A Record Library
Posted by: u5227470736789439 on 17 March 2006
Albinoni
Two Oboe concertos Evelyn Rothwell
Adagio (Arr Giazotto) Private recording.
Beatles
The Beatles/ 1967-1970
JS Bach
Six Paritias, Six French Suites, Six English Suites, Chromatic Fantasy and Fugue, French Overture and Italian Concerto, Goldberg Variations. The Well Temperered Clavier, 15 Two Part Inventions, and 15 Three Part Inventions. Helmut Walcha - Harpsichord (Ammer)
Six French Suites.
- Thurston Dart - Clavichord.
- ... plus alternatives, Hogwood - Harpsichord
Golberg Variations.
- Pierre Hantaii.- Harpsichord
- Leonhardt - Hapsichord.
Organ Works (incomplete mono set) and The art Of Fugue. H Walcha - Organs at Lubeck, Cappel and Alkmaar from Bach's time.
Art Of Fugue:
- Rubsam - Organ
- Munchinger and the Stuttgart Chamber Orchestra
Toccatas in C Minor and in D, BWV 911/2, Prelude and Fugue (Book One) in D, Chromatic Fantasy and Fugue, Italian Concerto, Concerto in C for two Keyboards. Artur Schnabel - piano, with Karl Ulrich Schnabel - piano 2, and the LSO under Boult.
Fantasy and Fugue in C Minor, BWV 906, Fantasy and Fugue in A Minor, BWV 904, Saint Anne Prelude and Fugue (Arr Busoni), Adagio (Arr Bach from Marcello's Oboe Concerto in C Minor) Ricercare in Six Parts (Arr Fischer for strings) Edwin Fischer _ piano and conductor.
Brandenberg Concertos:
- HM Linde Consort
- Scholar Cantorum Basiliensis, and August Wenzinger
- Adolf Busch Chamber Players
- Kujiken, live radio recordings
- No live at the QEH, HM Linde in 1985
- No 2 and No 5. Philharmonia, with Edwin Fischer
- No 3. Four private recordings.
- No 5. Private recording.
Orchestral Suites:
- Adolf Busch Chamber Players
- Kujiken
- Klemperer, and the Philharmonia in 1954
- No 2, HM Linde
- Nos 2 and 4, Klemperer, in Budapest, live in 1948/9
- No 1, Busch, live in New York Town Hall in 1943 in a published private recording of Frau Busch's.
- Nos 1and 2, live at the QEH in 1985. HM Linde
- No 3 live in Berlin in 1948, BPO Furtwangler.
Solo Keyboard Concertos;
- Perahia and ASMF
- Edwin Fischer in No 2 in E, No 1 in D Minor, No 4 in A Major, No 5 in F Minor.
- Nos 1, 4 and 5. MJ Pires woth the Lisbon Gulbenkian Orchestra under Corboz
- No 1, Soloist with HM Linde consort live at the QEH in 1985.
- No 1, E Istomin with Adolf Busch Chamber Players
Multi-keyboard Concertos:
- Concerto in F for three Keyboards, BWV 1065 R Serkin, M Horzowsky R Laredo with the Marboro festval Orchestra under A Schneider
- Concerto in Cfor Three Keyboards, BWV 1064 E Fischer R Smith D Matthews with the Philharmonia
- Concerto for Two Keyboards A and KU Schnabel, LSO, Boul, and C Haskil and G Anda, Philharmonia, Galiera
Violin Concertos:
- Grumiaux
- Oistrack
- Busch
- Double Concerto - Soloist with Kujiken in two performances, one live and the other in a studio.
- Arnold and Alma Rose with a Chamber Orchestra probably drawn from the VPO in 1927.
Solo and accompanied Violin Music:
Solo Partitas and Sonatas - Grumiaux
Accompanied sonatas - Grumiaux
Adagio from the Sonata in G Arnold rose from 1927
Saint John Pasion - Gardiner
Saint Matthew Pssion:
- Leonhardt
- Furtwangler
- Jacques
Magbificat:
- Corboz
- Klemperer live in 1948 in Budapest
Iche Habe Genug:
- Hotter
Two Oboe concertos Evelyn Rothwell
Adagio (Arr Giazotto) Private recording.
Beatles
The Beatles/ 1967-1970
JS Bach
Six Paritias, Six French Suites, Six English Suites, Chromatic Fantasy and Fugue, French Overture and Italian Concerto, Goldberg Variations. The Well Temperered Clavier, 15 Two Part Inventions, and 15 Three Part Inventions. Helmut Walcha - Harpsichord (Ammer)
Six French Suites.
- Thurston Dart - Clavichord.
- ... plus alternatives, Hogwood - Harpsichord
Golberg Variations.
- Pierre Hantaii.- Harpsichord
- Leonhardt - Hapsichord.
Organ Works (incomplete mono set) and The art Of Fugue. H Walcha - Organs at Lubeck, Cappel and Alkmaar from Bach's time.
Art Of Fugue:
- Rubsam - Organ
- Munchinger and the Stuttgart Chamber Orchestra
Toccatas in C Minor and in D, BWV 911/2, Prelude and Fugue (Book One) in D, Chromatic Fantasy and Fugue, Italian Concerto, Concerto in C for two Keyboards. Artur Schnabel - piano, with Karl Ulrich Schnabel - piano 2, and the LSO under Boult.
Fantasy and Fugue in C Minor, BWV 906, Fantasy and Fugue in A Minor, BWV 904, Saint Anne Prelude and Fugue (Arr Busoni), Adagio (Arr Bach from Marcello's Oboe Concerto in C Minor) Ricercare in Six Parts (Arr Fischer for strings) Edwin Fischer _ piano and conductor.
Brandenberg Concertos:
- HM Linde Consort
- Scholar Cantorum Basiliensis, and August Wenzinger
- Adolf Busch Chamber Players
- Kujiken, live radio recordings
- No live at the QEH, HM Linde in 1985
- No 2 and No 5. Philharmonia, with Edwin Fischer
- No 3. Four private recordings.
- No 5. Private recording.
Orchestral Suites:
- Adolf Busch Chamber Players
- Kujiken
- Klemperer, and the Philharmonia in 1954
- No 2, HM Linde
- Nos 2 and 4, Klemperer, in Budapest, live in 1948/9
- No 1, Busch, live in New York Town Hall in 1943 in a published private recording of Frau Busch's.
- Nos 1and 2, live at the QEH in 1985. HM Linde
- No 3 live in Berlin in 1948, BPO Furtwangler.
Solo Keyboard Concertos;
- Perahia and ASMF
- Edwin Fischer in No 2 in E, No 1 in D Minor, No 4 in A Major, No 5 in F Minor.
- Nos 1, 4 and 5. MJ Pires woth the Lisbon Gulbenkian Orchestra under Corboz
- No 1, Soloist with HM Linde consort live at the QEH in 1985.
- No 1, E Istomin with Adolf Busch Chamber Players
Multi-keyboard Concertos:
- Concerto in F for three Keyboards, BWV 1065 R Serkin, M Horzowsky R Laredo with the Marboro festval Orchestra under A Schneider
- Concerto in Cfor Three Keyboards, BWV 1064 E Fischer R Smith D Matthews with the Philharmonia
- Concerto for Two Keyboards A and KU Schnabel, LSO, Boul, and C Haskil and G Anda, Philharmonia, Galiera
Violin Concertos:
- Grumiaux
- Oistrack
- Busch
- Double Concerto - Soloist with Kujiken in two performances, one live and the other in a studio.
- Arnold and Alma Rose with a Chamber Orchestra probably drawn from the VPO in 1927.
Solo and accompanied Violin Music:
Solo Partitas and Sonatas - Grumiaux
Accompanied sonatas - Grumiaux
Adagio from the Sonata in G Arnold rose from 1927
Saint John Pasion - Gardiner
Saint Matthew Pssion:
- Leonhardt
- Furtwangler
- Jacques
Magbificat:
- Corboz
- Klemperer live in 1948 in Budapest
Iche Habe Genug:
- Hotter
Posted on: 19 March 2006 by Gianluigi Mazzorana
Dear Fredrik!
I was following since the first post and.................it's a lifetime collection!
I decided to copy and paste it in a file and when i'll have to buy a record i'll take a look at it as well.
Thanks for shearing Fred!
Gianluigi
I was following since the first post and.................it's a lifetime collection!
I decided to copy and paste it in a file and when i'll have to buy a record i'll take a look at it as well.
Thanks for shearing Fred!
Gianluigi
Posted on: 19 March 2006 by fred simon
Fred,
No Ravel?
And what about the rest of music in the whole wide world throughout the entire history of human civilization?
Fred
Posted on: 19 March 2006 by u5227470736789439
Dear Fred [Simon],
There may be thirty odd records left out, and there is a lovely performance of the Introduction and Allegro for Harp, Flute and Strings, which I enjoy very rarely and it had slipped my memory. As well as the Daphnis Cloe music, in two performances, soon to be augmentedto three.
As for a wider range, I habitually listen to BBC Radios 3 and 4 and the World Service, and there is quite enough broadness there for me, to add to my existing library, in reality. Though I listen to lots of different music and always have, like Stockhausen, who was a vogue in the 1970s on Radio 3, spellbound, I did not feel it was something I wanted to do nearly so often as learn more about, say, Haydn String Quartets. The absense of something as such ought to be seen as not a judgement on its quality, rather than a long term expression of my preference for other things.
Thanks for reading it through! All the best from Fredrik
There may be thirty odd records left out, and there is a lovely performance of the Introduction and Allegro for Harp, Flute and Strings, which I enjoy very rarely and it had slipped my memory. As well as the Daphnis Cloe music, in two performances, soon to be augmentedto three.
As for a wider range, I habitually listen to BBC Radios 3 and 4 and the World Service, and there is quite enough broadness there for me, to add to my existing library, in reality. Though I listen to lots of different music and always have, like Stockhausen, who was a vogue in the 1970s on Radio 3, spellbound, I did not feel it was something I wanted to do nearly so often as learn more about, say, Haydn String Quartets. The absense of something as such ought to be seen as not a judgement on its quality, rather than a long term expression of my preference for other things.
Thanks for reading it through! All the best from Fredrik
Posted on: 19 March 2006 by Steve Bull
Thank-you for taking the time to list all those out Fredrick, it will be a very useful guide in my explorations. If you would care to e-mail me on steve.bull [at] mac.com I have something that you might find useful.
Steve.
Steve.
Posted on: 19 March 2006 by fred simon
Fredrik,
If you haven't already, you should at least try Ravel's G Major Piano Concerto, especially its sublime and magical slow movement.
But my somewhat tongue in cheek question wasn't so much "what about composer Xenakis, Ysaÿe, or Zappa" but, rather, what about jazz, rock, pop, blues, R&B, folk, country, bluegrass, Brazilian, Bulgarian, African, Indian, 16th century, 15th century, etc.? You know, the WWW ... Whole Wide World.
With all due respect, don't you feel that in terms of the total range of human musical expression, your library is a bit on the narrow side?
Regards,
Fred
Posted on: 19 March 2006 by u5227470736789439
Dear Fred,
Ravel, I adore, and will gradually investigate more over time now. I have been pulling back from the Romantics, but I mean the heavy Germanic ones like Wagner and even have found less interest in Verdi too. But the French school has gems I have not mined yet, for sure.
As for Rock and Pop, I guess that is like film for me. I enjoy some of it very much and unfortunately find some of it very much not something I want to investiagte more.
I have tried hard to understand Jazz, and perhaps when I have more time again I will make another concerted effort. Geoff P helped very much, and he does know about it. That I call work in progress, even if I am not sure I have found the key.
Interstingly I am sure you know the World Service World Music Programmes where they broadcast things from litterally every corner of the globe, in the middle of thie night! I listen agog to those. If I had the money I would follow some of them up, for sure...
If I ever get really old I would think that you would find my curiosity will have broadened my choices somewhat! I have perhaps another twenty five years of doing what I have already done for thirty five - investigating music, and I would think that it is inevitable that I shall broaden outwards once I have completely understood Bach to my own satisfaction!
But Ravel's Piano Concerto in G is now on the list, five from the top, to get, so I hope I like it Fred. Of course I will!!!
All the best from Fredrik
PS: On pre-Baroque Music, I am very partial to the chuch music performed daily in our Cathedras at Choral Evensong, where set side by side one may find music 600 years apart in date of composition without even an eyelid batted! I adore concerts, Choral Evensong, Jazz gigs, and have even been to small scale Rock gigs, even if I have to say that last will not be repeated, as I always have really dealt badly with loud sounds. I end up with a splitting headache in minutes. Thanks for your thought provoking post from Fredrik.
Ravel, I adore, and will gradually investigate more over time now. I have been pulling back from the Romantics, but I mean the heavy Germanic ones like Wagner and even have found less interest in Verdi too. But the French school has gems I have not mined yet, for sure.
As for Rock and Pop, I guess that is like film for me. I enjoy some of it very much and unfortunately find some of it very much not something I want to investiagte more.
I have tried hard to understand Jazz, and perhaps when I have more time again I will make another concerted effort. Geoff P helped very much, and he does know about it. That I call work in progress, even if I am not sure I have found the key.
Interstingly I am sure you know the World Service World Music Programmes where they broadcast things from litterally every corner of the globe, in the middle of thie night! I listen agog to those. If I had the money I would follow some of them up, for sure...
If I ever get really old I would think that you would find my curiosity will have broadened my choices somewhat! I have perhaps another twenty five years of doing what I have already done for thirty five - investigating music, and I would think that it is inevitable that I shall broaden outwards once I have completely understood Bach to my own satisfaction!
But Ravel's Piano Concerto in G is now on the list, five from the top, to get, so I hope I like it Fred. Of course I will!!!
All the best from Fredrik
PS: On pre-Baroque Music, I am very partial to the chuch music performed daily in our Cathedras at Choral Evensong, where set side by side one may find music 600 years apart in date of composition without even an eyelid batted! I adore concerts, Choral Evensong, Jazz gigs, and have even been to small scale Rock gigs, even if I have to say that last will not be repeated, as I always have really dealt badly with loud sounds. I end up with a splitting headache in minutes. Thanks for your thought provoking post from Fredrik.
Posted on: 19 March 2006 by fred simon
quote:Originally posted by Fredrik_Fiske:
As for Rock and Pop, I guess that is like film for me. I enjoy some of it very much and unfortunately find some of it very much not something I want to investiagte more.
I find that to be true for all music, of which there are really only two kinds: good and bad.
quote:I have tried hard to understand Jazz, and perhaps when I have more time again I will make another concerted effort. Geoff P helped very much, and he does know about it. That I call work in progress, even if I am not sure I have found the key.
The key may well be in much of the catalog of the ECM label.
It also may well be in some of the offerings right here from the Naim label, especially (of course
) these two:http://www.thenaimlabel.co.uk/artists/simon_main.htm
Regards,
Fred
Posted on: 19 March 2006 by u5227470736789439
Dear Fred,
I did this post because I promissed one or two I would do it. I am pleased I did it, because it has made me examine the focus and bredth issue as well!
I think a genuine probe into the soft underbelly of a thing is important.
What I canoot explain is why in a school of about 50, 8 to 13 year old I was the only music nut. My first great music was the Great C Major as a just turned nine year old, and my enthusiasm has never wavered.
I learned the bass because of my enthusiasm for music, starting too late really. I was a terrible pianist as a child, but it did not put me off music. I hated the choir master, though I could sing rather well, but not for him, so I was not in the choir. He was a sadistic son of the dirt, if you see what I mean. I kept well out of his orbit.
But when I started to play the bass I hardly expected to get good enough to play for money, or even eventually quite good money - freelance - and be invited to teach the instrument. That sounds like a fairy story, but my left hand got arthritis, and I could not stand to play in a downward spiral technically, which ultimately also means musically beyond a certain point.
Thus my music passion is only heightened, for now I am as impotent as I was before playing the bass.
Yes I do need to broaden a bit, but not too much I think. I would rather depth to too much breadth.
At the moment the real issue is money to fund many purchases of new recordings, and this must be the least important thing I do with what I have I would think!
Anyway, goodnight and thanks, from Fredrik
I did this post because I promissed one or two I would do it. I am pleased I did it, because it has made me examine the focus and bredth issue as well!
I think a genuine probe into the soft underbelly of a thing is important.
What I canoot explain is why in a school of about 50, 8 to 13 year old I was the only music nut. My first great music was the Great C Major as a just turned nine year old, and my enthusiasm has never wavered.
I learned the bass because of my enthusiasm for music, starting too late really. I was a terrible pianist as a child, but it did not put me off music. I hated the choir master, though I could sing rather well, but not for him, so I was not in the choir. He was a sadistic son of the dirt, if you see what I mean. I kept well out of his orbit.
But when I started to play the bass I hardly expected to get good enough to play for money, or even eventually quite good money - freelance - and be invited to teach the instrument. That sounds like a fairy story, but my left hand got arthritis, and I could not stand to play in a downward spiral technically, which ultimately also means musically beyond a certain point.
Thus my music passion is only heightened, for now I am as impotent as I was before playing the bass.
Yes I do need to broaden a bit, but not too much I think. I would rather depth to too much breadth.
At the moment the real issue is money to fund many purchases of new recordings, and this must be the least important thing I do with what I have I would think!
Anyway, goodnight and thanks, from Fredrik
Posted on: 19 March 2006 by u5227470736789439
Albinoni
Two Oboe concertos
- Evelyn Rothwell, Halle Orchestra, Barbirolli
Adagio (Arr Giazotto)
- Private recording.
Beatles
The Beatles/ 1967-1970
JS Bach
Mass In B Minor
- Leonhardt
- Richter
Six Partitas, Six French Suites, Six English Suites, Chromatic Fantasy and Fugue, French Overture and Italian Concerto, Goldberg Variations. The Well Temperered Clavier, 15 Two Part Inventions, and 15 Three Part Inventions
- Helmut Walcha - Harpsichord (Ammer)
Six French Suites
- Thurston Dart - Clavichord.
- ... plus alternatives, Hogwood - Harpsichord
Goldberg Variations
- Pierre Hantaii.- Harpsichord
- Leonhardt - Hapsichord.
Organ Works (incomplete mono set) and The art Of Fugue
- H Walcha - Organs at Lubeck, Cappel and Alkmaar from Bach's time.
Art Of Fugue
- Rubsam - Organ
- Munchinger and the Stuttgart Chamber Orchestra
- Morrony - Harpsichord
Toccatas in C Minor and in D, BWV 911/2, Prelude and Fugue (Book One) in D, Chromatic Fantasy and Fugue, Italian Concerto, Concerto in C for two Keyboards
- Artur Schnabel - piano, with Karl Ulrich Schnabel - piano 2, and the LSO under Boult.
Fantasy and Fugue in C Minor, BWV 906, Fantasy and Fugue in A Minor, BWV 904, Saint Anne Prelude and Fugue (Arr Busoni), Adagio (Arr Bach from Marcello's Oboe Concerto in C Minor) Ricercare in Six Parts (Arr Fischer for strings)
- Edwin Fischer piano and conductor.
Brandenberg Concertos
- HM Linde Consort
- Scholar Cantorum Basiliensis, and August Wenzinger
- Adolf Busch Chamber Players
- Kujiken, live radio recordings
- No live at the QEH, HM Linde in 1985
- No 2 and No 5. Philharmonia, with Edwin Fischer
- No 3. Four private recordings.
- No 5. Private recording.
Orchestral Suites
- Adolf Busch Chamber Players
- Kujiken
- Klemperer, and the Philharmonia in 1954
- No 2, HM Linde
- Nos 2 and 4, Klemperer, in Budapest, live in 1948/9
- No 1, Busch, live in New York Town Hall in 1943 in a published private recording of Frau Busch's.
- Nos 1and 2, live at the QEH in 1985. HM Linde
- No 3 live in Berlin in 1948, BPO Furtwangler.
Solo Keyboard Concertos
- Perahia and ASMF
- Edwin Fischer in No 2 in E, No 1 in D Minor, No 4 in A Major, No 5 in F Minor.
- Nos 1, 4 and 5. MJ Pires woth the Lisbon Gulbenkian Orchestra under Corboz
- No 1, Soloist with HM Linde consort live at the QEH in 1985.
- No 1, E Istomin with Adolf Busch Chamber Players
Multi-keyboard Concertos
- Concerto in F for three Keyboards, BWV 1065 R Serkin, M Horzowsky R Laredo with the Marboro festval Orchestra under A Schneider
- Concerto in Cfor Three Keyboards, BWV 1064 E Fischer R Smith D Matthews with the Philharmonia
- Concerto for Two Keyboards A and KU Schnabel, LSO, Boul, and C Haskil and G Anda, Philharmonia, Galiera
Violin Concertos
- Grumiaux
- Oistrack
- Busch
- Double Concerto - Soloist with Kujiken in two performances, one live and the other in a studio.
- Arnold and Alma Rose with a Chamber Orchestra probably drawn from the VPO in 1927.
Solo and accompanied Violin Music:
Solo Partitas and Sonatas
- Grumiaux
Accompanied sonatas
- Grumiaux
Adagio from the Sonata in G
- Arnold Rose from 1927
Saint John Passion
- Gardiner
Saint Matthew Passion
- Leonhardt
- Furtwangler
- Jacques
Magnificat
- Corboz
- Klemperer live in 1948 in Budapest
Iche Habe Genug
- Hotter
Cello Suites
- Fournier
WF Bach
Concerto for two Harpsichords in F Ton Koopman and Tina Mathot
Beethoven
Symphony No 1 in C
- BPO, Furtwangler, live, 1954
- VPO, Furtwangler, live, 1952
- VPO , Furtwangler, HMV Studio, 1952
Symphony No 2
- Philharmonia, Klemperer, EMI studio, 1958 or 59
Eroica symphony No 3, in E Flat
- VPO, Furtwangler, live in 1944,
- VPO, Erich Kleiber, Decca Studio in 1954?
- Phhilharmoinia, Klemperer, EMI Studio, later recording.
- BPO, Furtwangler in 1950, and in 1952.
Fourth Symphony in B Flat
- Philharmonia, Klemperer, EMI Studio in 1958
- VPO, Furtwangler, live in Munich in 1952
- VPO, Furtwangler, HMV Studio in 1952
Fifth Symphony in C Minor
- BPO, Furtwangler live in 1943, and in 1954 (also live in Paris in 1954).
- Concertgebow, Erich Kleiber, Decca studio in 1954?
- Philharmonia, Klemperer EMI Studio, 1954
- VPO, Klemperer live in 1968 or 69.
Pastoral Symphony No 6 in F
- Philharmonia, Klemperer, EMI Studio in 1958
- Concertgebeow, Erich Kleiber, Decca Studio in 1954?
- BPO, Furtwangler, live in 1944, and 1954
Seventh Symphony in A
- Philharmonia, Klemperer, EMI Studio in 1954 or 55
- Philharmonia, van Beinum, live in RFH in 1958 or 59.
- BPO, Furtwangler, live in 1943 and in 1953
- VPO, Furtwangler, HMV Studio, 1950
- VPO, Furtwangler, live at Salzburg in 1954
- Stockholm Phil, Furtwangler, live in 1948
Eighth Symphony in F
- BPO, Furtwangler, live in 1953
- VPO, Furtwangler, live at Salzburg in 1954
- Stockholm Phil, Furtwangler, live in 1948
Choral Symphony No 9
- Philharmonia, Klemperer, live in 1958 and 1961
- Philharmonia, Klemperer, EMI Studio, 1958.
- Philharmonia, Furtwangler, live at Lucerne in 1954
- Stockholm Forenings Orkester, Furtwangler live in 1943
- VPO, Furtwangler, live in 1953 (?)
- BPO, Furtwangler, live in London in 1937.
Missa Solemnis
- Klemperer, twice. Vox in Vienna, and the EMI set
Theatre Music
- Egmont, complete, VPO, Szell
- Overture, two songs and Funeral March, Nilsson, Klemperer
- King stephen Incidental Music. Hugarian forces on Hungaraton.
Overtures
- Klemperer's set
- Coliolan, twice from Furtwangler
Piano Concertos
- Schnabel, LSO/ LPO, Sargent 1932-35
- Serkin, live in Italy in the late 50s, orchestra unknown, but this is very fine.
- Emperor, Curzon, VPO, Knappertsbusch
- Emperor, Edwin fischer with the Philharmonia under furtwangler
- Third and Fourth, Fischer with the Philharmonia (directing as well)
- No 4, Dame Myra Hess, LPO, Boult, live at a Prom in 1960.
- No 1, Geza Anda, Philharmonia, Galliera
Violin Concerto and Romances
- Menuhin, live in 1947 with the BPO, in 1947 an EMI Studio with the Lucerne Festival Orchestra, and with the Phlharmonia in London in 1953, all accompanied by Furtwangler.
- Erich Rohn, BPO, Furtwangler live in 1944
- Josef Suk, Philharmonia, Boult EMI Studio, late 60s.
- Romances played by Menuhin in 1953 and Oistrack in 1962.
Piano sonatas
- Complete plus The Diabelli Variation several sets of Bagatelles, and other things. Artur Schnabel
- Late Sonatas, Nos 27 to 32, Solomon.
- No 9, No 23, and 31 played by Edwin fischer. I esed to have another, but it has gone!
Violin Sonatas
- Haskil/ Grumiaux
Cello Sonatas
Fournier/ Schnabel
String Quartets
- Vegh (complete)
- Busch Quartet in the EMI and US Columbia series.. [which I must have loaned a fortnight ago and have dissappeared!]
- Opus 18 No4 in C Minor, Ous 74 [No.10 in the Cannon], and Opus 131 [14], Rose Quartet.
Fidelio
- Salzburg live in 1950. Flagstad, Patzak,, and so on with the VPO under Furtwangler
Borge
Victor Borge at The Palladium!
Bizet
Symphony in C,
- Beecham
Carmen and Arlesinenne Music,
- Beecham
Brahms
Symphonies
- LPO, Boult, Pye Studio in 1954
- LSO/ LPO, Weingartner, EMI Studios between 1938 and 1941
- Philharmonia, Klemperer, EMI
- BPO/ VPO, Furtwangler, EMI release os Radio Tapes from 1948 to 1952
- Philharmonia, Toscanin, live in the RFH in1952 ish.
- BPO, Furtwangler in Nos 1 and 3 from 52 and 53.
Piano Concerto in D Minor
- Solomon
- Curzon
Piano concerto in B Flat
- Edwin Fischer
- Solomon
Violin Concerto
- Oistrack for DG in 1954
- Oistrack in about 1960 for EMI with Klemperer
Double Concerto
- Suk, Navarra, Czech Phil, K Ancerl
- Boskowsky/ Brabec, VPO, Furtwangler, live in 1952
- Schneiderhan/ Starker, RIAS Orchestra, Fricsay
Requiem
- Klemperer for EMI
- Furtwangler live in 1948 with nice unknown (nowadays) Soloists, and Stockholm.Phil. [terrible recording].
Clarinet Quintet
- Reginald Kell twice, with the Busch Quartet in 1937, and with the Fine arts Quartet [US based] in about 1960.
Horn Trio
- Abrey Brain, Adolf busch and Rudolf Serkin, on EMI
String Quartet in C Minor
- Busch Quartet
Vioin Sonatas
- Giaconda de Vito/ Edwin Fischer
Bruckner
Symphony No 4
-Jockum, BPO, DG Studio, and Dreden state Orch, under Boehm, EMI Studio, 1935
Fifth
- BPO and VPO, Furtwangler, in 1942 and 1951, both live
- Dresden state Orchestra, Boehm, EMI Studio, 1936.
Sixth
- Fragments only and not worth mentioning.
Seventh
- VPO, Knappertsbusch, 1949, live.
- Dresden State, Boehm, live from 1940s.
- BPO, Furtwangler, 1949 live, issued by EMI
Eighth
- VPO Furtwangler 1944, and BPO, Furtwangler 1949, both live
Ninth
- Columbia Symhpony Orchestra, Bruno Walter
- BPO, Furtwangler, live in 1943
Corelli
12 Grand Concertos, opus 6,
- Pinnock
Couperin
Concerts Royeaux 1 to 4
- Kijken et al
Eighth Odre and Third and Fourth Concerts from Les Concerts Royaux
- Laurence Cummings - Hapsichord, and Reiko Ichise - Gamba.
Second Quartet for two Harpsichords, and Les Nations - Imperereale
- Koopman and Mathot
Dvorak
Symphonies Nos 6, 7, & 8 in the series made for HMV in London
- Czech Phil, Vaclav Talich
New World Symphony, with the same artists for Supraphon in 1949. This is the better of two they made within a year, the second being on tape, but both artistically and technically the 78 set wins. The best I know in the music.
Cello Concerto
- Fournier, Philharmonia,, Kubelic
- Navarra, National symphony Orchestra, Schwarz
- Rostropovich, Czech Phil, Talcih
- Rostropovich, RPO, Boult
Violin Concerto
- Josef Suk, Czech Phil, K Ancerl
Piano Quntet
- Schnabel, Pro Arte Quartet
- Serkin, Busch Quartet
Elgar
The Elgar Edition on EMI. 9 CDs from 1994 of the complete (surviving) Electrical Recordings by Elgar between 1926 and 1934.
Symphony Number One in A Flat
- LPO, Boult, HMV,Studio, 1949
- BBC Philharmonic, George Hurst Naxos Studio in 1992
- BBC SO, Boult. Prom from 1975
Second symphony in E Flat
- BBC SO, Boult, HMV Studio at Bedford in 1944
- BBC Philharmonic, Edward Downes, Naxos studio in about 1992, and also live from a Prom in about 1988!
Elgar/Payne
- Symphony No 3, Bournemouth, Daniel [Not a very good idea].
Violin Concerto
- Sammons, New Queen's Hall Orchestra, Henry Wood, Columbia Studio in 1929
Cello Concerto
- Andre Navarra, Halle, Barbirolli
- Tortellier, BBC SO, Sargent, HMV Studio in 1954.
- Anthony Pini, LPO, van Beinum, Decca studio 1950
Enigma Variations
- LPO,Boult, HMV Studio 1953
Falstaff
- LPO, Boult, HMV Studio, 1950
- Natinal Youth Orchestra, Christopher Seaman, IMP Studio in about 1986. Brilliant
- LPO, Boult HMV Studio in 1960s
Saguine Fan and Other Shorts
- LPO, Boult, HMV Studio, 1960s
Concert Overtures
- In The South, and Froissart, LPO, Boult, 1953
- Cockaine, LPO, van Beinum, Decca Studio 1949/50
Violin Sonata
- Sammons Murdoch, Columbia studio in 1935
Dream Of Gerontius
- H Nash an co, Sargent and the Huddersfield Chorus, with the Liverpool Phil in April 1945 for EMI
- Gedda, Boult Philharmonia, in HMV Studio, 1976.
FaurÈ
Requiem
- Rutter
Greig
Symphony
- N Jarvi, Gothenberg for DG
Piano Concerto
- Solomon, Philharmonia, Menges
Flgstad sings Greig and Scandinavian Melodie, MHV Studio, 1919 to 1948. Great Recordings Of The Century issue
Peer Gynt
- Beecham
Holberg Suite (String Version)
- Norwegian chamber Orchestra twice. In 1979 with the beautiful but small complete string music on BIS, and live at the 1985 Edinburgh festival with Iona Brown.
Piano sonata in E Minor etc
- Robert Riefling - piano.
Handel
Messiah
- Pinnock
Concerti Grossi opus 3
- Pinnock
Concerti Grossi, opus 12
- Busch chamber Player, US Columbia studio in 1946
- Pinnock
- No 11 and 12 Bath festival Orchestra, Menuhin.
Water Music
- Pinnock
- Menuhin, Bath festival Orchestra
Fireworks Music (Original scoring for very large wind band).
- Mackerras
Haydn
Paris Symphonies
- Austro-Hugarian Haydn Orchestra Adam Fischer no 82-87
88 in G
- BPO, Furtwangler, DG Studio in about 1950
- Adam Fischer as above with the symphonies through to 92 (this is a great and unsung patch!).
London Symphonies (93 to 104)
- Concertgebeouw, Davis, for Philips
- RPO, Beecham, for EMI
- Adam Fischer as above
Symphony Number 104 in D, The London
- Edwin Fischer Chamber Orchestra. amazing!
Trumpet concerto
- Edvard oOe Antonsen, ECO, Tate, A nice bunch of concertos by Hummel, Tartini, and others, this is also the finest version of the Haydn I have come across.
Oboe Concerto in C Major
Evelyn Rothwell [Lady Barbirolli], Halle orch, Sir John B. This is part of a bouquet of concertos, which are the most wonderful music making. Others represented include Coreli, Pergolesi, Cimarosa, and Marcello. The highlights are the Marcello (which I have in Bach's arrangement played by Fischer in the Adagio alone]. These were re-released by Dutton.
Three Violin Concertos
- Standage, Pinnock
Three PIano Concertos
- Leif Ove Andsnes
Cello Concertos in D and C
- Truls Mork, Norwegian Chamber Orchestra, Iona Brown
- In D: Fournier, Lucerne strings under Baumgartner
- In C: Milos Sadlo, Prague Chamber Orchestra, Alois Klima
Piano sonatas
- John McCabe, for Decca
String quartets
- Sis quartets opus 33, Six, opus 71/74, Six opus 76, Two opus 77, and Last Seven Words From The Cross: Tatrai Quartet. on Hungaraton
- 27 Quartets (plus two by Hoffstetter!), including all the really big late works: - Pro Arte Quartet HMV 1930s Studio.
- Two quartets opus 77 and two fragments opus 103: Moaiques Quartet.
Seasons
- Colin Davis
Creation, in English
- BBC forces.
- Hogwood
Almost all the Masses in performances by George Guest.
Janacek
Sinfonietta and Four Preludes
- Pro Arte Orchrestra, Mackerras
Massanet
Meditaton From Thais
- Albert Sammons and Gerald Moore, violin and piano, English Columbia Studio 1928. This is part of a recital that takes in the Sinfonia Concertante of Mozart with Tertis and the Elgar Sonata. These three pieces represent the high point of this new Naxos issue.
Mozart
Symphonies
Very early Ones
- Prague Chamber Orchestra, Mackerras Magic stuff!
25, 29, 31, 33, 34, 35, 36, 38 to 41
- Philharmonia, Klemperer with such rarities as the Masonic Funeral Music.
35, 36, 38 to 41
- BPO, Boehm
35, 36, 38, 39, and 41
- VPO Kubelic, HMV Studio
39 in E Flat
- BPO, Furtwangler live in 1943
40 in G Minor, Vienna Phil
- Furtwangler, HMV Studio 1947/8
Piano Concertos:
No 9 in E Flat, and 23 in A
- Haskil, VSO, Paul Sacher
- Haskil and Otto Ackermann, live in the 1950s in No 9
No 6, 17 and 21
- Geza Anda, Cam Ac des Salzburger Moozarteums
No 14 in E Flat
- R Serkin, Busch Chamber Players
No 19 and 27
- Haskil, Fricays with the BPO and Bavarian Radio Orchestras.
No 20 and No 13
- Haskil, with Fricsay and Baugmgartner
No 27
- Koln Guerzenich Orchestra and Otto Klemperer, live performance
No 20 and 24
- Haskil, Lamoureux Orchestra, Markevitch
No 23 and No 24
- Solomon, Philharmonia
No 22 and No 25
- Brendel, Vienna Orchestras
- Paul Angerer. (on Vox, now owned by IMP)
Violin Concertos
- Grumiaux, LSO, Davis
3, 4 and 5
- Szymon goldberg, Philharmonia, Walter Susskind
Horn concertos
- Civil, Philharmonia, Klemperer
- Brain, Philharmonia, Karajan
Adagio and Fugue for Strings:
- Busch Chamber Players, EMI Studio in 1938
- Klemperer and the Philharmonia, EMI Studio in 1955
Mass In C Minor
- Gardiner
Requiem
- Vienna State Opera Soloists, VPO, Bruno Walter
- Vienna Boys Choir, Men of Saint stephen's cathedral, VSO, Hans Gillesberger. Plus some nice extras, including a wonderful reading of Haydn's gloriously sunlit Te Deum.
Solemne Vesperes di Confessore
- H Rilling
Don Giovanni
- 1950 at Salzburg, Soloists of the VSOC, VPO, Furtwangler
- 1954, new production as above
- Glyndbourne Festrival production under Fritz Busch 1936
Cosi Fan Tutti
- 1935 in Glyndbourne, as above
Marriage Of Figaro:
- Salzburg performance, from 1953
- 1955, Glyndbourne production under Vittorio Gui..
Magic Flute
- 1951 Salzburg recording, as above.
A handful of Piano Sonatas
- Haskil and Edwin Fischer.
Mendelssohn
Italian symphony
- Guido Cantelli, Philharmonia
Elijah
- Sargent, Huddersfield Chorus, and Harold Williams as Elijah. Columbia from 1948.
Oktett
- Members of the VPO, led by Willi Boskowsky. Coupled with Beethoven's Septet not mentioned earlier.
Rachmaninov
Second Piano Concerto and Variations on a Theme of Paganini
- Moiseievich, Philharmonia, Hugo Rignold, HMV late fifties.
Symphonic Dances
- Private recording.
Schubert
Symphonies 3, 5 and 6
- RPO, Beecham
The Unfinished, No 8, in B Minor.
- VPO, Klemperer, live in 1968 or 9
- BPO Futwangler, twice in 1952 and 3
Great C Major
- BBC SO Boult, in HMV Studio in 1934
- BBS CO, Boult live at a 1969 Prom
- Koln Orchestra, Erich Kleiber, live in 1954
- VPO. Furtwangler, live in Stockholm in 1943
- BPO, Fyrtwangler, live in Berlin in 1942 or 3?
- BPO, Furtwangler live in 1953
Piano Music
Sonata in B flat, D960
- Curzon
- Schnabel
Sonatas in A, D959, in D, D850, Various Shorts (and some duets with KU Schnabel)
- Artur Schnabel
Impromtus, D 899 and 935
- Edwin Fischer withe the wanderer Fantasy and Moment Musiceaux
- Artur Schnabel
Oktett
- Hausmusik on EMI
- Wiener Oktett
Trout Quintet
- Curzon and members of the VPO
- Schnable and members of the Pro Arte Quartet
Arpegione sonata
- Postropovich/ Britten
Fantasy in C for Violin and Piano
- Szymon Goldberg/ Radu Lupu
- Adolf Busch/ Rudolf Serkin
String Quartets
- Death and the Maiden, plus two more whose designation I can't remember, and are out at the mo. Busch Quartet
Schumann
Symphonies.
- Boult, LPO, Pye studio, mid fifties
- Kubelic, Bavarian Radio Orchestra
- Sawalisch, Dresden State Orchestra
Piano Quintet
- Schnabel and the Pro Arte Quartet
Sibelius
Symphonies:
- Barbirolli, and the Halle, with such things as the Korelia suite, and Finlandia.
- Anthony Collins and the LSO,which cycle was done for Decca between about 1952 and 55
1, 2, 3, and 5
- Kajanus, who was recomended by Sibelius to make these pioneering and still wonderful recordings. Also contains Tapiola, whicxh is still unsurpased, and other splendid rarities.
4, 6 and 7
- LPO and RPO under Beecham.
Violin Concerto
- Heifetz, LPO Beecham. EMI Studio pre 1939.
Viennese Strauss Family
150th Vienna Phil Anniversary set of Walzes, Polkas etc. La Creme de la creme, of the histrory of this bands association with the Dance Kings of the World!
New Year's Day Concerts,
1979
- Boskowsky's swansong.
1989
- Carlos Kleiber's only time in the concert. Both very special.
Smetana
My Country
- Talich, Czech Phil (1950s)
- Ancerl, Czech Phil (1960s)
Richard Strauss
Metamorphosen
- Krauss with the Bamberg SO
Horn Concertos 1 and 2
- Brain Philharmonia, Sawalisch
Don Juan
- Two performances from Furtwangler
Till Eulenspiegel
- BPO Furtwangler once.
Tchaikowsky
Pathetic Symphony
- Furtwangler, BPO, in HMV
Studio in 1938
Violin Concerto
- Oistack in Dresden in 1954
Nutcracker suite
- BBC SO, Sargent
Vaughan Williams
Sereneade to Music, Lark ascending, English Folk song Suite etc
- LSO/ LPO, Boult
Wagner
Four discs of various preludes and overtures
- all with the BPO or VPO under Furtwangler
Walton
Walton conducts walton, which contains a very great deal of the important big works.
First Symphony:
- LSO, Previn
- LSO, Harty for Decca in 1935
Beshazaar's Feast
- Liverpool Phil, Huddersfield, Walton in 1942
Second Symphony
- Cleveland Orchestra, Szell.
Webber
Die Freischutz
- Salzburg Festival 1953. VSOC, VPO, Furtwangler.Still about the best in this.
Two Oboe concertos
- Evelyn Rothwell, Halle Orchestra, Barbirolli
Adagio (Arr Giazotto)
- Private recording.
Beatles
The Beatles/ 1967-1970
JS Bach
Mass In B Minor
- Leonhardt
- Richter
Six Partitas, Six French Suites, Six English Suites, Chromatic Fantasy and Fugue, French Overture and Italian Concerto, Goldberg Variations. The Well Temperered Clavier, 15 Two Part Inventions, and 15 Three Part Inventions
- Helmut Walcha - Harpsichord (Ammer)
Six French Suites
- Thurston Dart - Clavichord.
- ... plus alternatives, Hogwood - Harpsichord
Goldberg Variations
- Pierre Hantaii.- Harpsichord
- Leonhardt - Hapsichord.
Organ Works (incomplete mono set) and The art Of Fugue
- H Walcha - Organs at Lubeck, Cappel and Alkmaar from Bach's time.
Art Of Fugue
- Rubsam - Organ
- Munchinger and the Stuttgart Chamber Orchestra
- Morrony - Harpsichord
Toccatas in C Minor and in D, BWV 911/2, Prelude and Fugue (Book One) in D, Chromatic Fantasy and Fugue, Italian Concerto, Concerto in C for two Keyboards
- Artur Schnabel - piano, with Karl Ulrich Schnabel - piano 2, and the LSO under Boult.
Fantasy and Fugue in C Minor, BWV 906, Fantasy and Fugue in A Minor, BWV 904, Saint Anne Prelude and Fugue (Arr Busoni), Adagio (Arr Bach from Marcello's Oboe Concerto in C Minor) Ricercare in Six Parts (Arr Fischer for strings)
- Edwin Fischer piano and conductor.
Brandenberg Concertos
- HM Linde Consort
- Scholar Cantorum Basiliensis, and August Wenzinger
- Adolf Busch Chamber Players
- Kujiken, live radio recordings
- No live at the QEH, HM Linde in 1985
- No 2 and No 5. Philharmonia, with Edwin Fischer
- No 3. Four private recordings.
- No 5. Private recording.
Orchestral Suites
- Adolf Busch Chamber Players
- Kujiken
- Klemperer, and the Philharmonia in 1954
- No 2, HM Linde
- Nos 2 and 4, Klemperer, in Budapest, live in 1948/9
- No 1, Busch, live in New York Town Hall in 1943 in a published private recording of Frau Busch's.
- Nos 1and 2, live at the QEH in 1985. HM Linde
- No 3 live in Berlin in 1948, BPO Furtwangler.
Solo Keyboard Concertos
- Perahia and ASMF
- Edwin Fischer in No 2 in E, No 1 in D Minor, No 4 in A Major, No 5 in F Minor.
- Nos 1, 4 and 5. MJ Pires woth the Lisbon Gulbenkian Orchestra under Corboz
- No 1, Soloist with HM Linde consort live at the QEH in 1985.
- No 1, E Istomin with Adolf Busch Chamber Players
Multi-keyboard Concertos
- Concerto in F for three Keyboards, BWV 1065 R Serkin, M Horzowsky R Laredo with the Marboro festval Orchestra under A Schneider
- Concerto in Cfor Three Keyboards, BWV 1064 E Fischer R Smith D Matthews with the Philharmonia
- Concerto for Two Keyboards A and KU Schnabel, LSO, Boul, and C Haskil and G Anda, Philharmonia, Galiera
Violin Concertos
- Grumiaux
- Oistrack
- Busch
- Double Concerto - Soloist with Kujiken in two performances, one live and the other in a studio.
- Arnold and Alma Rose with a Chamber Orchestra probably drawn from the VPO in 1927.
Solo and accompanied Violin Music:
Solo Partitas and Sonatas
- Grumiaux
Accompanied sonatas
- Grumiaux
Adagio from the Sonata in G
- Arnold Rose from 1927
Saint John Passion
- Gardiner
Saint Matthew Passion
- Leonhardt
- Furtwangler
- Jacques
Magnificat
- Corboz
- Klemperer live in 1948 in Budapest
Iche Habe Genug
- Hotter
Cello Suites
- Fournier
WF Bach
Concerto for two Harpsichords in F Ton Koopman and Tina Mathot
Beethoven
Symphony No 1 in C
- BPO, Furtwangler, live, 1954
- VPO, Furtwangler, live, 1952
- VPO , Furtwangler, HMV Studio, 1952
Symphony No 2
- Philharmonia, Klemperer, EMI studio, 1958 or 59
Eroica symphony No 3, in E Flat
- VPO, Furtwangler, live in 1944,
- VPO, Erich Kleiber, Decca Studio in 1954?
- Phhilharmoinia, Klemperer, EMI Studio, later recording.
- BPO, Furtwangler in 1950, and in 1952.
Fourth Symphony in B Flat
- Philharmonia, Klemperer, EMI Studio in 1958
- VPO, Furtwangler, live in Munich in 1952
- VPO, Furtwangler, HMV Studio in 1952
Fifth Symphony in C Minor
- BPO, Furtwangler live in 1943, and in 1954 (also live in Paris in 1954).
- Concertgebow, Erich Kleiber, Decca studio in 1954?
- Philharmonia, Klemperer EMI Studio, 1954
- VPO, Klemperer live in 1968 or 69.
Pastoral Symphony No 6 in F
- Philharmonia, Klemperer, EMI Studio in 1958
- Concertgebeow, Erich Kleiber, Decca Studio in 1954?
- BPO, Furtwangler, live in 1944, and 1954
Seventh Symphony in A
- Philharmonia, Klemperer, EMI Studio in 1954 or 55
- Philharmonia, van Beinum, live in RFH in 1958 or 59.
- BPO, Furtwangler, live in 1943 and in 1953
- VPO, Furtwangler, HMV Studio, 1950
- VPO, Furtwangler, live at Salzburg in 1954
- Stockholm Phil, Furtwangler, live in 1948
Eighth Symphony in F
- BPO, Furtwangler, live in 1953
- VPO, Furtwangler, live at Salzburg in 1954
- Stockholm Phil, Furtwangler, live in 1948
Choral Symphony No 9
- Philharmonia, Klemperer, live in 1958 and 1961
- Philharmonia, Klemperer, EMI Studio, 1958.
- Philharmonia, Furtwangler, live at Lucerne in 1954
- Stockholm Forenings Orkester, Furtwangler live in 1943
- VPO, Furtwangler, live in 1953 (?)
- BPO, Furtwangler, live in London in 1937.
Missa Solemnis
- Klemperer, twice. Vox in Vienna, and the EMI set
Theatre Music
- Egmont, complete, VPO, Szell
- Overture, two songs and Funeral March, Nilsson, Klemperer
- King stephen Incidental Music. Hugarian forces on Hungaraton.
Overtures
- Klemperer's set
- Coliolan, twice from Furtwangler
Piano Concertos
- Schnabel, LSO/ LPO, Sargent 1932-35
- Serkin, live in Italy in the late 50s, orchestra unknown, but this is very fine.
- Emperor, Curzon, VPO, Knappertsbusch
- Emperor, Edwin fischer with the Philharmonia under furtwangler
- Third and Fourth, Fischer with the Philharmonia (directing as well)
- No 4, Dame Myra Hess, LPO, Boult, live at a Prom in 1960.
- No 1, Geza Anda, Philharmonia, Galliera
Violin Concerto and Romances
- Menuhin, live in 1947 with the BPO, in 1947 an EMI Studio with the Lucerne Festival Orchestra, and with the Phlharmonia in London in 1953, all accompanied by Furtwangler.
- Erich Rohn, BPO, Furtwangler live in 1944
- Josef Suk, Philharmonia, Boult EMI Studio, late 60s.
- Romances played by Menuhin in 1953 and Oistrack in 1962.
Piano sonatas
- Complete plus The Diabelli Variation several sets of Bagatelles, and other things. Artur Schnabel
- Late Sonatas, Nos 27 to 32, Solomon.
- No 9, No 23, and 31 played by Edwin fischer. I esed to have another, but it has gone!
Violin Sonatas
- Haskil/ Grumiaux
Cello Sonatas
Fournier/ Schnabel
String Quartets
- Vegh (complete)
- Busch Quartet in the EMI and US Columbia series.. [which I must have loaned a fortnight ago and have dissappeared!]
- Opus 18 No4 in C Minor, Ous 74 [No.10 in the Cannon], and Opus 131 [14], Rose Quartet.
Fidelio
- Salzburg live in 1950. Flagstad, Patzak,, and so on with the VPO under Furtwangler
Borge
Victor Borge at The Palladium!
Bizet
Symphony in C,
- Beecham
Carmen and Arlesinenne Music,
- Beecham
Brahms
Symphonies
- LPO, Boult, Pye Studio in 1954
- LSO/ LPO, Weingartner, EMI Studios between 1938 and 1941
- Philharmonia, Klemperer, EMI
- BPO/ VPO, Furtwangler, EMI release os Radio Tapes from 1948 to 1952
- Philharmonia, Toscanin, live in the RFH in1952 ish.
- BPO, Furtwangler in Nos 1 and 3 from 52 and 53.
Piano Concerto in D Minor
- Solomon
- Curzon
Piano concerto in B Flat
- Edwin Fischer
- Solomon
Violin Concerto
- Oistrack for DG in 1954
- Oistrack in about 1960 for EMI with Klemperer
Double Concerto
- Suk, Navarra, Czech Phil, K Ancerl
- Boskowsky/ Brabec, VPO, Furtwangler, live in 1952
- Schneiderhan/ Starker, RIAS Orchestra, Fricsay
Requiem
- Klemperer for EMI
- Furtwangler live in 1948 with nice unknown (nowadays) Soloists, and Stockholm.Phil. [terrible recording].
Clarinet Quintet
- Reginald Kell twice, with the Busch Quartet in 1937, and with the Fine arts Quartet [US based] in about 1960.
Horn Trio
- Abrey Brain, Adolf busch and Rudolf Serkin, on EMI
String Quartet in C Minor
- Busch Quartet
Vioin Sonatas
- Giaconda de Vito/ Edwin Fischer
Bruckner
Symphony No 4
-Jockum, BPO, DG Studio, and Dreden state Orch, under Boehm, EMI Studio, 1935
Fifth
- BPO and VPO, Furtwangler, in 1942 and 1951, both live
- Dresden state Orchestra, Boehm, EMI Studio, 1936.
Sixth
- Fragments only and not worth mentioning.
Seventh
- VPO, Knappertsbusch, 1949, live.
- Dresden State, Boehm, live from 1940s.
- BPO, Furtwangler, 1949 live, issued by EMI
Eighth
- VPO Furtwangler 1944, and BPO, Furtwangler 1949, both live
Ninth
- Columbia Symhpony Orchestra, Bruno Walter
- BPO, Furtwangler, live in 1943
Corelli
12 Grand Concertos, opus 6,
- Pinnock
Couperin
Concerts Royeaux 1 to 4
- Kijken et al
Eighth Odre and Third and Fourth Concerts from Les Concerts Royaux
- Laurence Cummings - Hapsichord, and Reiko Ichise - Gamba.
Second Quartet for two Harpsichords, and Les Nations - Imperereale
- Koopman and Mathot
Dvorak
Symphonies Nos 6, 7, & 8 in the series made for HMV in London
- Czech Phil, Vaclav Talich
New World Symphony, with the same artists for Supraphon in 1949. This is the better of two they made within a year, the second being on tape, but both artistically and technically the 78 set wins. The best I know in the music.
Cello Concerto
- Fournier, Philharmonia,, Kubelic
- Navarra, National symphony Orchestra, Schwarz
- Rostropovich, Czech Phil, Talcih
- Rostropovich, RPO, Boult
Violin Concerto
- Josef Suk, Czech Phil, K Ancerl
Piano Quntet
- Schnabel, Pro Arte Quartet
- Serkin, Busch Quartet
Elgar
The Elgar Edition on EMI. 9 CDs from 1994 of the complete (surviving) Electrical Recordings by Elgar between 1926 and 1934.
Symphony Number One in A Flat
- LPO, Boult, HMV,Studio, 1949
- BBC Philharmonic, George Hurst Naxos Studio in 1992
- BBC SO, Boult. Prom from 1975
Second symphony in E Flat
- BBC SO, Boult, HMV Studio at Bedford in 1944
- BBC Philharmonic, Edward Downes, Naxos studio in about 1992, and also live from a Prom in about 1988!
Elgar/Payne
- Symphony No 3, Bournemouth, Daniel [Not a very good idea].
Violin Concerto
- Sammons, New Queen's Hall Orchestra, Henry Wood, Columbia Studio in 1929
Cello Concerto
- Andre Navarra, Halle, Barbirolli
- Tortellier, BBC SO, Sargent, HMV Studio in 1954.
- Anthony Pini, LPO, van Beinum, Decca studio 1950
Enigma Variations
- LPO,Boult, HMV Studio 1953
Falstaff
- LPO, Boult, HMV Studio, 1950
- Natinal Youth Orchestra, Christopher Seaman, IMP Studio in about 1986. Brilliant
- LPO, Boult HMV Studio in 1960s
Saguine Fan and Other Shorts
- LPO, Boult, HMV Studio, 1960s
Concert Overtures
- In The South, and Froissart, LPO, Boult, 1953
- Cockaine, LPO, van Beinum, Decca Studio 1949/50
Violin Sonata
- Sammons Murdoch, Columbia studio in 1935
Dream Of Gerontius
- H Nash an co, Sargent and the Huddersfield Chorus, with the Liverpool Phil in April 1945 for EMI
- Gedda, Boult Philharmonia, in HMV Studio, 1976.
FaurÈ
Requiem
- Rutter
Greig
Symphony
- N Jarvi, Gothenberg for DG
Piano Concerto
- Solomon, Philharmonia, Menges
Flgstad sings Greig and Scandinavian Melodie, MHV Studio, 1919 to 1948. Great Recordings Of The Century issue
Peer Gynt
- Beecham
Holberg Suite (String Version)
- Norwegian chamber Orchestra twice. In 1979 with the beautiful but small complete string music on BIS, and live at the 1985 Edinburgh festival with Iona Brown.
Piano sonata in E Minor etc
- Robert Riefling - piano.
Handel
Messiah
- Pinnock
Concerti Grossi opus 3
- Pinnock
Concerti Grossi, opus 12
- Busch chamber Player, US Columbia studio in 1946
- Pinnock
- No 11 and 12 Bath festival Orchestra, Menuhin.
Water Music
- Pinnock
- Menuhin, Bath festival Orchestra
Fireworks Music (Original scoring for very large wind band).
- Mackerras
Haydn
Paris Symphonies
- Austro-Hugarian Haydn Orchestra Adam Fischer no 82-87
88 in G
- BPO, Furtwangler, DG Studio in about 1950
- Adam Fischer as above with the symphonies through to 92 (this is a great and unsung patch!).
London Symphonies (93 to 104)
- Concertgebeouw, Davis, for Philips
- RPO, Beecham, for EMI
- Adam Fischer as above
Symphony Number 104 in D, The London
- Edwin Fischer Chamber Orchestra. amazing!
Trumpet concerto
- Edvard oOe Antonsen, ECO, Tate, A nice bunch of concertos by Hummel, Tartini, and others, this is also the finest version of the Haydn I have come across.
Oboe Concerto in C Major
Evelyn Rothwell [Lady Barbirolli], Halle orch, Sir John B. This is part of a bouquet of concertos, which are the most wonderful music making. Others represented include Coreli, Pergolesi, Cimarosa, and Marcello. The highlights are the Marcello (which I have in Bach's arrangement played by Fischer in the Adagio alone]. These were re-released by Dutton.
Three Violin Concertos
- Standage, Pinnock
Three PIano Concertos
- Leif Ove Andsnes
Cello Concertos in D and C
- Truls Mork, Norwegian Chamber Orchestra, Iona Brown
- In D: Fournier, Lucerne strings under Baumgartner
- In C: Milos Sadlo, Prague Chamber Orchestra, Alois Klima
Piano sonatas
- John McCabe, for Decca
String quartets
- Sis quartets opus 33, Six, opus 71/74, Six opus 76, Two opus 77, and Last Seven Words From The Cross: Tatrai Quartet. on Hungaraton
- 27 Quartets (plus two by Hoffstetter!), including all the really big late works: - Pro Arte Quartet HMV 1930s Studio.
- Two quartets opus 77 and two fragments opus 103: Moaiques Quartet.
Seasons
- Colin Davis
Creation, in English
- BBC forces.
- Hogwood
Almost all the Masses in performances by George Guest.
Janacek
Sinfonietta and Four Preludes
- Pro Arte Orchrestra, Mackerras
Massanet
Meditaton From Thais
- Albert Sammons and Gerald Moore, violin and piano, English Columbia Studio 1928. This is part of a recital that takes in the Sinfonia Concertante of Mozart with Tertis and the Elgar Sonata. These three pieces represent the high point of this new Naxos issue.
Mozart
Symphonies
Very early Ones
- Prague Chamber Orchestra, Mackerras Magic stuff!
25, 29, 31, 33, 34, 35, 36, 38 to 41
- Philharmonia, Klemperer with such rarities as the Masonic Funeral Music.
35, 36, 38 to 41
- BPO, Boehm
35, 36, 38, 39, and 41
- VPO Kubelic, HMV Studio
39 in E Flat
- BPO, Furtwangler live in 1943
40 in G Minor, Vienna Phil
- Furtwangler, HMV Studio 1947/8
Piano Concertos:
No 9 in E Flat, and 23 in A
- Haskil, VSO, Paul Sacher
- Haskil and Otto Ackermann, live in the 1950s in No 9
No 6, 17 and 21
- Geza Anda, Cam Ac des Salzburger Moozarteums
No 14 in E Flat
- R Serkin, Busch Chamber Players
No 19 and 27
- Haskil, Fricays with the BPO and Bavarian Radio Orchestras.
No 20 and No 13
- Haskil, with Fricsay and Baugmgartner
No 27
- Koln Guerzenich Orchestra and Otto Klemperer, live performance
No 20 and 24
- Haskil, Lamoureux Orchestra, Markevitch
No 23 and No 24
- Solomon, Philharmonia
No 22 and No 25
- Brendel, Vienna Orchestras
- Paul Angerer. (on Vox, now owned by IMP)
Violin Concertos
- Grumiaux, LSO, Davis
3, 4 and 5
- Szymon goldberg, Philharmonia, Walter Susskind
Horn concertos
- Civil, Philharmonia, Klemperer
- Brain, Philharmonia, Karajan
Adagio and Fugue for Strings:
- Busch Chamber Players, EMI Studio in 1938
- Klemperer and the Philharmonia, EMI Studio in 1955
Mass In C Minor
- Gardiner
Requiem
- Vienna State Opera Soloists, VPO, Bruno Walter
- Vienna Boys Choir, Men of Saint stephen's cathedral, VSO, Hans Gillesberger. Plus some nice extras, including a wonderful reading of Haydn's gloriously sunlit Te Deum.
Solemne Vesperes di Confessore
- H Rilling
Don Giovanni
- 1950 at Salzburg, Soloists of the VSOC, VPO, Furtwangler
- 1954, new production as above
- Glyndbourne Festrival production under Fritz Busch 1936
Cosi Fan Tutti
- 1935 in Glyndbourne, as above
Marriage Of Figaro:
- Salzburg performance, from 1953
- 1955, Glyndbourne production under Vittorio Gui..
Magic Flute
- 1951 Salzburg recording, as above.
A handful of Piano Sonatas
- Haskil and Edwin Fischer.
Mendelssohn
Italian symphony
- Guido Cantelli, Philharmonia
Elijah
- Sargent, Huddersfield Chorus, and Harold Williams as Elijah. Columbia from 1948.
Oktett
- Members of the VPO, led by Willi Boskowsky. Coupled with Beethoven's Septet not mentioned earlier.
Rachmaninov
Second Piano Concerto and Variations on a Theme of Paganini
- Moiseievich, Philharmonia, Hugo Rignold, HMV late fifties.
Symphonic Dances
- Private recording.
Schubert
Symphonies 3, 5 and 6
- RPO, Beecham
The Unfinished, No 8, in B Minor.
- VPO, Klemperer, live in 1968 or 9
- BPO Futwangler, twice in 1952 and 3
Great C Major
- BBC SO Boult, in HMV Studio in 1934
- BBS CO, Boult live at a 1969 Prom
- Koln Orchestra, Erich Kleiber, live in 1954
- VPO. Furtwangler, live in Stockholm in 1943
- BPO, Fyrtwangler, live in Berlin in 1942 or 3?
- BPO, Furtwangler live in 1953
Piano Music
Sonata in B flat, D960
- Curzon
- Schnabel
Sonatas in A, D959, in D, D850, Various Shorts (and some duets with KU Schnabel)
- Artur Schnabel
Impromtus, D 899 and 935
- Edwin Fischer withe the wanderer Fantasy and Moment Musiceaux
- Artur Schnabel
Oktett
- Hausmusik on EMI
- Wiener Oktett
Trout Quintet
- Curzon and members of the VPO
- Schnable and members of the Pro Arte Quartet
Arpegione sonata
- Postropovich/ Britten
Fantasy in C for Violin and Piano
- Szymon Goldberg/ Radu Lupu
- Adolf Busch/ Rudolf Serkin
String Quartets
- Death and the Maiden, plus two more whose designation I can't remember, and are out at the mo. Busch Quartet
Schumann
Symphonies.
- Boult, LPO, Pye studio, mid fifties
- Kubelic, Bavarian Radio Orchestra
- Sawalisch, Dresden State Orchestra
Piano Quintet
- Schnabel and the Pro Arte Quartet
Sibelius
Symphonies:
- Barbirolli, and the Halle, with such things as the Korelia suite, and Finlandia.
- Anthony Collins and the LSO,which cycle was done for Decca between about 1952 and 55
1, 2, 3, and 5
- Kajanus, who was recomended by Sibelius to make these pioneering and still wonderful recordings. Also contains Tapiola, whicxh is still unsurpased, and other splendid rarities.
4, 6 and 7
- LPO and RPO under Beecham.
Violin Concerto
- Heifetz, LPO Beecham. EMI Studio pre 1939.
Viennese Strauss Family
150th Vienna Phil Anniversary set of Walzes, Polkas etc. La Creme de la creme, of the histrory of this bands association with the Dance Kings of the World!
New Year's Day Concerts,
1979
- Boskowsky's swansong.
1989
- Carlos Kleiber's only time in the concert. Both very special.
Smetana
My Country
- Talich, Czech Phil (1950s)
- Ancerl, Czech Phil (1960s)
Richard Strauss
Metamorphosen
- Krauss with the Bamberg SO
Horn Concertos 1 and 2
- Brain Philharmonia, Sawalisch
Don Juan
- Two performances from Furtwangler
Till Eulenspiegel
- BPO Furtwangler once.
Tchaikowsky
Pathetic Symphony
- Furtwangler, BPO, in HMV
Studio in 1938
Violin Concerto
- Oistack in Dresden in 1954
Nutcracker suite
- BBC SO, Sargent
Vaughan Williams
Sereneade to Music, Lark ascending, English Folk song Suite etc
- LSO/ LPO, Boult
Wagner
Four discs of various preludes and overtures
- all with the BPO or VPO under Furtwangler
Walton
Walton conducts walton, which contains a very great deal of the important big works.
First Symphony:
- LSO, Previn
- LSO, Harty for Decca in 1935
Beshazaar's Feast
- Liverpool Phil, Huddersfield, Walton in 1942
Second Symphony
- Cleveland Orchestra, Szell.
Webber
Die Freischutz
- Salzburg Festival 1953. VSOC, VPO, Furtwangler.Still about the best in this.
Posted on: 19 March 2006 by u5227470736789439
An almost perfect version, edited with help. Fredrik
Posted on: 19 March 2006 by erik scothron
quote:Originally posted by Beano:
Blimey Fredrik, hope you've got this lot insured!
Yes Fredrik, I am almost tempted to burgle you myself. I know where you live.
- many thanks for your list of gems which now exists on my hard drive for much future reference.Posted on: 20 March 2006 by Alan Miller
Frederick i have to salute you, never mind the patience it must have taken to assemble that collection but to document it for all..
I posted a little while ago about places to start with music of a more classical bent. This seems to be a fantastic overview and as good as the many "my first..." threads. Thank you so much.
I posted a little while ago about places to start with music of a more classical bent. This seems to be a fantastic overview and as good as the many "my first..." threads. Thank you so much.
Posted on: 20 March 2006 by sjust
Wow, Fredrik !
What a treasure you have burried here (in the often sandy grounds of this forum...)
A reference, indeed, and worth while building a benchmark to my own collection. Thank you !
cheers
Stefan
What a treasure you have burried here (in the often sandy grounds of this forum...)
A reference, indeed, and worth while building a benchmark to my own collection. Thank you !
cheers
Stefan
Posted on: 21 March 2006 by kevj
quote:Originally posted by Fredrik_Fiske:
...Though I listen to lots of different music and always have, like Stockhausen, who was a vogue in the 1970s on Radio 3, spellbound...
Fredrik,
Did you know that, on his "Desert Island Discs", when Alan Civil was asked to choose his book, he said something along the lines of
"I'd really like to take with me a full score of Karlhienz Stockhausen's 'Gruppen'. Then I'd have plenty of time to study it at my leisure and I could work out whether he was kidding me or I was kidding him."
Thank you for the wonderful list, I'm sure that it will become a reference point in this place.
Kevin
Posted on: 21 March 2006 by u5227470736789439
Dear Friends,
I keep remembering missing things, like Mendelsohnn's A Midsummer's Night Dream Music and Vilin Concerto, and the Purcell I have which is lovely. Indian Queen, King Arthur and some lovely viol music, and a few other odds and ends.
Actually, it gave me a good deal of pleasure scratching my head trying to remember everything. They live in a hideous pile, me not having a good shelf for them, but I do know (more or less!) where every thing is.
Also it will certainly cause me to look into some of the darker corners again!
Thanks for all the nice replies! Fredrik
I keep remembering missing things, like Mendelsohnn's A Midsummer's Night Dream Music and Vilin Concerto, and the Purcell I have which is lovely. Indian Queen, King Arthur and some lovely viol music, and a few other odds and ends.
Actually, it gave me a good deal of pleasure scratching my head trying to remember everything. They live in a hideous pile, me not having a good shelf for them, but I do know (more or less!) where every thing is.
Also it will certainly cause me to look into some of the darker corners again!
Thanks for all the nice replies! Fredrik
Posted on: 22 March 2006 by Tam
Dear Fredrik,
Have finally had a chance to sit down and look through this properly - like others who have posted, I much appreciate the hard work you've put into it all.
Just one question (for now, anyway), and sorry if you've already covered it, but I couldn't see it anywhere. It this your 'complete' library or highlights? I suppose what I'm asking is do you just feel, say, that the other Mozart operas were not worth hanging onto, or the rest of Mendelssohn's symphonies, etc? Just curious.
regards, Tam
Have finally had a chance to sit down and look through this properly - like others who have posted, I much appreciate the hard work you've put into it all.
Just one question (for now, anyway
), and sorry if you've already covered it, but I couldn't see it anywhere. It this your 'complete' library or highlights? I suppose what I'm asking is do you just feel, say, that the other Mozart operas were not worth hanging onto, or the rest of Mendelssohn's symphonies, etc? Just curious.regards, Tam
Posted on: 22 March 2006 by u5227470736789439
Dear Tam,
I would call the Mozart operas work in progress for me. I know the ones I have very well indeed, and I find really understanding opera immensely hard work. One literally has to learn the meaning of the words to comprehend the setting and drama! Unless it is in English, of course.
I have never parted with a Mozart opera recording, and so you will note perhaps that Don Giovanni is my favourite.
I know the music from the Seraglio fairly well but have never studied it.
But I more or less went through the ones I know about ten years ago straight off, and gave it a rest which I have not broken. I have been deeply absorbed with Bach's keyboard and Organ works for the last two years.
In that way some areas are far better developed than others, simply because I have not got there yet. One of theese years I shall start on the Bach Cantatas, which I have barely skimmed yet.
In the case of Mendelsohnn, I am very fond of the Itaian Symphony. It was the first symphony I ever played in on the bass, and it really is very difficult to play cleanly and well, and I worked on the part for months! That was only 18 months after taking up the instrument, and so I know it inside out. As for the Scottish, I have played it several times, and never heard it either on records or live. That is amazing, when I think about it, but true.
I have never even thought of buying it on record, but I love it for all that..
No the listing is not highlights, but I have undoubtedly left maybe 30 or 40 recordings out, as it was a feat of memory. One day I will put them all on a shelf in sensible order, but now, as ever before, they live in disorder in piles! I know where everything is, almost always anyhow, but I do forget to whom I have loaned them, and have lost some very lovely things that way.
It is also true that I have not put in fillers, except for very rare exceptions, as I think everyone would soon gather that for every disc of Brahm's First Symphony there is the bonus of yet another recording of the Haydn Variations! It is a good job I love the piece really!
Thanks for reading it through!
All the best from Fredrik
PS: I missed that live Beethoven 7 from Boult, which I think a lot of, so missing them does not imply a lack of care, just get forgetful in a random way.
I would call the Mozart operas work in progress for me. I know the ones I have very well indeed, and I find really understanding opera immensely hard work. One literally has to learn the meaning of the words to comprehend the setting and drama! Unless it is in English, of course.
I have never parted with a Mozart opera recording, and so you will note perhaps that Don Giovanni is my favourite.
I know the music from the Seraglio fairly well but have never studied it.
But I more or less went through the ones I know about ten years ago straight off, and gave it a rest which I have not broken. I have been deeply absorbed with Bach's keyboard and Organ works for the last two years.
In that way some areas are far better developed than others, simply because I have not got there yet. One of theese years I shall start on the Bach Cantatas, which I have barely skimmed yet.
In the case of Mendelsohnn, I am very fond of the Itaian Symphony. It was the first symphony I ever played in on the bass, and it really is very difficult to play cleanly and well, and I worked on the part for months! That was only 18 months after taking up the instrument, and so I know it inside out. As for the Scottish, I have played it several times, and never heard it either on records or live. That is amazing, when I think about it, but true.
I have never even thought of buying it on record, but I love it for all that..
No the listing is not highlights, but I have undoubtedly left maybe 30 or 40 recordings out, as it was a feat of memory. One day I will put them all on a shelf in sensible order, but now, as ever before, they live in disorder in piles! I know where everything is, almost always anyhow, but I do forget to whom I have loaned them, and have lost some very lovely things that way.
It is also true that I have not put in fillers, except for very rare exceptions, as I think everyone would soon gather that for every disc of Brahm's First Symphony there is the bonus of yet another recording of the Haydn Variations! It is a good job I love the piece really!
Thanks for reading it through!
All the best from Fredrik
PS: I missed that live Beethoven 7 from Boult, which I think a lot of, so missing them does not imply a lack of care, just get forgetful in a random way.
Posted on: 23 March 2006 by graham55
Fredrik
A very interesting list, but fewer Mozart operas (as Tam has observed) and piano concertos than I had expected.
Carlos Kleiber conducted two New Year's Day concerts in Vienna (1989 and 1992). Both are available on CBS/Sony CDs or, better still, on DG DVDs.
If you like Brahms and Bruckner symphonies, I'd urge you to try to hear Celibidache's Stuttgart readings available from DG.
And no Mahler at all?
Graham
A very interesting list, but fewer Mozart operas (as Tam has observed) and piano concertos than I had expected.
Carlos Kleiber conducted two New Year's Day concerts in Vienna (1989 and 1992). Both are available on CBS/Sony CDs or, better still, on DG DVDs.
If you like Brahms and Bruckner symphonies, I'd urge you to try to hear Celibidache's Stuttgart readings available from DG.
And no Mahler at all?
Graham
Posted on: 23 March 2006 by Oldnslow
Fredrik---what shall we make of the fact that about 98% of your favorite performers are long dead, and the few living ones are may be circling the drain soon........hehehe
Posted on: 23 March 2006 by u5227470736789439
quote:Originally posted by graham55:
Fredrik
A very interesting list, but fewer Mozart operas (as Tam has observed) and piano concertos than I had expected.
Dear Graham,
I have owned one cycle of the Piano Concertos with Barenboim and the ECO, but it really did little more than show which were the ones I loved the best! I then spent the next twenty years accumulating the ones I have. I plan a few more, but I am no completist for the sake of it. The operas will grow in number as I have the time to learn them, but I cannot easy sit down and listen to an opera till I have learned every word. then it makes sense for me, so altogether there are only a few by Mozart, and one each by Webber, and Beethoven!
Graham:
Carlos Kleiber conducted two New Year's Day concerts in Vienna (1989 and 1992). Both are available on CBS/Sony CDs or, better still, on DG DVDs.
---Good news! Another one to get, though on CD I think!---
If you like Brahms and Bruckner symphonies, I'd urge you to try to hear Celibidache's Stuttgart readings available from DG.
---Yes, I am always ready for more Brahms, and I have to really find some fine and not slow more modern Bruckner performances. Is Celi faster in Stuttgart? He was terribly slow, much later in life, and I don't know when the Stuttgart period was for him.---
And no Mahler at all?
---I have to confess to being deeply affected by Mahler. It depresses me, and I mean seriously makes me very low. I can't bear it. I played in two symphonies, the First and the Fifth I think, and I almost considered refusing to play any more. It took me days to get over it, so no; there will never be any Mahler, I am afraid.---
Graham
Posted on: 23 March 2006 by u5227470736789439
Dear Oldnslow,
I think this reflects the quality of musicianship nowadays, where technical perfection is critically acclaimed, even at the expense of soul, and depth, spirituality, and communication.
I very much enjoy concerts, and, even nowadays, there is some sense of abandon in the concert hall on occasion, but no artist would survive the critical onslaught if they approved recordings as technically adept as many of those I have.
The truth is I wish that music criticism as profession has never been invented. It has ruined much in music, and concerns itself far too often with petty detail. It has ruined the approach to recording that allowed greats like Schnabel and Fischer (just to name two pianists) to record as they felt fit. What these two left seems so much more musically engaging than the sterile perfection, so prevalemt on modern piano records for example.
Yes I am glad the gramophone lets us listen to the efforts of a most natural, and freer time musically!
All the best from Fredrik
I think this reflects the quality of musicianship nowadays, where technical perfection is critically acclaimed, even at the expense of soul, and depth, spirituality, and communication.
I very much enjoy concerts, and, even nowadays, there is some sense of abandon in the concert hall on occasion, but no artist would survive the critical onslaught if they approved recordings as technically adept as many of those I have.
The truth is I wish that music criticism as profession has never been invented. It has ruined much in music, and concerns itself far too often with petty detail. It has ruined the approach to recording that allowed greats like Schnabel and Fischer (just to name two pianists) to record as they felt fit. What these two left seems so much more musically engaging than the sterile perfection, so prevalemt on modern piano records for example.
Yes I am glad the gramophone lets us listen to the efforts of a most natural, and freer time musically!
All the best from Fredrik
Posted on: 23 March 2006 by erik scothron
quote:but I cannot easy sit down and listen to an opera till I have learned every word. then it makes sense for me
Hi Fredrik,
You surprise me as you are sensitive to music more than anyone I know and yet not only have I seen and loved operas where I have had to read the sur-titles to know what was going on I have seen operas in say, Italy for example where there was no translation and I did not understand a word but I still loved every moment. Even at home listening to a recording without the aid of all the visuals and still not understanding a word I still love the music and arias. Maybe you mean the whole recorded opera with no visuals and of course no translation? Hmm, yes, thinking about it I guess I would not sit and listen to the whole thing without at least being able to read the notes. Ignore me Fredrik.
Regards,
Erik
Posted on: 23 March 2006 by u5227470736789439
Dear Erik,
It is not a question of enjoying the music. I still have no idea what on Earth the Magic Flute is all about, but I love the music, but in truth, once I understood Giovanni, the music made far more sense and became much more deeply affecting for me. Also Cosi, which I adore, and am horrified by what may be going on at Glyndebourne...
So whilst the music may give a serious hint of the action, I find an understood libretto gives a huge gain. So I am shy to learn too many or too fast, but try to learn one at a time, absolutely by heart. It is hard work. I wish I was Italian speaking, and then it would be easy!
But I don't want to ignore you, Erik! You make a fair point!!
All the best from Fredrik
PS: I tried and failed with Wagner, and the last of it has now gone. But it was a twenty year effort, so no one can accuse me of laziness with it at least...
It is not a question of enjoying the music. I still have no idea what on Earth the Magic Flute is all about, but I love the music, but in truth, once I understood Giovanni, the music made far more sense and became much more deeply affecting for me. Also Cosi, which I adore, and am horrified by what may be going on at Glyndebourne...
So whilst the music may give a serious hint of the action, I find an understood libretto gives a huge gain. So I am shy to learn too many or too fast, but try to learn one at a time, absolutely by heart. It is hard work. I wish I was Italian speaking, and then it would be easy!
But I don't want to ignore you, Erik! You make a fair point!!
All the best from Fredrik
PS: I tried and failed with Wagner, and the last of it has now gone. But it was a twenty year effort, so no one can accuse me of laziness with it at least...
Posted on: 24 March 2006 by graham55
Fredrik
I haven't heard any of Celibidache's late Munich tapings released on EMI, so I can't compare them with what he did in Stuttgart.
The Stuttgart performances don't sound slow to me and, from what I've read, the excessive slowness was very much a thing of Celi's last years. The timings for the four Brahms symphonies, according to the DG documentation, are 47'29, 41'01, 42'47 and 42'47 respectively, if that's of any help. They are truly wonderful (I'm listening to the Fourth as I type this and it's in the same league as Carlos K).
Graham
I haven't heard any of Celibidache's late Munich tapings released on EMI, so I can't compare them with what he did in Stuttgart.
The Stuttgart performances don't sound slow to me and, from what I've read, the excessive slowness was very much a thing of Celi's last years. The timings for the four Brahms symphonies, according to the DG documentation, are 47'29, 41'01, 42'47 and 42'47 respectively, if that's of any help. They are truly wonderful (I'm listening to the Fourth as I type this and it's in the same league as Carlos K).
Graham
Posted on: 24 March 2006 by Oldnslow
Fredrik---I agree completely with your thoughts about all these great artists/performers that you list that did not have the benefit of current recording technology. While I enjoy very much listening to historical recordings, it boggles the mind to think what these performances would sound like if modern technology(like our wonderful Naim equipment) had been available.