Schubert's Unfinished Symphony.
Posted by: u5227470736789439 on 18 July 2006
Dear Friends,
This symphony was my second classical symphony, and discovered it for myself as a nine year old about the same time as the Great c Major. I would not want to be forced to choose between them!
Today I picked up a new disc of a live Prom concert of Boult leading it. The splendid orchestra is the Philharmonia, and it obviously went reather well. The performances is splendidly sane and expressive all at once. The audience applause is rather indicative of the effect in the Hall. At first is almost politely quiet and grows in intensity and obviously was going to go on for some time when it is faded out. No shouting, thank goodness, after this of all symphonies!
Also on the disc from tha same concert is Bizet's Suite "Jeux d'enfants," which is incredibly finely played if, perhaps, slighter music and then comes The The Second Orchestral Suite from Daphnis and Cloe by Ravel. This has real fire, just like Monteux's contemporary Decca recording with the LSO and Covent Garden Choir on Decca, but here we only have the Orchestral version. These things show a side to Boult's music making that have almost entirely been forgotten. He was a Universal Conductor of a very big repertoire, and one can see why he was the ideal first conductor of the BBC SO.
To end comes the finest performance of Sibelius' Seventh Symphony I have yet encountered on disc, but from a different concert, and it makes a most pleasing end to a lovely programme. [RPO this time].
Of the Unfinished Symphony this is now my fourth live recording, and I have one studio set with the VPO under Kubelik.
Really I must recomend this disc, which was released a few months ago on BBC Legends, issued on IMP Classics.
But I will try to make a brief survey of the other performances, shortly. The other live ones are Klemperer with VPO in the late sixties, and two from Furtwangler with the BPO from the early fifties. The Boult does not fail to live up the possibility of the comparison!
All the best from Fredrik
This symphony was my second classical symphony, and discovered it for myself as a nine year old about the same time as the Great c Major. I would not want to be forced to choose between them!
Today I picked up a new disc of a live Prom concert of Boult leading it. The splendid orchestra is the Philharmonia, and it obviously went reather well. The performances is splendidly sane and expressive all at once. The audience applause is rather indicative of the effect in the Hall. At first is almost politely quiet and grows in intensity and obviously was going to go on for some time when it is faded out. No shouting, thank goodness, after this of all symphonies!
Also on the disc from tha same concert is Bizet's Suite "Jeux d'enfants," which is incredibly finely played if, perhaps, slighter music and then comes The The Second Orchestral Suite from Daphnis and Cloe by Ravel. This has real fire, just like Monteux's contemporary Decca recording with the LSO and Covent Garden Choir on Decca, but here we only have the Orchestral version. These things show a side to Boult's music making that have almost entirely been forgotten. He was a Universal Conductor of a very big repertoire, and one can see why he was the ideal first conductor of the BBC SO.
To end comes the finest performance of Sibelius' Seventh Symphony I have yet encountered on disc, but from a different concert, and it makes a most pleasing end to a lovely programme. [RPO this time].
Of the Unfinished Symphony this is now my fourth live recording, and I have one studio set with the VPO under Kubelik.
Really I must recomend this disc, which was released a few months ago on BBC Legends, issued on IMP Classics.
But I will try to make a brief survey of the other performances, shortly. The other live ones are Klemperer with VPO in the late sixties, and two from Furtwangler with the BPO from the early fifties. The Boult does not fail to live up the possibility of the comparison!
All the best from Fredrik
Posted on: 18 July 2006 by Tam
Dear Fredrik,
I shall write a proper reply tomorrow evening (I must go to sleep now or I will not be in a fit state for work). However, I just wanted to point out two other discs to you - first the Mackerras/OAE disc of Schubert's 5th, 8th and 9th which I think you would enjoy (and also find very interesting as it contains a completion of the 8th by Brian Newbould). Also, you mention of the Sibelius 7th means I ought, once more, to mention what I think is the finest Sibelius disc I have ever heard - namely Colin Davis's most recent account of the 3rd and 7th on LSO live.
Will be interested to hear in more detail how the Boult compares with Furtwangler whose account of the 8th is my favourite.
regards, Tam
I shall write a proper reply tomorrow evening (I must go to sleep now or I will not be in a fit state for work). However, I just wanted to point out two other discs to you - first the Mackerras/OAE disc of Schubert's 5th, 8th and 9th which I think you would enjoy (and also find very interesting as it contains a completion of the 8th by Brian Newbould). Also, you mention of the Sibelius 7th means I ought, once more, to mention what I think is the finest Sibelius disc I have ever heard - namely Colin Davis's most recent account of the 3rd and 7th on LSO live.
Will be interested to hear in more detail how the Boult compares with Furtwangler whose account of the 8th is my favourite.
regards, Tam
Posted on: 19 July 2006 by Richard Dane
Bohm's Unfinished with the VPO on DGG is one of my handful of "LPs to save while the house burns down".
Over the years I have collected performances of this wonderful symphony from as many different conductors and orchestras as possible and still I come back to this one as my favourite.
I used to buy every copy I came across second-hand (they were usually pretty inexpensive being mid sixties DGGs) and would give them to friends, fellow music lovers etc.. I think I still have a few copies left to last me out....
Over the years I have collected performances of this wonderful symphony from as many different conductors and orchestras as possible and still I come back to this one as my favourite.
I used to buy every copy I came across second-hand (they were usually pretty inexpensive being mid sixties DGGs) and would give them to friends, fellow music lovers etc.. I think I still have a few copies left to last me out....
Posted on: 19 July 2006 by Tam
Does anyone know if Jochum ever taped it - I suspect he might have done rather a fine one. Also, trawling amazon a short while ago I came across Giulini (paired with Mahler's 9th), which has me rather tempted too.
(Currently listening to Mackerras and the OAE playing the great C major.)
regards, Tam
(Currently listening to Mackerras and the OAE playing the great C major.)
regards, Tam
Posted on: 19 July 2006 by u5227470736789439
As A Post Script To My Initial Post.
Often the bits you did not buy a recording for are the most exciting discovery! I have long loved Sibelius' Seventh Symphony and have readings from Anthony Collins, Thomas Beecham, John Barbirolli, and Serge Kowsevitsky, but the new one under Adrian Boult is simply so stoically noble, and clear and heroic in a manner, that it really beats the rest into the long grass emotionally for me. Now there is a thought!
All the best from Fredrik
Often the bits you did not buy a recording for are the most exciting discovery! I have long loved Sibelius' Seventh Symphony and have readings from Anthony Collins, Thomas Beecham, John Barbirolli, and Serge Kowsevitsky, but the new one under Adrian Boult is simply so stoically noble, and clear and heroic in a manner, that it really beats the rest into the long grass emotionally for me. Now there is a thought!
All the best from Fredrik
Posted on: 22 July 2006 by Tam
Dear Fredrik (and others),
I have just had the pleasure of listening to perhaps the finest recording of this work I have ever heard (both musically but also, this being a Telarc recording - see the sbl soundstage thread over in the hi-fi room - technically).
Mackerras and the SCO are performing (the great C major is discussed in the other thread). I almost want to play the first movement over again (but I fear I would be lynched since I have already been complained at for playing too much Schubert lately, as if such a thing were possible). However, what Mackerras achieves in the movement is stunning and I fear I will not be able to describe it acurately. Essentially it feels both fast and slow at the same time - I realise that doesn't make any sense, but the effect is quite amazing. This is certainly a firmly romantic view of the movement (the more interesting since the second movement feels much more classical in nature) and Mackerras exerts a wonderful control over the orchestra, who always play superbly for him, getting wonderful contrasts between the louder and quieter passages. The second movement is simply sublime and fades away leaving one totally satisified. I suppose it shouldn't surprise me that this is not how I feel with his OAE recording, since there he is playing the completion. Though, as he notes in the booklet:
In fairness to him, his OAE recording disproves this - then again, this recording does leave one feeling in just that way.
Either way, I think Fredrik (and others) should hear this very fine disc.
regards, Tam
I have just had the pleasure of listening to perhaps the finest recording of this work I have ever heard (both musically but also, this being a Telarc recording - see the sbl soundstage thread over in the hi-fi room - technically).
Mackerras and the SCO are performing (the great C major is discussed in the other thread). I almost want to play the first movement over again (but I fear I would be lynched since I have already been complained at for playing too much Schubert lately, as if such a thing were possible). However, what Mackerras achieves in the movement is stunning and I fear I will not be able to describe it acurately. Essentially it feels both fast and slow at the same time - I realise that doesn't make any sense, but the effect is quite amazing. This is certainly a firmly romantic view of the movement (the more interesting since the second movement feels much more classical in nature) and Mackerras exerts a wonderful control over the orchestra, who always play superbly for him, getting wonderful contrasts between the louder and quieter passages. The second movement is simply sublime and fades away leaving one totally satisified. I suppose it shouldn't surprise me that this is not how I feel with his OAE recording, since there he is playing the completion. Though, as he notes in the booklet:
quote:
There are many different opinions as to why schubert left the work incomplete, and I have occasionally completed the symphony in performance by playing the Scherzo, which he left mainly unorchestrated, and a Finale taken from the incidental music to "Rosamunde." However, the beauty of the end of the second movement seems so conclusive that nothing can follow it convincingly.
In fairness to him, his OAE recording disproves this - then again, this recording does leave one feeling in just that way.
Either way, I think Fredrik (and others) should hear this very fine disc.
regards, Tam
Posted on: 22 July 2006 by u5227470736789439
Dear Tam,
Is the version to get the one with three symphonies - 5, 8, and 9 together?
I am very fond of this symphony and have listened to it three times this week for some reason, but mostly because of the Prom performance I collected earlier this week on BBC Legends, I suppose!
All the best from Fredrik
Is the version to get the one with three symphonies - 5, 8, and 9 together?
I am very fond of this symphony and have listened to it three times this week for some reason, but mostly because of the Prom performance I collected earlier this week on BBC Legends, I suppose!
All the best from Fredrik
Posted on: 22 July 2006 by Tam
Dear Fredrik,
It depends. The two disc virgin set (with the OAE) that contains 5, 8 and 9 does benefit from having the 5th, but this is the completion of the 8th and Mackerras's interpretation is different becaues of that (i.e. he doesn't see the second movement as the sublime final word - how could he, there are two more to come). While this is certainly a fine reading of the completed version, I think it is a less great than the what Schubert left us and more 'interesting' than essential (put it this way, were I to be cruelly only allowed to keep one 8th, I would want an unfinished one).
As to the 9ths, I think I prefer the second interpretation too. I don't know if this is down to the fact that I simply prefer modern instruments (with the caveat that I like the way Mackerras often chooses to use period horns), or the fact that Mackerras and the SCO are a really special pairing. Either way, unless you are desparate to hear the completion the single disc with the SCO containing both 8 and 9 is the one I would go for (when I get round to paying you a visit, I shall certainly make sure the other, or both, set is on the list of CDs I bring with me). I.e. this one. Amazon will even let you listen to samples, though I wouldn't expect the quality to be up to much.
regards, Tam
p.s. Link to the other, OAE version, here
p.p.s. Those discs have been delayed as my computer has failed me. [extremely annoyed at Apple and their excuse for a service department smiley]
It depends. The two disc virgin set (with the OAE) that contains 5, 8 and 9 does benefit from having the 5th, but this is the completion of the 8th and Mackerras's interpretation is different becaues of that (i.e. he doesn't see the second movement as the sublime final word - how could he, there are two more to come). While this is certainly a fine reading of the completed version, I think it is a less great than the what Schubert left us and more 'interesting' than essential (put it this way, were I to be cruelly only allowed to keep one 8th, I would want an unfinished one).
As to the 9ths, I think I prefer the second interpretation too. I don't know if this is down to the fact that I simply prefer modern instruments (with the caveat that I like the way Mackerras often chooses to use period horns), or the fact that Mackerras and the SCO are a really special pairing. Either way, unless you are desparate to hear the completion the single disc with the SCO containing both 8 and 9 is the one I would go for (when I get round to paying you a visit, I shall certainly make sure the other, or both, set is on the list of CDs I bring with me). I.e. this one. Amazon will even let you listen to samples, though I wouldn't expect the quality to be up to much.
regards, Tam
p.s. Link to the other, OAE version, here
p.p.s. Those discs have been delayed as my computer has failed me. [extremely annoyed at Apple and their excuse for a service department smiley]
Posted on: 22 July 2006 by u5227470736789439
The Teldec version it is then! I used to have the Newbold completion with the Liverpool Phil under Charles Groves on HMV LP, and though Schubert did start the Scherzo (some notes are visible at the one side of a ripped out page where he tore the rest away, I was not really convinced by Newbold speculative recreation of the last two movements. Somehow the Torso is so lovely as it is!
Fredrik!
Fredrik!
Posted on: 22 July 2006 by Tam
Dear Fredrik,
I tend to feel that way about all completions and I think Deryck Cooke had it about right when he described his version of Mahler 10 not as a completion but rather as a 'performing edition'. In other words, it afforded the listener a glimpse, but he was not offering a Mahler symphony. However, I don't think that's much of glimpse since Mahler's genius was far more in orchestration than in the melodies themselves.
More interestingly, the 8th, unlike, say, Bruckner's ninth, was not his final work and he surely had plenty of time to complete it, so why didn't he (after all, he found time to write the whole of the great c major). I suspect the most likely answer is simply that it was so fine as it was.
regards, Tam
I tend to feel that way about all completions and I think Deryck Cooke had it about right when he described his version of Mahler 10 not as a completion but rather as a 'performing edition'. In other words, it afforded the listener a glimpse, but he was not offering a Mahler symphony. However, I don't think that's much of glimpse since Mahler's genius was far more in orchestration than in the melodies themselves.
More interestingly, the 8th, unlike, say, Bruckner's ninth, was not his final work and he surely had plenty of time to complete it, so why didn't he (after all, he found time to write the whole of the great c major). I suspect the most likely answer is simply that it was so fine as it was.
regards, Tam
Posted on: 26 July 2006 by Tam
Dear Friends,
I have just listened to another absolutely wonderful performance of this work from Eugen Jochum and the Concertgebouw (on a remarkably fine mono recording originally from Philips in the early 50, though now reissued by a French label under license). It was coupled with Beethoven 5 with the BPO (initially I viewed that as a write-off, since I already have Jochum with that orchestra in that work, however, this turns out to be an earlier Philips reading, not the DG one I have, which is a nice bonus). The disc can be found rather cryptically at Amazon.
And what a reading it is. Interestingly the liner notes are one of the rare occasions where is Bruckner is not mentioned. I say that because this invariably seems to occur only those Jochum recordings where his Bruckner is what springs to mind. The DG notes for his Beethoven can't shut up about his Bruckner (and almost appologising for the fact that he's doing anything but) when the recordings don't really bring it to mind. I think what makes Jochum's Bruckner so special is the way he holds the tension and picks out exactly what he wants the listener to be hearing. There is a lot of that here. Some conductors put the score on display and your ear can, to some extent, find its own way. Here, and I think this is true of Jochum's recordings in general, there is no choice. When such an approach works it is superb and it works here. I'm not sure I've described it terribly well, but the opening movement is superb. Right from the start he captures a wonderful (it sounds almost pizacto - though I suspect it may be that drumming of bows style, I shall have to listen to some other recordings again) rythmic drive on the bass theme that I hadn't noticed before and the way he builds the climaxes is superb. The second movement is perhaps slightly less fine, and doesn't quite fade away with the magic of Mackerras. Still, this is a wonderful recording and I can't wait to hear what Jochum does with the 9th.
regards, Tam
I have just listened to another absolutely wonderful performance of this work from Eugen Jochum and the Concertgebouw (on a remarkably fine mono recording originally from Philips in the early 50, though now reissued by a French label under license). It was coupled with Beethoven 5 with the BPO (initially I viewed that as a write-off, since I already have Jochum with that orchestra in that work, however, this turns out to be an earlier Philips reading, not the DG one I have, which is a nice bonus). The disc can be found rather cryptically at Amazon.
And what a reading it is. Interestingly the liner notes are one of the rare occasions where is Bruckner is not mentioned. I say that because this invariably seems to occur only those Jochum recordings where his Bruckner is what springs to mind. The DG notes for his Beethoven can't shut up about his Bruckner (and almost appologising for the fact that he's doing anything but) when the recordings don't really bring it to mind. I think what makes Jochum's Bruckner so special is the way he holds the tension and picks out exactly what he wants the listener to be hearing. There is a lot of that here. Some conductors put the score on display and your ear can, to some extent, find its own way. Here, and I think this is true of Jochum's recordings in general, there is no choice. When such an approach works it is superb and it works here. I'm not sure I've described it terribly well, but the opening movement is superb. Right from the start he captures a wonderful (it sounds almost pizacto - though I suspect it may be that drumming of bows style, I shall have to listen to some other recordings again) rythmic drive on the bass theme that I hadn't noticed before and the way he builds the climaxes is superb. The second movement is perhaps slightly less fine, and doesn't quite fade away with the magic of Mackerras. Still, this is a wonderful recording and I can't wait to hear what Jochum does with the 9th.
regards, Tam
Posted on: 26 July 2006 by Big Brother
Boult's EMI studio recording of Schubert's great C major is one of his best and one of my favorite classical records...regards....the new guy...
Posted on: 26 July 2006 by u5227470736789439
Dear Big Brother,
Glad to hear you view, and a most sincere welcome from the fool that started this thread.
Kindest regards from Fredrik
PS: For a variant, which is even more exciting, look out the BBC Legends Prom performance under Boult which is truly a perfomance to relish, given its flow, emotional thrust, and clarity, even compared to his late studio recording! [There is an even better one from 1934. (The Greatest C Major?]. The audience go wild, and with justification...
The Proms performance of the Unfinished under Boult is rightly more classical, and the response from the audience is more or less stunned politeness, followed by an real quiet but increasingly forte warmth of response, which even the engineers could not bring themselves cut off very early. Annother BBC Legends release.
Glad to hear you view, and a most sincere welcome from the fool that started this thread.
Kindest regards from Fredrik
PS: For a variant, which is even more exciting, look out the BBC Legends Prom performance under Boult which is truly a perfomance to relish, given its flow, emotional thrust, and clarity, even compared to his late studio recording! [There is an even better one from 1934. (The Greatest C Major?]. The audience go wild, and with justification...
The Proms performance of the Unfinished under Boult is rightly more classical, and the response from the audience is more or less stunned politeness, followed by an real quiet but increasingly forte warmth of response, which even the engineers could not bring themselves cut off very early. Annother BBC Legends release.
Posted on: 27 July 2006 by Big Brother
Amazing...I didn't realise sir Adrian had such a long history with Schubrt's orch works..My generation knows him best from his 70's HMV records and as a graet champion of english music..I can well remember his recording of Elgar's 2nd on Angel...wich I dug up from the library after hearing it performed by the BBC under Gennady Rozhdestvenky in the early 1980's??? thanks for the info....
Posted on: 28 July 2006 by Rubio
quote:PS: For a variant, which is even more exciting, look out the BBC Legends Prom performance under Boult which is truly a perfomance to relish, given its flow, emotional thrust, and clarity, even compared to his late studio recording! [There is an even better one from 1934. (The Greatest C Major?]. The audience go wild, and with justification...
I found this Boult's Schubert from 1934:
http://www.musicweb.uk.net/classrev/2001/Apr01/Schubert9.htm
and I ordered it
http://www.amazon.com/gp/product/B00005M6C9/sr=1-1/qid=...8640?ie=UTF8&s=music
Posted on: 28 July 2006 by u5227470736789439
Dear Rubio,
Beulah often produce very nice transfers as well. I had allthree performances once on 78s.
My record shop stocks the label, so I shall be getting this myself...
All equally grand! Fredrik
Beulah often produce very nice transfers as well. I had allthree performances once on 78s.
My record shop stocks the label, so I shall be getting this myself...
All equally grand! Fredrik
Posted on: 28 July 2006 by u5227470736789439
Dear Rubbio,
I have just read the review of the Beulah transfer of Boult's 1934 reading of the Great C Major. Most of it is right. The standards are unbeliveably high, but I cannot agree at all with the notion that he was less able to bring out the emotional side. His reading does not emote, in the way an opera tenor singer puts his heart on his sleeve, for sure, but the result is indeed as phenomenally emotinal in its way as any of the great readings described on my various Threads on the Great C major or the Unfinished.
It delves very deeply into the music's humaine core, which is actually essentially tragic, and the heart of it is certainly in the slow movement, where the performance's nobility allows more than a real glimse of the inherent insecurity of Schubert's mentality, far more than something which seems nearer the surface. In this way perhaps there is a parallel with the Bach playing of Helmut Walcha or the Beethoven and Brahms of Otto Klemperer...
Essentially, the performance is classial in style, and in many ways shows a path that would be followed later by Kleiber (senior), and the current fashion in HIP style readings, but without the dogmatically curt phrasing that can be shocking in some cases!
All the best from Fredrik
I have just read the review of the Beulah transfer of Boult's 1934 reading of the Great C Major. Most of it is right. The standards are unbeliveably high, but I cannot agree at all with the notion that he was less able to bring out the emotional side. His reading does not emote, in the way an opera tenor singer puts his heart on his sleeve, for sure, but the result is indeed as phenomenally emotinal in its way as any of the great readings described on my various Threads on the Great C major or the Unfinished.
It delves very deeply into the music's humaine core, which is actually essentially tragic, and the heart of it is certainly in the slow movement, where the performance's nobility allows more than a real glimse of the inherent insecurity of Schubert's mentality, far more than something which seems nearer the surface. In this way perhaps there is a parallel with the Bach playing of Helmut Walcha or the Beethoven and Brahms of Otto Klemperer...
Essentially, the performance is classial in style, and in many ways shows a path that would be followed later by Kleiber (senior), and the current fashion in HIP style readings, but without the dogmatically curt phrasing that can be shocking in some cases!
All the best from Fredrik
Posted on: 29 July 2006 by Tam
Dear Rubio and Fredrik,
I came across that transfer in my local CD shop the other day (for just a £5) and couldn't resist.
I have to say though, that while the performance of all works is most enjoyable (though unlike Fredrik it isn't my favourite 9th), I cannot really agree about the quality of the transfer - there is an awful lot of surface noise. Now, after a couple of minutes you cease to notice this, but it does strike me since many other old transfers I have heard have been run through declickers that have eliminated (or nearly so) this.
regards, Tam
I came across that transfer in my local CD shop the other day (for just a £5) and couldn't resist.
I have to say though, that while the performance of all works is most enjoyable (though unlike Fredrik it isn't my favourite 9th), I cannot really agree about the quality of the transfer - there is an awful lot of surface noise. Now, after a couple of minutes you cease to notice this, but it does strike me since many other old transfers I have heard have been run through declickers that have eliminated (or nearly so) this.
regards, Tam
Posted on: 29 July 2006 by pe-zulu
My preferred recording of the Unfinished is the recording Eduard van Beinum made with the Concertgebouw Orch. in the mid 50es. Wonderfully transparent and cantabile, striking the right balance between the youthful naive and the early romantic style. It has recently been rereleased by Philips in a box with van Beinums other 1950es Philips recordings (Bach: Suites, Händel: Water Music, Schubert: Symphony 3 and 6, Brahms: Symphony 1 and Alto Rhapsody with Aafje Heynis, Mozart: Flute-harp Concerto and some Debussy (La Mer et.c.). Six CDs well worth investigating.
The booklet notes tell, that van Beinum died from heart attack reharsing the second movement of Brahms first Synphony with the Concertgebouw. This recording (of Brahms´ first Symphony) predates his death with a few months.
Regards,
The booklet notes tell, that van Beinum died from heart attack reharsing the second movement of Brahms first Synphony with the Concertgebouw. This recording (of Brahms´ first Symphony) predates his death with a few months.
Regards,
Posted on: 29 July 2006 by u5227470736789439
Dear Poul,
From the small amount of van Beinum's music making I have encountered, I think you pointing out of this set makes it certainly one for me to look into, and quickly!
All the programme looks pleasing to me! I don't have a record of La Mer, which I once had in a Toscanini performance, which I could not warm to at all.
One of the nicest van Beinum records I have has the Elgar Cello Concerto with Anthony Pini as soloist. This is also on Beulah, but the transfer is immaculate, so I am disappointed to read the the Great C Major from Boult's 1934 HMV set is very noisy.
Actually I doubt that 78 noise can phase me, but for those not used to the real thing - frying bacon, we used to call it - perhaps a non-filtered transfer might be a problem.
I have three discs of Edwin Fischer playing Concerti by Mozart and Haydn shortly, and am getting very excited about re-aquainting myself with performances, which I mostly last listened to thirty years ago. I had the lovely performance of the D Minor KV 466 with the LPO till about 1984, but I wore it out! It was grey from being grooved out. Fancy how noisy that must have been once I had done that to it!
All the best from Fredrik
From the small amount of van Beinum's music making I have encountered, I think you pointing out of this set makes it certainly one for me to look into, and quickly!
All the programme looks pleasing to me! I don't have a record of La Mer, which I once had in a Toscanini performance, which I could not warm to at all.
One of the nicest van Beinum records I have has the Elgar Cello Concerto with Anthony Pini as soloist. This is also on Beulah, but the transfer is immaculate, so I am disappointed to read the the Great C Major from Boult's 1934 HMV set is very noisy.
Actually I doubt that 78 noise can phase me, but for those not used to the real thing - frying bacon, we used to call it - perhaps a non-filtered transfer might be a problem.
I have three discs of Edwin Fischer playing Concerti by Mozart and Haydn shortly, and am getting very excited about re-aquainting myself with performances, which I mostly last listened to thirty years ago. I had the lovely performance of the D Minor KV 466 with the LPO till about 1984, but I wore it out! It was grey from being grooved out. Fancy how noisy that must have been once I had done that to it!
All the best from Fredrik
Posted on: 30 July 2006 by Tam
Dear Poul,
I have just ordered the set for a song (or at least I hope I have - the last few orders I've placed with Britannia, at least half have been out of stock and unable to supply). It appears to be the second volume - do you know anything of the first?
regards, Tam
I have just ordered the set for a song (or at least I hope I have - the last few orders I've placed with Britannia, at least half have been out of stock and unable to supply). It appears to be the second volume - do you know anything of the first?
regards, Tam
Posted on: 30 July 2006 by pe-zulu
Dear Tam
I suppose you ordered this:
http://www.amazon.co.uk/gp/product/B00067R3CA/026-48990...s=classical&v=glance
But I don´t think the words Vol.2 is stated on the cover or in the booklet.
Vol.1 might be this:
http://www.amazon.co.uk/gp/product/B00008CLMH/026-48990...s=classical&v=glance
This seems to contain among others a fine recording of the Bartok Orchestral Concerto, which I incidentally own.
Note that Brahms first Symphony is listed in both boxes. I don´t know, if it is the same recording.
Still he made some more 1950es Philips recordings not listed in these boxes, e.g. the Beethoven Violin Concerto with Grumiaux, and if I am not mistaken, the Brahms Concerto with the same forces.
BTW look here:
http://www.amazon.co.uk/gp/search/ref=nb_ss_m_h_/026-48...einum&Go.x=12&Go.y=8
Kindest regards,
Poul
I suppose you ordered this:
http://www.amazon.co.uk/gp/product/B00067R3CA/026-48990...s=classical&v=glance
But I don´t think the words Vol.2 is stated on the cover or in the booklet.
Vol.1 might be this:
http://www.amazon.co.uk/gp/product/B00008CLMH/026-48990...s=classical&v=glance
This seems to contain among others a fine recording of the Bartok Orchestral Concerto, which I incidentally own.
Note that Brahms first Symphony is listed in both boxes. I don´t know, if it is the same recording.
Still he made some more 1950es Philips recordings not listed in these boxes, e.g. the Beethoven Violin Concerto with Grumiaux, and if I am not mistaken, the Brahms Concerto with the same forces.
BTW look here:
http://www.amazon.co.uk/gp/search/ref=nb_ss_m_h_/026-48...einum&Go.x=12&Go.y=8
Kindest regards,
Poul
Posted on: 30 July 2006 by Tam
Dear Poul,
That's the one I ordered (and when you click to enlarge the picture vol. 2 is clearly visible - toward the top left of the box).
Given that both boxes are part of the original masters series, I don't think they'd stick the same Brahms one on both. Interestingly, I have the Erich Kleiber box and that has two Beethoven 3s and 6s (and, of course, the classic Schubert c major).
regards, Tam
p.s. more details of the whole series here:
http://www.deccaclassics.com/originalmasters/
DG also has a number of boxes (though the design is different).
That's the one I ordered (and when you click to enlarge the picture vol. 2 is clearly visible - toward the top left of the box).
Given that both boxes are part of the original masters series, I don't think they'd stick the same Brahms one on both. Interestingly, I have the Erich Kleiber box and that has two Beethoven 3s and 6s (and, of course, the classic Schubert c major).
regards, Tam
p.s. more details of the whole series here:
http://www.deccaclassics.com/originalmasters/
DG also has a number of boxes (though the design is different).
Posted on: 30 July 2006 by Rubio
quote:I have the Erich Kleiber box and that has two Beethoven 3s and 6s (and, of course, the classic Schubert c major).
Dear Tam,
How do you rate this box? Are there some close to reference recordings in it?
Posted on: 30 July 2006 by u5227470736789439
Dear Rubio,
There is no such thing as a reference recording. Not one I ever encountered lacked flaws!
The best performance is always in the future! Preferably live! {Smiley}. Fredrik
There is no such thing as a reference recording. Not one I ever encountered lacked flaws!
The best performance is always in the future! Preferably live! {Smiley}. Fredrik
Posted on: 30 July 2006 by Tam
Dear Rubio,
Erich Kleiber's Beethoven 6ths are some of the finest I have ever heard (in the wrong hands, or indeed, most hands, this can turn into wall paper music). The set also has his recording of the Schubert C major which is stunning and the finest example of a purely classical reading of this work.
Overall the set is well worth (especially sub £20 from amazon):
http://www.amazon.co.uk/exec/obidos/ASIN/B000276K46/qid.../026-2474220-5540403
regards, Tam
Erich Kleiber's Beethoven 6ths are some of the finest I have ever heard (in the wrong hands, or indeed, most hands, this can turn into wall paper music). The set also has his recording of the Schubert C major which is stunning and the finest example of a purely classical reading of this work.
Overall the set is well worth (especially sub £20 from amazon):
http://www.amazon.co.uk/exec/obidos/ASIN/B000276K46/qid.../026-2474220-5540403
regards, Tam