[bigshot]

Well, it sure was true of the Penguin Guide and Gramophone!

 

[batswirl]

... Sibelius's 5th, again all recomendations are welcomed!

 
Nobody mentioned Sanderling. Quite good performance IMO.

 

[HPiper]

Today I am looking for some recommendations for Dvorak Cello Concerto recordings. Also complete box set of Mozart Piano Concerto's.

 

[bigshot]

Rostrapovich / Karajan for the cello concerto. Perrahia or Anda for the Mozart PCs.

 

[RRod]

  Rostrapovich / Karajan for the cello concerto. Perrahia or Anda for the Mozart PCs.

 
Rostropovich / Ozawa is a good alternative if you like Slava.

 

[HPiper]

I couldn't find that one (with Ozawa) I did find one with Karajan though, so I got that. I also got one with YO YO YO MAAAA!!!
Remember when he was the absolute darling of the media? You couldn't turn on a single TV channel and not see him playing something, being interviewed by someone, or some darned thing. He must have had a real real good agent is all I can say. Just personal appearance money would have made him a millionaire. 

 

[RRod]

  I couldn't find that one (with Ozawa) I did find one with Karajan though, so I got that. I also got one with YO YO YO MAAAA!!!
Remember when he was the absolute darling of the media? You couldn't turn on a single TV channel and not see him playing something, being interviewed by someone, or some darned thing. He must have had a real real good agent is all I can say. Just personal appearance money would have made him a millionaire. 

 
Which Yo-Yo? His 2nd one with NY/Mazur is quite good. He's still a darling: he was playing at the inauguration where they weren't actually "playing" due to the cold ^_^

 

[HPiper]

   
Which Yo-Yo? His 2nd one with NY/Mazur is quite good. He's still a darling: he was playing at the inauguration where they weren't actually "playing" due to the cold ^_^

The one I got is with Loren Maazel playing with the Berlin Philharmonic.

 

[Amictus]

Rostrapovich / Karajan for the cello concerto. Perrahia or Anda for the Mozart PCs.

I agree on the Rostropovitch/von Karajan, and would add the 1939 Casals/Czech Phil//Szell. I like the Brendel/Marriner Mozarts as well as those listed - it always helps to have a conductor! There is a remastered version going on German Amazon for 22.99 €

 

[Clear Water]

   
Actually you have an interesting point regarding Szell`s Brahms sounding like Beethoven.
 
George Szell had a very distinct style with the Cleveland Orchestra.
Musically, Beethoven informed Szell`s  thinking to such an extent that most other music he conducted was seen through the lens.
This is particularly true in his Schumann and Brahms.
This same thinking you can hear in his Mozart and Mahler where I like it less.
I still find it interesting however.

Sorry for bringing back an old post, but can you elaborate what you meant by this?

 

[perhapss]

  Sorry for bringing back an old post, but can you elaborate what you meant by this?

George Szell`s Beethoven cycle with Cleveland was considered by many to be one of the best of his time(and other times).
His interpretive approach to Beethoven,( regarding form, tone, pacing, timbre etc.) was then applied to much of what he conducted.
 
It`s quite easy to hear IMO if you first listen(which of course you should) to his Beethoven and then listen to  recordings of other German/Austrian composers he`s recorded.
Go and listen and let me know if you agree!
 
I actually heard about these things through a couple of people in my family who were involved with the Cleveland Orchestra at the time(Sorry,This is the last time I will mention anything regarding my family).
 
I suppose I have a bit of bias toward Szell and Cleveland as a result of this as well....

 

[Clear Water]

 
George Szell`s Beethoven cycle with Cleveland was considered by many to be one of the best of his time(and other times).
His interpretive approach to Beethoven,( regarding form, tone, pacing, timbre etc.) was then applied to much of what he conducted.
 
It`s quite easy to hear IMO if you first listen(which of course you should) to his Beethoven and then listen to  recordings of other German/Austrian composers he`s recorded.
Go and listen and let me know if you agree!
 

Szell has been my favorite conductor ever since I discovered his recordings (especially the ones featuring oboist Marc Lifschey) in college.  I am less thrilled by his Beethoven cycle than I am by his Schubert or Haydn, so I just wanted to know what you meant.  In a general sense, I can see how Szell's fascination with the architecture of music could be unilaterally applied to everything he conducted.  I'll still have to think about this; I'm unconvinced it's Beethoven in particular that is the source of his interpretive impulse.  Although there are some indications he had a special penchant for Beethoven.  It was his 2nd symphony that he over-rehearsed with the NBC, as well as his 4th symphony iirc that he performed as his debut concert with Cleveland.  
 
P.S. On a side note, has it already been mentioned how adaptable the headphones terminology is for classical music?  The Szell/Cleveland "pairing" with its "microdetail" and "tizzy highs" which leads sometimes toward treble "glare" (that 1st trumpet!) but with a "transparency" that is "night and day" compared to the "warm" Philadelphians.
 
Great to find this thread!  

 

[RRod]

  P.S. On a side note, has it already been mentioned how adaptable the headphones terminology is for classical music?  The Szell/Cleveland "pairing" with its "microdetail" and "tizzy highs" which leads sometimes toward treble "glare" (that 1st trumpet!) but with a "transparency" that is "night and day" compared to the "warm" Philadelphians.
 
Great to find this thread!  

 
When turntable.fm was still alive, I used to DJ in the classical room with a guy who played trombone in school. He absolutely HATED the way brass sounded in Cleveland/Szell recordings, and not just the trumpet. I wonder how the mics were set up.

 

[Clear Water]

   
When turntable.fm was still alive, I used to DJ in the classical room with a guy who played trombone in school. He absolutely HATED the way brass sounded in Cleveland/Szell recordings, and not just the trumpet. I wonder how the mics were set up.

I wonder if it's also how Szell encouraged them to play.  He seemed to like an extremely forward, edgy tone for the brass instruments that is virtually non-existent on the Maazel recordings.  Or maybe it was the spot-mic's that Columbia favored at the time.  I might be in the minority on this one, but I find the Reiner/Chicago brass to be insufferably bright at times as well.  It could just be the preferences of that era.

 

[bigshot]

A lot of modern headphones and speakers today emphasize the extreme ends of the frequency spectrum. That wasn't true back then. Lining Stereo recordings are almost always the most balanced recordings you can get. DGG can tend to sound a bit thicker with less high frequency, as if the mikes are further back in the hall.