM's Music for 18 Musicians

 

RCA's Music for 18 Musicians

 

But talking about 20th century modern composers, how about some Bartok?

This one got me started on Bartok :

 

Bartok - Piano Concertos 1&2 -  Pollini/Abbado   - DG

 

Absolutely great performance - at a nice price.

 

Also, going back to my very first impressionist purchase, which I still listen to from time to time, but is sadly out of print AFAIK - if you can find one, grab it:

 

Debussy -  La Mer, Nocturnes - Barenboim and Orchestre de Paris -DG

 

I was introduced to Stravinsky with this version of the Sacre (some consider this  too punchy and rough, but for to my younger ears, it was great, and I still have the vinyl)):

 

Stravinsky - Sacre - Muti with Philadelphia Orchestra -  EMI

 

Over the years I listened to different versions of these works, and some are arguably better, but I still like them because these were the first recordings 20th century music I really _enjoyed_.

 

 

 

 

 

 

 

 

 

 

 

post #57 of 71

I had to comment on this, such a useful post. Thank you Tyson and all the others who helped make this list.

post #58 of 71

I've been working on a giant list like this for the past year and a half on paper. It includes the specific recordings and I even have separate recordings for HIP and non-HIP performances of baroque and classical. Maybe I should post it some day...

post #59 of 71
On basic library stuff, it's very hard to have a grasp of all the versions available. I thought I knew all the major players in Beethoven symphonies, and then I got a Supraphon box of Kletzki and the Czech Philharmonic and I had to rethink the whole deal.
post #60 of 71

That's a very nice list you got there Tyson! I liked most of your recommendations. A bit surprised to see that you did not recommend Rostropovich for the Shostakovich Cello Concerto. 

 

While I enjoy Hewitt's playings to some degrees for Bach, I find that all her interpretations never really GO anywhere. The movement is hardly horizontal. Instead, she fixates herself with one phrasing at a time, and it ends up sounding like disjointedly pieces of puzzle. Reminds me of Schiff's playing in its calmness and tranquility. Great for some Bach pieces, not great for many others. I enjoy Gould's interpretation of the Goldberg Variations overall the best and Richter's interpretation of the WTC the most balanced. The latter's interpretation is like water... completely transparent without any personality of the performer. 

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