[HPiper]

   
Dvořák is hard to beat. Try:
Vivaldi Cello concertos
Haydn cello concertos
Boccherini cello concertos
Beethoven Triple Concerto
Brahms Double Concerto
Tchaikovsky Rococco Variation
Lalo Cello Concerto
Strauss Don Quixote
 
Note that there is probably a greater wealth in solo and accompanied cello sonatas and in piano trios.

Well that is a good list, I have Brahms Double (and it is really good, I like it a lot), but none of the rest. As I am a big Beethoven fan I'll pick up that Triple first. I just got his septet a couple days ago, haven't even listened to it yet.

 

[RRod]

  Honestly I have never heard of Goebel but I do like Pinnock a great deal. Would you mind, let me know what label it is on, I'd like to try and buy it if I can find a copy.

 
He probably means this one:
http://www.amazon.com/Bach-Brandenburg-Concertos-Orchestral-Suites/dp/B0000057D8/ref=sr_1_1?ie=UTF8&qid=1428863515&sr=8-1&keywords=english+consort+bach

 

[Mink]

   
He probably means this one:
http://www.amazon.com/Bach-Brandenburg-Concertos-Orchestral-Suites/dp/B0000057D8/ref=sr_1_1?ie=UTF8&qid=1428863515&sr=8-1&keywords=english+consort+bach

Nope those are not the Goebel recordings, but the Pinnocks
This is the Goebel:
http://www.amazon.com/Bach-Brandenburg-Concertos-Brandenburgische-Brandebourgeois/dp/B0000057D4/ref=sr_1_2?ie=UTF8&qid=1428865430&sr=8-2&keywords=reinhard+Goebel+bach
 

  Honestly I have never heard of Goebel but I do like Pinnock a great deal. Would you mind, let me know what label it is on, I'd like to try and buy it if I can find a copy.
 

You may find Goebel too fast in some parts.
Almost every recording can be listened with Spotify. Including the Akademie für Alte Musik Berlin, Jordi Savall and the newer ones like Alessandrini, Fasolis, Egarr, Concerto Köln and Freiburger Barokorchester. John Butt's latest recording only a couple of parts.
 
Reinhard Goebel
https://open.spotify.com/album/0jWHRkhekrfh2HrcAYesDp
Akademie für Alte Musik Berlin
https://open.spotify.com/album/6zSjmnzufDkqbw49729FWK
Jordi Savall
https://open.spotify.com/album/6iVnxH3Wvx3EbPYU0NcIL2
Richard Egarr
https://open.spotify.com/album/6wJoLjgfqx2hEYwZ1p6jrY
Rinaldo Alessandrini
https://open.spotify.com/album/5rG3jIraGcYZ6FA349hCqm
etc. etc.

 

[i019791]

  Honestly I have never heard of Goebel but I do like Pinnock a great deal. Would you mind, let me know what label it is on, I'd like to try and buy it if I can find a copy.

 

[RRod]

  Nope those are not the Goebel recordings, but the Pinnocks
This is the Goebel:
http://www.amazon.com/Bach-Brandenburg-Concertos-Brandenburgische-Brandebourgeois/dp/B0000057D4/ref=sr_1_2?ie=UTF8&qid=1428865430&sr=8-2&keywords=reinhard+Goebel+bach
 

 
Well yeah, I thought he was asking for the Pinnock since he likes him ^_^ Goebel is good but he takes №6 way too fast for my taste.

 

[Mink]

I agree, no. 6 is too fast, but then again, most of the times no. 6 is played too slow as well
But anyone who is looking for a good recording of the Brandenburgs I wouldn't recommend an older recording anyways, since there are numerous excellent recordings made the last decade, with superiour sound quality.
I'd pick Concerto Koln, Freiburger Barokorchester, John Butt, Cafe Zimmermann and Alessandrini over the Goebel recordings any day and not only because of the superior recorded sound, but also because of the playing and sound of the ensembles themselves. But since the Goebel was one of the 1st recordings of the Brandenburgs I heard they still are very special to me.

 

[Quinto]

awesome

 

[perhapss]

I find it rather discouraging that no-one mentioned Gustav Leonhardt in the context of the Brandenbergs.
Or any other Bach in the thread.
 
 
Maybe not so new and shiny but.....

 

[Mink]

 
I find it rather discouraging that no-one mentioned Gustav Leonhardt in the context of the Brandenbergs.
Or any other Bach in the thread.
 
 
Maybe not so new and shiny but.....

He was a pioneer, but honestly just listen to his recordings of the Matthaus and Hohe messe, as great as they were and still are are, I think they are nowhere near the level of a Herreweghe, Brüggen, Gardiner or Koopman, to name a few.
Just my opinion and taste of course.
 
 

  I agree, no. 6 is too fast, but then again, most of the times no. 6 is played too slow as well
But anyone who is looking for a good recording of the Brandenburgs I wouldn't recommend an older recording anyways, since there are numerous excellent recordings made the last decade, with superiour sound quality.
I'd pick Concerto Koln, Freiburger Barokorchester, John Butt, Cafe Zimmermann and Alessandrini over the Goebel recordings any day and not only because of the superior recorded sound, but also because of the playing and sound of the ensembles themselves. But since the Goebel was one of the 1st recordings of the Brandenburgs I heard they still are very special to me.

 
To illustrate the ridiculous big choice you have I name two other excellent recordings:
Hofkappelle Munchen (DHM, 2013) and Florilegium (Channel Classics, 2014)

 

[perhapss]

  ..... but honestly just listen to his recordings of the Matthaus and Hohe messe, ....
 
 
 

Done that.
 
EDIT:
 

 

[perhapss]

  I think they are nowhere near the level of a Herreweghe, Brüggen, Gardiner or Koopman, to name a few.
 
 
 
 

 These are also formidable Bach folks BUT please explain this:
 
"I think they are nowhere near the level of a Herreweghe Brüggen, Gardiner or Koopman,"
 
Not because Im being antagonistic but I'm genuingly interested in how you perceive such distance.
 
EDIT:
 
 
Here are some telling (and IMO accurate) words from John Butt via wikipedia:
 
 
The keyboardist/conductor/scholar John Butt said, "...there’s absolutely no doubting the enormous influence [Leonhardt] held over multiple generations of music making in the Baroque field";^[3] in this discussion, Butt spoke of how much he learned from Leonhardt when preparing a chorus for him in the early 1990s. More generally, Leonhardt significantly influenced the technique and style of many harpsichordists through his teaching, editions, and recordings; his students and collaborators included harpsichordists and keyboard players such as Bob van Asperen, John Butt,^[4] Lucy Carolan, Lisa Crawford, Alan Curtis, Richard Egarr, John Fesperman, John Gibbons, Pierre Hantaï, Elaine Thornburgh, Ketil Haugsand, Philippe Herreweghe, Christopher Hogwood, Ton Koopman, Charlotte Mattax, Davitt Moroney, Jacques Ogg, Martin Pearlman (Music Director of Boston Baroque), Edward Parmentier, Christophe Rousset, Andreas Staier, Skip Sempé, Domenico Morgante, Francesco Cera, Jeannette Sorrell (Music Director of Apollo's Fire, The Cleveland Baroque Orchestra), Colin Tilney, and Glen Wilson^[5]

Butt argues that Leonhardt's influence is not necessarily a simple, direct matter, but that some of his students consciously or unconsciously tried to play differently than he did. In comparing recordings of Bach's Goldberg Variations, Butt asserts that a "classic case" of the anxiety of influence is at work in the Goldberg recording by Ton Koopman, in which "what is immediately evident is the incessant ornamentation added to virtually every measure, often regardless of whether there is already obvious ornamentation in the notation.... my immediate reaction is often that this performance's principal message is 'Not Leonhardt'."^[6] Similarly, he says that "Bob van Asperen takes [Leonhardt's] rhythmic subtlety to a new extreme and perhaps presents the most rhythmically nuanced account of the work [The Goldberg Variations], one that will be ideal to some and mannered to others."^[7] By contrast, Butt argues, the younger Christophe Rousset plays the Goldberg Variations in a "meat-and-potatoes" manner with "a steady rhythm, even articulation, and a matter-of-fact presentation with little extra ornamentation," demonstrating that "certainly Rousset does not seem to count among the 'radical reactivists' [to Leonhardt] such as Koopman and van Asperen." ^[8]

 

 

That is: Everything Bach oriented many important Bach folks have done  post-Leonhardt is decidedly different than his interpretations....

 

EDIT 2: That is to say; Mr. Leonhardt was in addition to being a pioneer,  was:

Big Daddy.

 

 

EDIT 3:

What do you think?

 

EDIT 4:

You mention Brüggen,

Mr Brüggen on Leonhardt:

 

http://www.semibrevity.com/2012/04/frans-bruggen-on-gustav-leonhardt/

 

What do you think??

 

 

 

 

 

[Mink]

That's exactly what I meant with "pioneer", the influence he held.
I was quite a bit off the mark with the following: " I think they are nowhere near the level of a Herreweghe, Brüggen, Gardiner or Koopman, to name a few." A ridiculous statement for sure. And even though I said it was my opinion and taste, it still is a rude statement the least.
What I meant to say was - to my taste that is - that the recordings made by Herreweghe and Bruggen, that came after the early registrations by Leonhardt are musically more satifying to me. More involving, with better ensemble playing and sound, more polished choir sound, better judged tempi.

 

[perhapss]

  That's exactly what I meant with "pioneer", the influence he held.
I was quite a bit off the mark with the following: " I think they are nowhere near the level of a Herreweghe, Brüggen, Gardiner or Koopman, to name a few." A ridiculous statement for sure. And even though I said it was my opinion and taste, it still is a rude statement the least.
What I meant to say was - to my taste that is - that the recordings made by Herreweghe and Bruggen, that came after the early registrations by Leonhardt are musically more satifying to me. More involving, with better ensemble playing and sound, more polished choir sound, better judged tempi.

 
I understand.
 
I often find Herreweghe to be amazing.
Brüggen I`m not as moved by but that`s fine.
 
Regarding Leonhardt; often older Bach fans (and musicians who play his music) I know and have known almost universally put him on a very high pedestal.
Younger folks tend to favor the newer generation: Gardiner, Herreweghe, Koopman etc....
 
My personal opinion is many of the more modern recordings you mention are so clean, detailed(often strikingly so) and polished they fit a more contemporary aesthetic.
Thus more younger audiences can relate more easily.I think that`s a good thing by the way!
Leonhardt`s work is often not even known at all by many younger up and comers I`ve spoken to over the last 20 years.
 
That being said,IMO Leonhardt`s work should not be dismissed from a thread with a title thus: "Best classical recordings...ever".

 

[Mink]

   
I understand.
 
I often find Herreweghe to be amazing.
Brüggen I`m not as moved by but that`s fine.
 
Regarding Leonhardt; often older Bach fans (and musicians who play his music) I know and have known almost universally put him on a very high pedestal.
Younger folks tend to favor the newer generation: Gardiner, Herreweghe, Koopman etc....
 
My personal opinion is many of the more modern recordings you mention are so clean, detailed(often strikingly so) and polished they fit a more contemporary aesthetic.
Thus more younger audiences can relate more easily.I think that`s a good thing by the way!
Leonhardt`s work is often not even known at all by many younger up and comers I`ve spoken to over the last 20 years.
 
That being said,IMO Leonhardt`s work should not be dismissed from a thread with a title thus: "Best classical recordings...ever".

Now you are confusing me.
You are very right about the polish and details of many recent recordings and I almost feel superficial about it.
But this polish is something I actually seldom strive for in Baroque music or Bach pieces. In fact one of my favorite Brandenburg recordings is that of Jordi Savall and I wouldn't call his performance that polished.
With Bach's sacred choral works (not the secular cantatas) I prefer a certain degree of polish of the choir and tempi (or pulse if you like) and I think Herreweghe is ideal here. Leonhardt I find too 'square'? Maybe too earthy if you like?
I don't know how to define it.
 
In general my preferences are rather peculiar when it comes to perfection and polish in classical music. I hate a polished sound in Beethoven for instance, but I can handle Karajan pretty well in Beethoven. Boulez' highly polished and refined renditions of Bartók's orchestral music I like very very much and this goes against my musical intuition: "Bartók's music needs to be rough around the edges". Well apparently not always
 
The achilles heel of perfection in classical music is that you don't realize how complex and difficult some music is. It is always refreshing and mind/ear opening to listen to second tier orchestras at times, it can give you a better idea about the structure of the music than a virtuosic performance. Unfortunately the skill and quality of most orchestras is extremely high nowadays... 

 

 

[Mink]

Oh another thing about 'polish' in Bach and Baroque music.
The last two or more decades there has been an increased difference between British and German/Belgium performances. The British, like Butt, Egarr and McCreesh all have a rougher, less polished approach in performing Bach. And this attitude works through in orchestral treatment, choir and even the way it is recorded. Nothing is 'smoothed' out, 'natural' is the key word. A very down to earth approach. But intellectual at the same time. And this is a big difference and contrast in what the British were known for in early and Baroque music, they were once very slick and polished with choral works.
The German ensembles, like Concerto Koln, Akademie fur Alte Musik and Freiburger Barokorchester are in way more conservative, their way, their sound hasn't been altered much over the years. 
If I only could pick one single recording of a particular work I'd probably go for a German performance, because to my ears it is musically better rounded, less personal, more abstract, yes maybe safer, but it lets me listen to the music, not the musicians per se. As much as I like Butt and Egarr in Bach, the music never gets abstract, never really takes over, I mainly listen to the performers. At the moment this is exactly what I need in the Brandenburg concertos, because there's too much sameness. But overall I need just a bit more distance between me and the performer and I will always go back to the Akademie Fur Alte Musik Berlin.