The desert island disc
Posted by: graham55 on 31 January 2005
So, your entire music collection is about to be destroyed. You can save one disc/album, and it will be the ONLY one that you can keep.
In other words, you only have one CD/album to listen to for all time. What would it be?
Simple in my case (as long as I forget Maria Callas in Tosca with de Sabata, not to mention Carlos Kleiber doing wonders with Beethoven's Fifth and Seventh Symphonies).
It's got to be Jeff Buckley's "Grace".
I had the privilege of seeing Jeffrey Scott Buckley four times before he died so unfairly. His only completed CD is a thing of wonder.
G
In other words, you only have one CD/album to listen to for all time. What would it be?
Simple in my case (as long as I forget Maria Callas in Tosca with de Sabata, not to mention Carlos Kleiber doing wonders with Beethoven's Fifth and Seventh Symphonies).
It's got to be Jeff Buckley's "Grace".
I had the privilege of seeing Jeffrey Scott Buckley four times before he died so unfairly. His only completed CD is a thing of wonder.
G
Posted on: 02 February 2005 by Rasher
Graham. In order to decide I need to know the circumstances. Are we to be stranded alone on a desert island, or do we maintain our normal social lives after the CD collection is destroyed?
It makes a huge difference.
It makes a huge difference.
Posted on: 02 February 2005 by pe-zulu
Basil
Having heard and carefully listened to about fifty different recordings of Die Kunst der Fuge, my question: "Which recording?" was not just rhetoric, it is indeed difficult to answer.
The work is - as Gustav Leonhardt has proved - written for two hands, that means harpsichord or organ (manuals alone - the lowest voice is not concieved as a pedal part). It is definitly not an ensemble-piece, no more than e.g.: The Italian Concerto. And piano is anachronistic and sounds dull. There are many excellent organ-versions, though many of the organists use the pedal for the basspart, lending the soundscape more stature, but blurring the counterpoint.
Even if Leonhardts harpsichord-version is impressive and dramatic, I tend to prefer organ because of the character of the music with many long held notes, which die away to fast when played on harpsichord. I find that Wolfgang Ruebsams Philips-recording 1977 from a stylistical point of view is the most Leonhardt-like, and this is why I would choose it.
In principle I think that ensemble-versions must be regarded as arrangements, and I prefer the original. But I have heard many fine ensemble-versions, Marriners though, in my opinion, not being one of the best. I find it a little uninspired and bland. Compare with the much more expressive Muenchinger-version or the second Ristenpart-version.
Marriners Brandenburgs, especially the set with Szeryng and Petri, and his Bach-suites from the same period on the other hand are very spirited, and have given me much pleasure.
Venlig hilsen, P
Having heard and carefully listened to about fifty different recordings of Die Kunst der Fuge, my question: "Which recording?" was not just rhetoric, it is indeed difficult to answer.
The work is - as Gustav Leonhardt has proved - written for two hands, that means harpsichord or organ (manuals alone - the lowest voice is not concieved as a pedal part). It is definitly not an ensemble-piece, no more than e.g.: The Italian Concerto. And piano is anachronistic and sounds dull. There are many excellent organ-versions, though many of the organists use the pedal for the basspart, lending the soundscape more stature, but blurring the counterpoint.
Even if Leonhardts harpsichord-version is impressive and dramatic, I tend to prefer organ because of the character of the music with many long held notes, which die away to fast when played on harpsichord. I find that Wolfgang Ruebsams Philips-recording 1977 from a stylistical point of view is the most Leonhardt-like, and this is why I would choose it.
In principle I think that ensemble-versions must be regarded as arrangements, and I prefer the original. But I have heard many fine ensemble-versions, Marriners though, in my opinion, not being one of the best. I find it a little uninspired and bland. Compare with the much more expressive Muenchinger-version or the second Ristenpart-version.
Marriners Brandenburgs, especially the set with Szeryng and Petri, and his Bach-suites from the same period on the other hand are very spirited, and have given me much pleasure.
Venlig hilsen, P
Posted on: 02 February 2005 by Basil
quote:
Having heard and carefully listened to about fifty different recordings of Die Kunst der Fuge, my question: "Which recording?" was not just rhetoric, it is indeed difficult to answer.
Don't tell me you've worked in a specialist Classical music shop too?
quote:
The work is - as Gustav Leonhardt has proved - written for two hands, that means harpsichord or organ (manuals alone - the lowest voice is not concieved as a pedal part).
I'm sure I remember reading somewhere that several of the Fugues are not playable with just two hands?
quote:
Marriners though, in my opinion, not being one of the best. I find it a little uninspired and bland.
I've lost count of the times I've heard this said of Marriner and the Accadamy, to this day I don't understand it.
Posted on: 02 February 2005 by pe-zulu
Basil
No, I have never worked in a classical music shop, but I have great interest for historical music and Bach in particular.
Leonardt wrote that all the Contrapuncti could be played with two hands, and he proved this with his first recording for Amadeo (rereleased by Vanguard) from 1953. If you look into the score, you can see that it is difficult to play, but this
is true of many other of Bachs harpsichord-works.
I know the usual dogme about Marriners degree of inspiration too, but I do not claim, that he is dull generally, I think he has made many very fine recordings,
as I wrote above, but his Kunst der Fuge (I have heard it twice) lacks some
emotional depth, even if it is tecnically and intellectually satisfying.
His rendering reminds me of the neutral way Bach was played in the 1950ies and 1960ies especially in Germany.
Venlig hilsen, P
No, I have never worked in a classical music shop, but I have great interest for historical music and Bach in particular.
Leonardt wrote that all the Contrapuncti could be played with two hands, and he proved this with his first recording for Amadeo (rereleased by Vanguard) from 1953. If you look into the score, you can see that it is difficult to play, but this
is true of many other of Bachs harpsichord-works.
I know the usual dogme about Marriners degree of inspiration too, but I do not claim, that he is dull generally, I think he has made many very fine recordings,
as I wrote above, but his Kunst der Fuge (I have heard it twice) lacks some
emotional depth, even if it is tecnically and intellectually satisfying.
His rendering reminds me of the neutral way Bach was played in the 1950ies and 1960ies especially in Germany.
Venlig hilsen, P
Posted on: 03 February 2005 by Basil
Is that Gustav Leonhardt - Art of Fugue still available? I've been a tad busy this morning and have only had a quick look at Harold Moores site and there's no mention there, they don't even list Vanguard, even a general search on the name came up blank. Any ideas where to find a copy in the UK?
Posted on: 03 February 2005 by pe-zulu
Basil
Gustav Leonhardt has recorded The Art of Fugue twice.
His first version (on a post-war Neupert harpsichord) was made in 1953 as I mentioned above. This version seems to be unavailable at the moment.I got my copy from My Music in Canada, but neither My Music, nor JPC, nor Amazon (US as well as UK,DE nor FR) have got it on store just now.
His second version (ca 1968) for the DHM = German Harmonia Mundi (on a period harpsichord-copy) is in my opinion better than the first, even if he omits the last unfinished fuge. It is altogether more expressive and passionate than the first version. He gets support from Bob van Aspern in the two short mirror-fugues, which - admittedly - are the most difficult part to play with two hands alone. This version is available at www.jpc.de for 15 euro in all (2CDs). Search: "Kunst der Fuge Leonhardt" and you will find it at once.
But still I find, that a more instructive angle of approach for anyone, who is not thoroughly familiar with the work, is an organ-version, and there are many excellent ones, e.g. Helmut Walcha(DG Archive) and M.C.Alain(Erato).
Cheers, P
Gustav Leonhardt has recorded The Art of Fugue twice.
His first version (on a post-war Neupert harpsichord) was made in 1953 as I mentioned above. This version seems to be unavailable at the moment.I got my copy from My Music in Canada, but neither My Music, nor JPC, nor Amazon (US as well as UK,DE nor FR) have got it on store just now.
His second version (ca 1968) for the DHM = German Harmonia Mundi (on a period harpsichord-copy) is in my opinion better than the first, even if he omits the last unfinished fuge. It is altogether more expressive and passionate than the first version. He gets support from Bob van Aspern in the two short mirror-fugues, which - admittedly - are the most difficult part to play with two hands alone. This version is available at www.jpc.de for 15 euro in all (2CDs). Search: "Kunst der Fuge Leonhardt" and you will find it at once.
But still I find, that a more instructive angle of approach for anyone, who is not thoroughly familiar with the work, is an organ-version, and there are many excellent ones, e.g. Helmut Walcha(DG Archive) and M.C.Alain(Erato).
Cheers, P
Posted on: 03 February 2005 by rodwsmith
"Atmosphere" Russ Abbott
Posted on: 03 February 2005 by bhazen
The Beatles, Magical Mystery Tour; the Fabs at their creative zenith.
Actually, the danger would be burnout listening to just one record, so I'd be tempted to eschew any and use my phonographic memory to listen to all my faves in my head.
Actually, the danger would be burnout listening to just one record, so I'd be tempted to eschew any and use my phonographic memory to listen to all my faves in my head.
Posted on: 04 February 2005 by rodwsmith
My thought process exactly. I'd use Russ to light fires with and listen only to the tunes in my head. I couldn't imagine anything worse than only having one record for ever.
Except only having Russ for ever, that is.
Except only having Russ for ever, that is.
Posted on: 04 February 2005 by domfjbrown
quote:
Originally posted by jjbrinklow:
Well for me it would be a CD that has stood the shortish test of time that I have been into music. Unlike most albums in my collection I love every song and never skip tracks. Nirvana Unplugged in New York.
If I could get a copy on Vinyl that would be even better.
The Simply Vinyl reissue is excellent; Kurt singes "Jesus doesn't want me for a sunbeam" on that, rather than "Jesu don wan me for a sunbeam" on the CD version
Never heard the original Geffen vinyl mind you...I'd probably choose Love's Da Capo or Doors' L.A. Woman. Probably Love as it's lower in the rack!
EIther that, or use my memory, as others have said, or just take along Reactivate 13, so I have some fairly non-descript but high energy dance music for those beach parties of 1, but music that doesn't dilute my audio memories of the hundreds of records I left behind!
Posted on: 04 February 2005 by Basil
Thank you pe-zulu, its times like this I really miss my days at the Record shop. It was so easy finding good recordings then.
The 1968 version sounds tempting but the omission of the last fugue is, in my opinion, sacrilege and therefore rules it out of consideration.
I do have many Helmut Walcha records, so I will try and find a copy of that.
Venlig hilsen,B
P.S.
Earwicker, if you haven't already heard the Tennstedt recording of "Das Lied von der Erde", I urge you to go out and buy a copy.
P.P.S.
Sorry about the thread hi-jack, Graham.
The 1968 version sounds tempting but the omission of the last fugue is, in my opinion, sacrilege and therefore rules it out of consideration.
I do have many Helmut Walcha records, so I will try and find a copy of that.
Venlig hilsen,B
P.S.
Earwicker, if you haven't already heard the Tennstedt recording of "Das Lied von der Erde", I urge you to go out and buy a copy.
P.P.S.
Sorry about the thread hi-jack, Graham.
Posted on: 04 February 2005 by whetstone audio
That's EASY!
Big Star #1 Record
Big Star #1 Record
Posted on: 05 February 2005 by bhazen
[hijack]Hey Bri, d'you suppose there's any copies of Kon Tiki by Cotton Mather lurking in the used CD shoppes of Austin? I've been unable to get a copy elsewhere...it's my indiepop Holy Grail. Big Star "September Girls"...ahh, pop.[/hijack]
...but then again, The Shadows Are Go! would scratch my guitar itch.
...but then again, The Shadows Are Go! would scratch my guitar itch.
Posted on: 11 February 2005 by Clive B
Like a true sad git, I once tried to list the top eight pieces (as if I were ever asked by Sue Lawley).
I guess they'd be something like this:
1. The Beatles, I Am The Walrus, from Magical Mystery Tour
2. Elgar, Cello Concerto, Du Pre / Barbirolli
3. Joni Mitchell, Hejira, from Hejira
4. Bill Evans, My Foolish Heart, from Waltz for Debby
5. Led Zeppelin, Dazed and Confused, from The Song Remains The Same
6. Julia Fordham, It Was Nothing That You Said, from The Collection
7. Steely Dan, Kid Charlemaine, from The Royal Scam
8. Keith Jarrett, Blame It On My Youth, from The Cure
9. Mozart, Requiem, Monteverdi Choir / Gardiner / Bonney
10. Yes, Yours Is No Disgrace, from The Yes Album
Looks like even then I was unable to limit it to eight. Still, if I were only allowed one, it would be Dazed and Confused. Or at least the whole album The Song Remains The Same. Stunning!
Regards, CB
I guess they'd be something like this:
1. The Beatles, I Am The Walrus, from Magical Mystery Tour
2. Elgar, Cello Concerto, Du Pre / Barbirolli
3. Joni Mitchell, Hejira, from Hejira
4. Bill Evans, My Foolish Heart, from Waltz for Debby
5. Led Zeppelin, Dazed and Confused, from The Song Remains The Same
6. Julia Fordham, It Was Nothing That You Said, from The Collection
7. Steely Dan, Kid Charlemaine, from The Royal Scam
8. Keith Jarrett, Blame It On My Youth, from The Cure
9. Mozart, Requiem, Monteverdi Choir / Gardiner / Bonney
10. Yes, Yours Is No Disgrace, from The Yes Album
Looks like even then I was unable to limit it to eight. Still, if I were only allowed one, it would be Dazed and Confused. Or at least the whole album The Song Remains The Same. Stunning!
Regards, CB
Posted on: 11 February 2005 by Earwicker
quote:Originally posted by Basil:
Earwicker, if you haven't already heard the Tennstedt recording of "Das Lied von der Erde", I urge you to go out and buy a copy.
Sorry, Basil, I've only just noticed your response!
I wasn't aware that Tennstedt HAD recorded Das Lied... who were the soloists? Do you have details, he's a conductor I've greatly admired?
EW
Posted on: 12 February 2005 by BigH47
Posted on: 12 February 2005 by Basil
EW,
Finally, someone else who appreciates Klaus Tennstedts' Mahler!
The soloists are Agnes Baltsa and Klaus König, the recording was released in 1992, CD No. CDC 7 54603 2, more details here.
Finally, someone else who appreciates Klaus Tennstedts' Mahler!
The soloists are Agnes Baltsa and Klaus König, the recording was released in 1992, CD No. CDC 7 54603 2, more details here.
Posted on: 12 February 2005 by Earwicker
Thanks Basil, I'm going to have to order a copy!
There're another two I want to add to my collection - one, that I think is going to be hard to acquire, with Schreier in the tenor part - essential, do you know anything about it? Additionally, I gather another live recording from the early seventies with Janet Baker has surfaced... possibly conducted by Kubelik, I must look into it and get my hand in my pocket. For the moment, the Baker/Haitink is the one that gets played, along with Boulez's recent release - I can't get on with V Urmana, but Michael Schade is terrific in the tenor part!
Cheers,
EW
There're another two I want to add to my collection - one, that I think is going to be hard to acquire, with Schreier in the tenor part - essential, do you know anything about it? Additionally, I gather another live recording from the early seventies with Janet Baker has surfaced... possibly conducted by Kubelik, I must look into it and get my hand in my pocket. For the moment, the Baker/Haitink is the one that gets played, along with Boulez's recent release - I can't get on with V Urmana, but Michael Schade is terrific in the tenor part!
Cheers,
EW
Posted on: 12 February 2005 by Basil
quote:There're another two I want to add to my collection - one, that I think is going to be hard to acquire, with Schreier in the tenor part - essential, do you know anything about it?
You mean this one?
Just out of interest, you do have the 1952 Bruno Walter, Kathleen Ferrier, Julius Patzak recording, don't you?
Posted on: 13 February 2005 by Earwicker
quote:Originally posted by Basil:
Just out of interest, you do have the 1952 Bruno Walter, Kathleen Ferrier, Julius Patzak recording, don't you?
Of course! Great, apart from a bit of scrappy orchestral playing. Thanks for the link!
EW
Posted on: 13 February 2005 by Basil
quote:Of course! Great, apart from a bit of scrappy orchestral playing.
Perhaps, but who notices that when listening to Kathleen? The best "Der Abschied" ever? Probably!
Posted on: 13 February 2005 by Earwicker
quote:Originally posted by Basil:quote:Of course! Great, apart from a bit of scrappy orchestral playing.
Perhaps, but who notices that when listening to Kathleen? The best "Der Abschied" ever? Probably!
I know what you mean, but I can't get past Baker/Haitink. Pitty about James King! I really must get Schreier's recording so that I can have a recording of the tenor songs to enthuse over properly; there's a good chance I'll get the Tennstedt too, he's a favourite of mine and the review you linked to makes me want to hear it!
Cheers,
EW
Posted on: 13 February 2005 by graham55
Basil
Should you be delivering yourself of the opinion that K Ferrier sang the best ever "Abshied" for B Walter without even having heard C Ludwig for C Kleiber? Shows a degree of recklessness, in my view.
G
Should you be delivering yourself of the opinion that K Ferrier sang the best ever "Abshied" for B Walter without even having heard C Ludwig for C Kleiber? Shows a degree of recklessness, in my view.
G
Posted on: 13 February 2005 by Basil
Without wishing to sound maudlin, the reason I hold that particular recording in such high esteem, is the fact that Kathleen Ferrier knew she was dying from a terminal cancer when she made the recording.
Posted on: 14 February 2005 by graham55
Basil
I fully understand. I feel much the same about Dinu Lipatti's last recital from Besancon in Sept 1950, made just a few weeks before his untimely death.
G
I fully understand. I feel much the same about Dinu Lipatti's last recital from Besancon in Sept 1950, made just a few weeks before his untimely death.
G