Boulez Conducts Mahler
Premise Checker
[This doesn't have his latest performance. I got this listing from
Andante.com, of
which I am a member. This is avialable only to members, and I am sending
it only to give you a sample of what you can get. Please join.
[I say the sixth is a revelation of the music. The second is
outstanding--not listed below-- but I'm not sure it will push aside the
studio Scherchen. Boulez's third will not push aside the live Scherchen
from 1960. It is Scherchen at his best! The Rosbaud/Dresden State of the
first--you'll have to come to me to get it, as it appeared only on Encore,
an obscure Canadian cassette label--is my favorite there. I can't say I
like any Song of the Earth better than Boulez. Mengelberg, of course,
remains the best fourth. I have only the DGs. His nos. 5, 7, and 9 did not
strike me as perhaps they should have. Can't offer an opinion yet about
the three song cycles, not listed below. Oh, I did once have Das klagende
Lied. I don't like the music and won't judge the performance.]
Recording Date: 1968 August 28
Symphony No. 5
BBC Symphony Orchestra
London, Royal Albert Hall, On Radio recording
CD number: Nuova Era 2326. Arkadia CDGI 754
Recording Date: 1969 May 26 - 27
Das klagende Lied
London Symphony Orchestra
London, Walthamstow Assembly Hall, On Columbia
LP number: Columbia M2-30061
CD number: Sony Classical SK 45841
Notes: Elisabeth Söderström and Evelyn Lear, sopranos, Grace Hoffmann,
alto, Ernst Haefliger, tenor, Gerd Niestedt, bass; London Symphony Chorus
Recording Date: 1969 May 27
Symphony No. 10 - Adagio
London Symphony Orchestra
London, Walthamstow Assembly Hall, On Columbia
LP number: Columbia M2-30061
Recording Date: 1970 August 4
Symphony No. 5
BBC Symphony Orchestra
London, Royal Albert Hall, On Radio recording
CD number: Hunt CD 718
Recording Date: 1971 February 8
Symphony No. 9
BBC Symphony Orchestra
London, BBC Studio No. 1, Maida Vale, On Radio recording
CD number: Arkadia CDGI 754
Recording Date: 1972 August 4
Symphony No. 6
BBC Symphony Orchestra
London, Royal Albert Hall, On Radio recording
CD number: Live Documents CD LV 995. Artists FED 032
Recording Date: 1972 October 22
Symphony No. 9
BBC Symphony Orchestra
Brighton, The Dome, On Radio recording
CD number: Memories HR4993/4. AS Disc AS 2509
Recording Date: 1974 August 27
Symphony No. 2 in C minor 'Resurrection'
BBC Symphony Orchestra
London, Royal Albert Hall, On Radio recording
CD number: Originals SH855/6. Enterprise ENT LV 915/6
Notes: Felicity Palmer, soprano, Tatania Troyanos, mezzo-soprano; BBC Chorus;
London Philharmonic Choir
Recording Date: 1975 July 25
Symphony No. 8 in E-flat major 'Symphony of a Thousand'
BBC Symphony Orchestra
London, Royal Albert Hall, On Radio recording
CD number: Artists Live Recordings FED041/2
Notes: Edda Moser, Linda Esther Gray, Wendi Eathorne, sopranos, Elizabeth
Connell, mezzo-soprano, Bernadette Greevy, alto, Alberto Remedios, tenor,
Siegmund Nimsgern, baritone, Marius Rintzler, bass; BBC Singers; BBC Choral
Society; Scottish National Orchestra Chorus; Wandsworth School Choir
Recording Date: 1976 October 23
Symphony No. 3
New York Philharmonic
New York, Avery Fisher Hall, On Radio recording
CD number: New York Philharmonic NYP-9803/4 in set NYP-9801
Notes: Yvonne Minton, mezzo-soprano; Camerata Singers; Boys' Choir of The
Little Church Around the Corner and Trinity Schoo; Brooklyn Boys' Chorus
Recording Date: 1979 May 2 - 3
Lieder nach Rückert
London Symphony Orchestra
London, EMI Studio No. 1, Abbey Road, On Columbia
LP number: CBS Masterworks M-37281
CD number: Sony Classical SMK 68330
Notes: Yvonne Minton, mezzo-soprano
Recording Date: 1994 May 17 - 19
Symphony No. 6
Wiener Philharmoniker
Wien, Grosser Saal, Musikverein, On Deutsche Grammophon
CD number: DG 445 835-2
Recording Date: 1994 November 6 - 7
Symphony No. 7
Chicago Symphony Orchestra
Chicago, Orchestra Hall, On Deutsche Grammophon
CD number: DG 447 756-2
Recording Date: 1995 December 2 + 4
Symphony No. 9
Cleveland Orchestra
Cleveland, Masonic Auditorium, On Deutsche Grammophon
Recording Date: 1996 March 25 - 26
Symphony No. 5
Wiener Philharmoniker
Wien, Grosser Saal, Musikverein, On Deutsche Grammophon
CD number: DG 453 416-2
Recording Date: 1996 March 25 - 26
Symphony No. 5
Wiener Philharmoniker
Wien, Grosser Saal, Musikverein, On Deutsche Grammophon
CD number: DG 453 416-2
Recording Date: 1996 December 7 - 21
Totenfeier
Chicago Symphony Orchestra
Chicago, Orchestra Hall, On Deutsche Grammophon
CD number: DG 457 649-2
Recording Date: 1998 April 19 - 20
Symphony No. 4 in G major
Cleveland Orchestra
Cleveland, Masonic Auditorium, On Deutsche Grammophon
CD number: DG 463 257-2
Notes: Julianne Banse, soprano
Recording Date: 1998 May 1 - 2
Symphony No. 1 in D major
Chicago Symphony Orchestra
Chicago, Orchestra Hall, On Deutsche Grammophon
CD number: DG 459 610-2
Recording Date: 1999 October 19 - 20
Das Lied von der Erde
Wiener Philharmoniker
Wien, Grosser Saal, Musikverein, On Deutsche Grammophon
CD number: DG 469 526-2
Notes: Violet Urmana, mezzo-soprano, Michael Schade, tenor
david...@aol.com
Premise Checker wrote:
> Boulez Conducts Mahler
Thanks for this. Fleshes out some information for me, although the
list of live recordings is by no means complete.
-david gable
david...@aol.com
Premise Checker wrote:
> Recording Date: 1969 May 26 - 27
> Das klagende Lied
> London Symphony Orchestra
> London, Walthamstow Assembly Hall, On Columbia
> LP number: Columbia M2-30061
> CD number: Sony Classical SK 45841
> Notes: Elisabeth Söderström and Evelyn Lear, sopranos, Grace Hoffmann,
> alto, Ernst Haefliger, tenor, Gerd Niestedt, bass; London Symphony Chorus
Premise Checker happens to dislike the piece. I not only happen to
love it, I think it's a more fully and successfully realized work than
the (later) 1st symphony. As for this performance, it is unbelievably
good and as unlike Boulez's smooth dull DG Mahler recordings as can be
imagined. For my money, this is one of a tiny handful of Boulez's very
best studio recordings along with the Philharmonia La mer and the BBC
SO Berg disc.
As for the recording dates, they can't be entirely correct. Part I of
Das Klagende Lied only became readily available after Boulez et al had
recorded Parts II and III. Boulez and CBS hastily convened a further
recording session to record it. Not all of the soloists who
participated in Parts II & III were still available, which explains the
larger than necessary number of soloists involved. This listing
excludes tenor Stuart Burrows, who is spectacular in Parts II and III.
Burrows' performance of the still sad close of Part III is sublimely
sensitive singing.
-david gable
Paul
reflection of the Royal Albert Hall's spacious acoustics. The organ had
been refurbished and lends great weight to the concluding pages. The
8th from 1975 is also good, but Remedios, the tenor solo, flags a bit
towards the end. I have a DVD of Boulez conducting the 6th with the
Gustav Mahler Youth Orchestra if anyone's interested.
Paul
Alan P Dawes
Premise Checker <che...@panix.com> wrote:
> Recording Date: 1971 February 8
> Symphony No. 9
> BBC Symphony Orchestra
> London, BBC Studio No. 1, Maida Vale, On Radio recording
> CD number: Arkadia CDGI 754
On the card insert in Arcadia CDGI 754.2 set this is listed as from
6.6.1971 not feb 8th 1971. Which is correct?
Alan
--
--. --. --. --. : : --- --- ----------------------------
|_| |_| | _ | | | | |_ | alan....@argonet.co.uk
| | |\ | | | | |\| | | alan....@riscos.org
| | | \ |_| |_| | | |__ | Using an Acorn RiscPC
Paul
Vermeil) gives the February date, no appearance listed for 6th June.
Paul
John
> Boulez Conducts Mahler
>
> [This doesn't have his latest performance. I got this listing from
> Andante.com, of
> which I am a member. This is avialable only to members, and I am sending
> it only to give you a sample of what you can get. Please join.
Andante.com is not currently fully functional. Boulez is, among many,
an hypocrite (read Ned Rorem's numerous writings), full of himself
(same), became Music Director of the New York Philharmonic for still
obscure reason[s]; I once won two tickets from a classical radio
station while I was in D.C. shaving to get ready to attend a National
Conference of the American Federation for Medical Search, the
Amderican Socity for Clinical Investigation, and the Associaton of
American Professors of Medicine -- abbrebriated closely as: AFedMedR;
ASCI, and AAP. I heard the questiona, and was immediately the first
caller. The quesiton was: What two composers did Foulez pfopose to
conduct and otherwise feature and contrast during his First Season as
MD and C of the NYP? Further, for one of the two, he proposed to play
all the Symphonic Poems of one of the composers. For that question,
jillions of people guessed Stravinsky (he had actually conducted
Stravinsky's 'Sacre . . . ' once for Nonesuch), and others thought of
Strauss (lots of tome poems, but Boulez ws openly hostile about
Strauss).
The answers? Stravinsky (so many were correct); the other - Liszt!
All 12 Tone Poems! Honest! I won the tickets. The York Times and
The New Yorker were both brutal - about Boulez, and most of his
Stravinsky (kinder about ' . . .Sacre . . .'), but relentless about the
Lisat -- well four are crap, and about five are wonderful in the hands
of a Great conductor (Faust, Mephisto, Les Preludes, and . . . . .oh
dear, can't go five easily. I once heard a peromance of Huns; it
worked pretty well, and I would be willing to hear it again, if the
rest of the program warranted. BTW, the Music Critic of the New Yorker
at the time was Winthrop Sargent, who had played in the NYP or and the
NYSO under both Toscannini and Damrosch, in the 1920s. His knowledge
was immense, favorite works clearly known, favorite Conductors,
pianist, Orchestras, and opionions about everything clear as a bell.
Refreshing. He had nothing good to write about Boulez, orchestral
Liszt, or most of Stravinsky by anyone (maybe Monteux) -- ever.
I rarely disagreed with him. My problem? Possibly, but probably not.
Orchestral Liszt? Boulez? Both will be mere blips in the history of
music.
John Turner
>
> [I say the sixth is a revelation of the music.]
His Sixth is awful. Again, take a world-class orchestra (with which
the conductor had nothing to do --not trying new players. nor
painstainking rehearsals, nor measure by measure explaining the sound
he was trying to achieve, and so on to the point that any ten good
conductors could show up a day late and the performance would
sensational -- Boulez fits none of these, with any orchestra or with
any sense of style. Try Eschenbach's new one, or Berstein's second
recording (on DG), or one those by Tennstedt or Szell for different
points of view. Then you will really hear the music.
The second is faced with far too much competition: Ormandy twice;
Bernstein; a long list of fine recordings.
5, 7, and 9 did not
> strike me as perhaps they should have. Might it be because they are hard to brink acrosee? For 7, try Levine, Tennstedt. For the Eight try one of Mehta's or skip it . For the ninth: can anyone get it right? Pick about three Mahler people from Walter on (not Boulez) and about three more. Then toss two. About right.
Walter's many many are old but should be heard by all . At the very
least, his 1, 2, 5, and 9 are touchstones from which all can learn.
After those, you might want to reduce your total 'wants."
For 5, many: Levine; Bernstein; Chailly; Haitink ; others. The Song
Cycles aren't my musical forte, either, except in hos they reveal
Mahler's psyycohological at any time. (Two outstanding medical papers,
and others not so substantial were written gy Nidholas Christy, MD,
Chief of Endocrinology. Mahlerite, and medical psleuth, who managed to
find to find the then elderly medicl technicican who handled the blood
specimens and miocrobiologic in Mahler's terminal case of Subacute
Mitral Valve endocardiditis. the beginning of Mahlers' demisel
4 in G major
> Cleveland Orchestra
Or course rhe 4th with Cleveland. What about Szell's. It is still
'his' orchestra, most days.
John Turner - not a Mahler specialist at all; but smell a skunk aura
around a Conductor from miles.
david...@aol.com
Paul wrote:
> I commend the live 1974 Mahler 2 as well-balanced, and a true
> reflection of the Royal Albert Hall's spacious acoustics. The organ had
> been refurbished and lends great weight to the concluding pages. The
> 8th from 1975 is also good, but Remedios, the tenor solo, flags a bit
> towards the end.
Those two performances strike me as the very best of the available live
Mahler performances with Boulez. The major disappointments are the two
live 9ths.
-david gable
david...@aol.com
John Turner wrote:
> Andante.com is not currently fully functional. Boulez is, among many,
> an hypocrite (read Ned Rorem's numerous writings)
Failing to get along with a bitchy gossip like Ned Rorem in Paris in
the 1950's and disliking Rorem's music don't make Boulez a
hypocrite, but we're here to discuss his performances, not his moral
character. And let us not forget that the francophile Rorem is
enthusiastic about Boulez's music itself, which, Rorem would insist,
"continues to flow in the stream of French impressionism."
> What two composers did Foulez [sic] pfopose [sic] to
> conduct and otherwise feature and contrast during his First Season as
> MD and C of the NYP? [snip]
> The answers? Stravinsky (so many were correct); the other - Liszt!
> All 12 Tone Poems! Honest!
First, you need to get your facts straight. During Boulez's first
season the two composers surveyed were Liszt and Berg. During his
second season it was Haydn and Stravinsky.
Boulez's willingness to trot out all of the Liszt tone poems is one
of the most remarkable things about him. Boulez is anything but
incurious, and, in an interview given when she retired, the librarian
of the New York Philharmonic said that her interactions with Boulez
were more rewarding than with any other Music Director. Boulez was
forever browsing through the orchestra's library to find something
new to play. He wasn't interested in performing only war horses. He
explored seldom performed pieces by standard repertory composers.
Under Boulez, New York heard Schubert's Gesang der Geister ueber den
Wassern, Liszt's St. Elisabeth, Berlioz's Beatrice et Benedict, one
of Haydn's operas, etc.
> but Boulez ws openly hostile about
> Strauss).
This is simply untrue, and Boulez performed Richard Strauss with the
New York Philharmonic. It is true that Boulez has a deeper
appreciation of German Romanticism today than at age 20, but you don't
understand anything about Western music if you don't understand the
profound distaste for German Romanticism that Boulez shared with Ravel,
Debussy, and Stravinsky. Not to mention Milhaud, Poulenc (who referred
to Mahler as Malheur), and all of the French composers of their
generation. That student of Nadia Boulanger and archetypical
Franco-American neoclassicist, Aaron Copland, had little use for
Schoenberg but loved Boulez's music.
> BTW, the Music Critic of the New Yorker
> at the time was Winthrop Sargent, who had played in the NYP or and the
> NYSO under both Toscannini and Damrosch, in the 1920s. [snip]
> He had nothing good to write about Boulez.
So the critic whom Stravinsky referred to as W.S. Deaf disliked Boulez.
Who cares? Sargent viewed himself as an upholder of the old
tradition, and belonged to that class of New Yorkers who were
prejudiced against Boulez before they'd ever heard him conduct a note.
Nothing Boulez could ever have done would have pleased him.
Mahler's music was virtually never played in France when Boulez was
growing up, and it was terra incognita for him until the late 50's,
but Boulez's enthusiasm for Mahler has grown steadily since he was
introduced to Mahler's music by Hans Rosbaud, who sent him a score and
a tape of the 9th symphony. Boulez has been going on and on about
Mahler in interviews and articles for decades now. And regularly
conducting his music for 40 years.
> Liszt? Boulez? Both will be mere blips in the history of
> music.
Neither Liszt's nor Boulez's music is going to go away any time soon.
The music that survives is the music that enough musicians want to
play, and pianists have been playing Liszt's music for a century and a
half now. There is also a new crop of pianists learning Boulez's
thorny 2nd Sonata every single year, although it's neither Boulez's
most user-friendly nor his most accessible nor his most attractive
music. Moreover, there is scarcely a single name conductor living who
is not interested in performing Boulez's music. That includes Mr.
Turner's friend Eschenbach. Among its most passionate advocates are
Barenboim, Abbado, Rattle, Chung, and Gielen.
> His Sixth is awful. Again, take a world-class orchestra (with which
> the conductor had nothing to do --not trying new players. nor
> painstainking rehearsals, nor measure by measure explaining the sound
> he was trying to achieve, and so on to the point that any ten good
> conductors could show up a day late and the performance would
> sensational -- Boulez fits none of these, with any orchestra or with
> any sense of style
The live 6th with the BBC SO is a very remarkable performance. I've
already tried to describe in detail just what Boulez does with the 2nd
movement twice at rmcr and am disinclined to try again, but the elastic
rubato required of that movement plays to Boulez's specific strengths.
Boulez's performance of that movement in particular is not to be
believed. I can do no better than quote Stravinsky: "What a sense
of timing he has!"
> The second is faced with far too much competition: Ormandy twice;
> Bernstein; a long list of fine recordings.
Yet despite the competition, many people here are deeply enthusiastic
about that live 2nd with the BBC SO. And rightly so.
> John Turner - not a Mahler specialist at all; but smell a skunk aura
> around a Conductor from miles.
The stench of resentment isn't coming from Boulez's corner. Your
mentality is the mentality of Winthrop Sargent before he had ever heard
Boulez conduct a note. Prejudices are easily confirmed when you're
determined to confirm them.
-david gable
Matthew B. Tepper
to be typed in news:1162407274.5...@k70g2000cwa.googlegroups.com:
> The answers? Stravinsky (so many were correct); the other - Liszt! All
> 12 Tone Poems! Honest! I won the tickets. The York Times and The New
> Yorker were both brutal - about Boulez, and most of his Stravinsky
> (kinder about ' . . .Sacre . . .'), but relentless about the Lisat --
> well four are crap, and about five are wonderful in the hands of a Great
> conductor (Faust, Mephisto, Les Preludes, and . . . . .oh dear, can't go
> five easily. I once heard a peromance of Huns; it worked pretty well,
> and I would be willing to hear it again, if the rest of the program
> warranted.
Liszt's "Orpheus"? Maybe "Von der Wiege bis zum Grabe"?
I was aware that Boulez was interested in some of the more obscure Liszt,
too; there used to be a live recording floating around of "Die Legende von
der heiligen Elisabeth," on one of the pirate LP labels back in the 1970s.
Never heard it though.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Harrington/Coy is a gay wrestler who won't come out of the closet
Peter T. Daniels
david...@aol.com wrote:
> John Turner wrote:
>
> > Andante.com is not currently fully functional. Boulez is, among many,
> > an hypocrite (read Ned Rorem's numerous writings)
>
> Failing to get along with a bitchy gossip like Ned Rorem in Paris in
> the 1950's and disliking Rorem's music don't make Boulez a
> hypocrite, but we're here to discuss his performances, not his moral
> character.
Who is this logorrhaeic John character? He's never leaked into rmc
before, but now we've had his Soviet-style "response to just criticism"
about DSch, and this rant about Boulez.
david...@aol.com
Matthew B. Tepper wrote:
> I was aware that Boulez was interested in some of the more obscure Liszt,
> too; there used to be a live recording floating around of "Die Legende von
> der heiligen Elisabeth," on one of the pirate LP labels back in the 1970s.
> Never heard it though.
I've never heard it, either. I've also read that Boulez wrote the
liner notes for a Barenboim recording of Liszt, but I've never been
able to find them.
-david gable
John Wiser
One fully understands your resentment of the competition, Petard
but nowhere is it written that r.m.c must be restricted to the display of
one single perfect inflamed jerk at any given moment. Bear up!
(or possibly, bear down!) We are all rooting for you, in firm confidence
that You Alone have the talent and temperament to excel
in this Moment of Crisis.
cordially
--
John Wiser
cee...@frontiernet.net
jic...@frontiernet.net
visit http://jicotea.pbwiki.com and
http://bargainbooks.pbwiki.com for my book lists,
http://ceeclef.pbwiki.com for printed music,
books on music and recordings.
employ Paypal or any other internet-based remittance system.
Michael Haslam
>
> cordially
Your apparent understanding of the word is less than perfect.
> John Wiser
> cee...@frontiernet.net
> jic...@frontiernet.net
> visit http://jicotea.pbwiki.com and
> http://bargainbooks.pbwiki.com for my book lists,
> http://ceeclef.pbwiki.com for printed music,
> books on music and recordings.
>
>
> employ Paypal or any other internet-based remittance system.
Your sig is too long and too commercial for Usenetiquette.
--
MJHaslam
Remove accidentals to obtain correct e-address
skro...@yahoo.com
John wrote:
> Lisat -- well four are crap, and about five are wonderful in the hands
> of a Great conductor (Faust, Mephisto, Les Preludes, and . . . . .oh
> dear, can't go five easily.
Faust is a Liszt tone poem? I haven't listened to all of
them for a little while, but when I did, Orpheus was the only one that
didn't immediately appeal, famous though it may be.Maybe Hamlet and Die
ideale also didn't appeal to me as much as the others (However, Tasso,
the Bergsymphonie, Hungaria, Hunnenschlacht esp. with Scherchen,
Mazeppa etc.. are favorites.)
> 5, 7, and 9 did not
> > strike me as perhaps they should have. Might it be because they are hard to brink acrosee? For 7, try Levine, Tennstedt.
The RCA Levine in the 7th, are you kidding?
>For the Eight try one of Mehta's or skip it .
Mehta conducted recordings of Mahler 8? I wasn't aware of them. What
are they like?
skro...@yahoo.com
John wrote:
> Lisat -- well four are crap, and about five are wonderful in the hands
> of a Great conductor (Faust, Mephisto, Les Preludes, and . . . . .oh
> dear, can't go five easily.
Faust is a Liszt tone poem? I haven't listened to all of
them for a little while, but when I did, Orpheus was the only one that
didn't immediately appeal, famous though it may be.Maybe Hamlet and Die
ideale also didn't appeal to me as much as the others (However, Tasso,
the Bergsymphonie, Hungaria, Hunnenschlacht esp. with Scherchen,
Mazeppa etc.. are favorites.)
> 5, 7, and 9 did not
> > strike me as perhaps they should have. Might it be because they are hard to brink acrosee? For 7, try Levine, Tennstedt.
The RCA Levine in the 7th, are you kidding?
>For the Eight try one of Mehta's or skip it .
Mehta conducted recordings of Mahler 8? I wasn't aware of them. What
are they like?
> John Turner - not a Mahler specialist at all; but smell a skunk aura
jrs...@aol.com
John wrote:
>For the Eight try one of Mehta's or skip it
Which Eight by Mehta do you like best?
--Jeff
skro...@yahoo.com
skro...@yahoo.com wrote:
> John wrote:
>
> > Lisat -- well four are crap, and about five are wonderful in the hands
> > of a Great conductor (Faust, Mephisto, Les Preludes, and . . . . .oh
> > dear, can't go five easily.
Orpheus was the only one that
> didn't immediately appeal, famous though it may be.
I am not in the habit of quoting myself, and know this thread is long
over, but I have to revise this statement. I don't know what my problem
was--maybe it was the thick Masur performance-- but I have since found
Orpheus to be very beautiful, and the Prometheus symphonic poem an
absolute masterpiece ( for instance, the brilliant quote of "Are we
like sheep" from the Messiah at the apotheosis).
skro...@yahoo.com
skro...@yahoo.com wrote:
> John wrote:
>
> > Lisat -- well four are crap, and about five are wonderful in the hands
> > of a Great conductor (Faust, Mephisto, Les Preludes, and . . . . .oh
> > dear, can't go five easily.
Orpheus was the only one that
skro...@yahoo.com
skro...@yahoo.com wrote:
> John wrote:
>
> > Lisat -- well four are crap, and about five are wonderful in the hands
> > of a Great conductor (Faust, Mephisto, Les Preludes, and . . . . .oh
> > dear, can't go five easily.
Orpheus was the only one that
John_H...@msn.com
he is a "Must To Avoid" - a consistently disappointing conductor.
Still have Boulez' Legend of Elizabeth - a treasure. Boulez' Mahler
6th with the NY Phil was earth-shattering. Here are some Liszt tone
poems for starters (avoid the complete series with Haitink, he does not
even get the musical phrasing correct in Preludes- the Golovanov
recordings and the Dixon recordings are tremendous):
SYMPHONIC POEMS:
No. 1: Ce qu’on entend sur la montagne (after Victor Hugo)
(Berg-Sinfonie)
Golovanov, USSR Large Symphony Orchestra (1953) Arlecchino ARL A03 (cd)
(32:56)
Haitink, London Phil Orch Philips 6500 189
Landau, Music for Westchester Symphony Orchestra Turnabout TV-S34518
(29:20)
Masur, Leipzig Gewandhausorchester, 2 EMI Classics 7243 5 68598 (cd)
(28:18)
Rother, Radio Berlin Sym Orch Urania URLP 7091 (“electronic
stereo”)
Rother, Radio Berlin Sym Orch Urania US 57091
-
Georgia and Louise Mangos, duo pianists Cedille Records CDR 90000 014
(27:31)
No. 2 Tasso, Lamento e Trionfo (after Byron)
Ferencsik, Hungarian State Orchestra Westminster XWN-18969
Haitink, London Phil Japanese Philips 20PC-1020 (6570 715)
Landau, Westphalian Symphony Orchestra, Rechlinghausen Turnabout QTV-S
34596 (19:22)
Maderna, Orchestra Sinfonica di Torino della Rai (Jan 31, 1964, Torino)
Arkadia CDMAD 017.1 (cd)
Rozhdestvensky, Moscow Radio Symphony Orchestra cassette Quintessence
P4C-7190
Silvestri, Bournemouth Sym Orchestra (open reel dub from BBC
transcription disks)
Silvestri, Bournemouth Sym Orchestra (open reel broadcast dub)
Silvestri, Philharmonia Orch (Feb 8 1957) Testament SBT 1129 (cd)
(19:28)
Smetacek, Prague Symphony Orchestra Parliament PLP 126
Solti, Orchestre de Paris London CS 6925 (20:35) (contains review by
David Hamilton)
Zaun, Berlin Philharmonic Orchestra Urania URLP
Zaun, Berlin Philharmonic Orchestra Urania US 57091 (“electronic
stereo”)
-
Georgia and Louise Mangos, duo pianists Cedille Records CDR 90000 014
(15:45)
No. 3: Les Preludes (after Lamartine)
Andante – L’istesso tempo – L’istesso tempo – Allegro ma non
troppo – Allegretto pastorale; Allegro moderato – Allegro marziale
animato
Ancerl, Czech Philharmonic Orchestra (rec Prague December 17-18, 1964:
16:38) SUPRAPHON SU 1938-2 011 (AAD) (cd)
Argenta, L’Orchestre de la Suisse Romande 2 London LL 1303/4
Boult, New Symphony Orch of London Reader’s Digest Festival of Light
Classical Music RDFS-7 (stereo)
Conlon, Rotterdam Philharmonic Orchestra Erato ECD 88235 (cd) (16:35)
Dixon, Philharmonic Symphony Orchestra of London Westminster WL 5269
Dixon, Philharmonic Symphony Orchestra of London Westminster XWN 18280
Dixon, London Symphony Orchestra Virtuoso Collection PVCD 8387 (cd)
(remastered by Michael J Dutton – early cd)
Dorati, London Symphony Orchestra. Mercury SR 90214
Fiedler, Boston Pops Orch RCA LSC-2442 (recording engineer L Layton)
(15:21)
Fricsay, Radio Sym Orch Berlin 2 Deutsche Grammophon LPM 18647/48
Furtwaengler, Vienna Philharmonia (March 3, 1954). Electrola
“stereo” Hor Zu SHZE 105
Haitink, London Phil Japanese Philips 20PC-1020 (6570 715)
Herrmann, London Phil Orch London Phase 4 SOC21173 9 (18:43)
J Keilberth, Czech Phil Orch Japanese Telefunken K17C 9402 (13:47)
Lehel, Hungarian State Orchestra Westminster WST-14151
Ludwig, Berlin Philharmonic Decca (American) DL 9936
Konwitschny, Leipzig Gewaandhaus Orchestra Parliament PLP 126
Landau, Westphalian Symphony Orchestra, Rechlinghausen Turnabout QTV-S
34597 (15:45)
Mengelberg, Concertgebouw Orchestra of Amsterdam Columbia Entre RL 3039
Mengelberg, Concertgebouw Orchestra of Amsterdam (June 1929) Dutch EMI
(Odeon) 5C 047-01 297
(my timing 15:07; my comment Columbia: Entre recorded at lower level
and Entre has better highs)
Mengelberg, Concertgebouw Orchestra of Amsterdam (recorded June, 1929.
Issue nos.: L 2362/3: 15:12) 3-cds Pearl GEMM CDS 9018 (AAD)
Mitropoulos, New York Phil Columbia ML 5198 (2 pressings: 1C/1J &
1F/1L)
Monteux, Boston Sym Orch RCA Vic LM-1775
Monteux, Boston Sym Orch (2:58; 1:13; 2:30; 2:57; 3:26; 2:27) (rec New
York City: December 8, 1952) cd RCA 09026-61890-2
Paray, Detroit Symphony Orch Mercury Wing SRW 18004 (electronic
stereo)
Paray, Orchestre National de l’Opera de Monte-Carlo Concert Hall
Synchro Stereo SMS-2648 (German import)
Rozsa, Hollywood Bowl Symphony Orchestra Seraphim CDE 7243 5 69038 2 1
(cd) (16:53)
Scherchen, Vienna State Opera Orch Westminster WST-14054 (red + black
label)
Stokowski, “His Symphony Orchestra” (rec December 1947: 16:09)
CALA CACD0522 (ADD)
-
Zdenka and Martin Hrsel, pianos (S. 637) Praga Digitals PRD 250 105
HMCD 90 (16:48)
Georgia and Louise Mangos, duo pianists Cedille Records CDR 90000 014
(cd) (14:00)
No. 4: Orpheus
Beecham, Royal Philharmonic (April 23, 1958) 2 Seraphim SIB-6017
(stereo) (10:40)
Beecham, Royal Philharmonic (April 23, 1958) EMI CDM 7 63299 2 (cd)
(10:48)
Dixon, Philharmonic Symphony Orchestra of London Westminster WL 5269
Dixon, Philharmonic Symphony Orchestra of London Westminster XWN 18280
Dixon, London Symphony Orchestra Virtuoso Collection PVCD 8387 (cd)
(remastered by Michael J Dutton – early cd)
Ferencsik, Hungarian State Orchestra Westminster WST-14151
Golovanov, Moscow Radio Symphony Orchestra (rec Moscow 1952; 11:16)
“Great Conductors of the 20th Century 7243 5 75112 2 3
Haitink, London Phil Japanese Philips 20PC-1020 (6570 715)
Halasz, New Zealand Symphony Orchestra Naxos 8.553355 (cd)
Martinon, Hague Philharmonic (open reel broadcast dub)
Paray, Orchestre National de l’Opera de Monte-Carlo Concert Hall
Synchro Stereo SMS-2648 (German import)
Toscanini, NBC Symphony Orchestra (live broadcast 11/26/38 from AP)
open reel
Toscanini, NBC Symphony Orchestra (live broadcast 11/26/38 from AP) cd
dell’Arte CD DA 9024
Toscanini, NBC Symphony Orchestra (live broadcast April 4, 1943) The
Arturo Toscanini Society ATS 1036
-
Georgia and Louise Mangos, duo pianists Cedille Records CDR 90000 014
(8:43)
No. 5: Prometheus
Golovanov, USSR Large Symphony Orchestra (1952) Arlecchino ARL A03 (cd)
(14:02)
Golovanov, Moscow Radio Symphony Orchestra (rec Moscow 1952; 13:57)
“Great Conductors of the 20th Century 7243 5 75112 2 3
Haitink, London Phil Philips 6500190 (12:56)
Munchinger, Paris Conservatory Orchestra London LL 1356
Rajter, Slovak Philharmonic Orchestra Parliament PLP(S)-171
No. 6: Mazeppa
Dixon, Philharmonic Symphony Orchestra of London Westminster WL 5269
Dixon, Philharmonic Symphony Orchestra of London Westminster XWN 18280
Dixon, London Symphony Orchestra Virtuoso Collection PVCD 8387 (cd)
(remastered by Michael J Dutton – early cd; on Mazeppa opening bars
recorded low volume then full volume!!)
Fiedler, Boston Pops Orch RCA LSC-2442 (rec eng L Layton) (16:12)
Golovanov, USSR Large Symphony Orchestra (195) Arlecchino ARL A03 (cd)
(15:28)
Golovanov, Moscow Radio Symphony Orchestra (rec Moscow 1952; 15:27)
“Great Conductors of the 20th Century 7243 5 75112 2 3
Graunke, Bavarian Sym Orchestra 2-Urania URLP 606
Haitink, London Phil Philips 6500 046
Nemeth, Hungarian State Concert Orchestra (coupled with Janos Viski
{1906-1961}: Enigma {1939-1940}) Mace M 9009
Masur, Leipzig Gewandhaus Orchestra. Seraphim CDE 7243 5 69038 2 1
(15:59)
Munchinger, Paris Conservatory Orchestra London LL 1356
Paray, Orchestre National de l’Opera de Monte-Carlo Concert Hall
Synchro Stereo SMS-2648 (German import)
Scherchen, Vienna St Op Orch Westminster WST-14101 (red + black label)
-
Zdenka and Martin Hrsel, pianos (S. 640) Praga Digitals PRD 250 105
HMCD 90 (16:15)
No. 7: Festklänge (Festive Sounds)
Ermler, USSR Ministry of Culture Symphony Orchestra MEΛΟΔИЯ SUCD
10-00033 (19:03)
Ermler, USSR Ministry of Culture Symphony Orchestra lp MEΛΟΔИЯ
A10 00635 000 (19:03)
Golovanov, Sym. Orch of All Union Radio (transfer on open reel from MK
lp)
Golovanov, Moscow Radio Symphony Orchestra (rec Moscow 1953; 17:58)
“Great Conductors of the 20th Century 7243 5 75112 2 3
Haitink, London Phil Orch Philips 6500 191
Masur, Leipzig Gewandhausorchester, 2 EMI Classics 7243 5 68598 (cd)
(17:58)
Pflueger, Radio Leipzig Sym Orch Urania US 57140 (“electronic
stereo”)
No. 8: Heroïde funèbre (Lamentation for Heroes)
Golovanov, Sym. Orch of All Union Radio (transfer on open reel from MK
lp)
Golovanov, Moscow Radio Symphony Orchestra (rec Moscow 1953; 21:05)
“Great Conductors of the 20th Century 7243 5 75112 2 3
Haitink, London Phil Philips 6500190 (27:10)
No. 9: Hungaria
Ermler, USSR Ministry of Culture Symphony Orchestra MEΛΟΔИЯ SUCD
10-00033 (22:19)
Ferencsik, Hungarian State Orchestra Westminster XWN-18969
Golovanov, Sym. Orch of All Union Radio (transfer on open reel from MK
lp)
Haitink, London Phil Philips 6500 046
Kleinert, Radio Berlin Sym Orch Urania US 57140 (“electronic
stereo”)
No. 10: Hamlet
Ermler, USSR Ministry of Culture Symphony Orchestra cd MEΛΟΔИЯ
SUCD 10-00033 (14:07)
Ermler, USSR Ministry of Culture Symphony Orchestra lp MEΛΟΔИЯ
A10 00635 000 (14:07)
Haitink, London Phil Philips 6500 046
Halasz, New Zealand Symphony Orchestra Naxos 8.553355 (cd)
Munchinger, Paris Conservatory Orchestra London LL 1356
-
Zdenka and Martin Hrsel, pianos (S. 644) Praga Digitals PRD 250 105
HMCD 90 (13:49)
No. 11: Hunnenschlacht (Battle of the Huns)
Dixon, Philharmonic Symphony Orchestra of London Westminster WL 5269
Dixon, Philharmonic Symphony Orchestra of London Westminster XWN 18280
Dixon, London Symphony Orchestra Virtuoso Collection PVCD 8387 (cd)
(remastered by Michael J Dutton – early cd)
Haitink, London Phil Orch Philips 6500 189
Lenard, CSR Sym Orch (Bratislava). Naxos 8.550230 (cd) (16:03)
Masur, Leipzig Gewandhausorchester, 2 EMI Classics 7243 5 68598 (cd)
(15:10)
Scherchen, Vienna State Opera Orch Westminster WST-14100 (red + black
label)
No. 12: Die Ideale (The Ideals)
Haitink, London Phil Orch Philips 6500 191
Halasz, New Zealand Symphony Orchestra Naxos 8.553355 (cd)
Masur, Leipzig Gewandhausorchester, 2 EMI Classics 7243 5 68598 (cd)
(25:59)
Rajter, Slovak Philharmonic Orchestra Parliament PLP(S)-171
-
Zdenka and Martin Hrsel, pianos (S. 646) Praga Digitals PRD 250 105
HMCD 90 (30:19)
No. 13: Von der Wiege bis zum Grabe (From the Cradle to the Grave)
1. Die Wiege (The Cradle)
2. Der Kampf um’s Dasein (The Struggle for Existence)
3. Zum Graabe: Die Wiege des zukűnftigen Leben (To the Grave: The
Cradle of the Life to Come0
Haitink, London Phil Orch Philips 6500 189
Halasz, New Zealand Symphony Orchestra Naxos 8.553355 (cd) (4:48; 2:28;
6:12)
Landau, Westphalian Symphony Orchestra, Rechlinghausen Turnabout QTV-S
34596 (17:15)
Masur, Leipzig Gewandhausorchester, 2 EMI Classics 7243 5 68598 (cd)
(13:32)
Toscanini, NBC Symphony Orchestra (live broadcast 2/8/41) (open reel
from AP)
Toscanini, NBC Symphony Orchestra (live broadcast 2/8/41) (open reel
from AP) cd dell’Arte CD DA 9024
Le Triomphe funèbre du Tasse (Epilogue to “Tasso”; No. 3 of Trois
Odes funèbres)
Landau, Westphalian Symphony Orchestra, Rechlinghausen Turnabout QTV-S
34596 (13:40)
Peter T. Daniels
You posted it three times but still didn't get "All we like sheep"
right ...
Bob Harper
(snip) Here are some Liszt tone
> poems for starters (avoid the complete series with Haitink, he does not
> even get the musical phrasing correct in Preludes- the Golovanov
> recordings and the Dixon recordings are tremendous):
What about Arpad Joo? Any opinion?
Bob Harper
jrs...@aol.com
I've heard some of the Joo set and have a favorable opinion at the
moment. But he didn't blow me away like Golovanov and I like what I
have from Scherchen too. Still, Joo seems like a great bargain and
seems like he has the measure of the music (cue for Ray Hall to start
raving).
--Jeff
jrs...@aol.com
John_H...@msn.com wrote:
> jrs...@aol.com wrote:
> > John wrote:
> > >For the Eight try one of Mehta's or skip it
> >
> >
> > Which Eight by Mehta do you like best?
> >
> > --Jeff
> Having suffered through Mehta's tenure at the NY Phil, I can assure you
> he is a "Must To Avoid" - a consistently disappointing conductor.
> Still have Boulez' Legend of Elizabeth - a treasure. Boulez' Mahler
> 6th with the NY Phil was earth-shattering.
So then you you're saying you loved Mehta's Mahler 8?
Here are some Liszt tone
> poems for starters (avoid the complete series with Haitink, he does not
> even get the musical phrasing correct in Preludes- the Golovanov
> recordings and the Dixon recordings are tremendous):
> SYMPHONIC POEMS:
>
> No. 1: Ce qu'on entend sur la montagne (after Victor Hugo)
> (Berg-Sinfonie)
> Golovanov, USSR Large Symphony Orchestra (1953) Arlecchino ARL A03 (cd)
> (32:56)
Yes a great recording, but what about Rosbaud's? I like it as much or
more.
> Haitink, London Phil Orch Philips 6500 189
> Landau, Music for Westchester Symphony Orchestra Turnabout TV-S34518
> (29:20)
> Masur, Leipzig Gewandhausorchester, 2 EMI Classics 7243 5 68598 (cd)
> (28:18)
> Rother, Radio Berlin Sym Orch Urania URLP 7091 ("electronic
> stereo")
> Rother, Radio Berlin Sym Orch Urania US 57091
> -
> Georgia and Louise Mangos, duo pianists Cedille Records CDR 90000 014
> (27:31)
You can't be serious...do any of these other recordings matter after
Golovanov or Rosbaud?
> No. 4: Orpheus
By the way, did anyone else hear that lovely performance by the
Pittsburgh Symphony broadcast last week? The conductor was Gianandrea
Noseda....
--Jeff
Matthew B. Tepper
letters to be typed in news:koadnbyrVoD4dvrY...@comcast.com:
How about Weingartner's recording of "Les Préludes"? As he knew Liszt
personally (and writes about the master most fascinatingly and at great
length in his memoirs), it has historical as well as musical value, and
since it was made at one of his very last sessions in 1940, the sound is
not bad.
John_H...@msn.com
John_H...@msn.com
non-listing; is the Rosbaud on commercial release or broadcast - what
is the info on it? (vinyl disc or cd?) Hauser
jrs...@aol.com
It's been released on CD at least twice, both times on unfortunate
labels like Iron Needle and Grammofono 2000. I am not sure of the
origin of the performance and I don't have my copy handy at the moment
to see what they say in the "notes".
--Jeff
skro...@yahoo.com
Peter T. Daniels wrote:
>
> You posted it three times but still didn't get "All we like sheep"
> right ...
Thanks for the correction, but at least I recognized the tune
(hopefully that is more important). Anyway, I wasn't consciously
posting it multiple times, but my browser didn't indicate it had sent
the message, and must have reposted it when I went back. Sorry to
disturb you on that point.
skro...@yahoo.com
Matthew B. Tepper wrote:
>
> How about Weingartner's recording of "Les Préludes"? As he knew Liszt
> personally (and writes about the master most fascinatingly and at great
> length in his memoirs), it has historical as well as musical value, and
> since it was made at one of his very last sessions in 1940, the sound is
> not bad.
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> My personal home page -- http://home.earthlink.net/~oy/index.html
> My main music page --- http://home.earthlink.net/~oy/berlioz.html
> To write to me, do for my address what Androcles did for the lion
> Harrington/Coy is a gay wrestler who won't come out of the closet
Hello. Do you know what label this is on, and do you know whether the
memoirs are available in English (although I often agree with Debussy's
description of Weingartner conducting with the air "of a conscientious
gardener")?
skro...@yahoo.com
Peter T. Daniels wrote:
>
> You posted it three times but still didn't get "All we like sheep"
> right ...
Granted, it does alter the significance in the Liszt somewhat.
Brendan R. Wehrung
> Bob Harper <bob.h...@comcast.net> appears to have caused the following
> letters to be typed in news:koadnbyrVoD4dvrY...@comcast.com:
>
>> John_H...@msn.com wrote:
>>> (snip) Here are some Liszt tone poems for starters (avoid the complete
>>> series with Haitink, he does not even get the musical phrasing correct
>>> in Preludes- the Golovanov recordings and the Dixon recordings are
>>> tremendous):
>>
>> (list snipped)
>> What about Arpad Joo? Any opinion?
>>
>> Bob Harper
>
> How about Weingartner's recording of "Les Préludes"? As he knew Liszt
> personally (and writes about the master most fascinatingly and at great
> length in his memoirs), it has historical as well as musical value, and
> since it was made at one of his very last sessions in 1940, the sound is
> not bad.
>
If you must cite old recordings, them Mengelberg's takes the cake, and the
dish and the knife. He was reputed to be inordinately fond of the work,
like Stokiowski could have been for some for the more indulgent peices he
picked up and then as quickly dropped after he'd wrung all the pathos (or
whatever he fancied) out of them. (A better outlook than wearing out
one's welcome.)
Brendan
Matthew B. Tepper
in news:1164489440.9...@j44g2000cwa.googlegroups.com:
> John_H...@msn.com wrote:
>
>> I believe I have the Weingartner on 78s in the basement, hence the
>> non-listing; is the Rosbaud on commercial release or broadcast - what
>> is the info on it? (vinyl disc or cd?) Hauser
>
> It's been released on CD at least twice, both times on unfortunate labels
> like Iron Needle and Grammofono 2000. I am not sure of the origin of the
> performance and I don't have my copy handy at the moment to see what they
> say in the "notes".
Also on Shinseido EMI SGR-8536.
Matthew B. Tepper
in news:1164492996....@h54g2000cwb.googlegroups.com:
> Matthew B. Tepper wrote:
>>
>> How about Weingartner's recording of "Les Préludes"? As he knew Liszt
>> personally (and writes about the master most fascinatingly and at great
>> length in his memoirs), it has historical as well as musical value, and
>> since it was made at one of his very last sessions in 1940, the sound is
>> not bad.
>
> Hello. Do you know what label this is on, and do you know whether the
> memoirs are available in English (although I often agree with Debussy's
> description of Weingartner conducting with the air "of a conscientious
> gardener")?
As I noted in another thread, it has been on CD as Shinseido EMI SGR-8536.
I know that's not a *lot* of help, but it's something.
The memoirs have been published in English as _Buffets and Rewards: A
Musiican's Reminiscences_ (trans. Marguerite Wolff; London: Hutchinson &
Co., 1937). Try a site such as abebooks.com to find your own copy.
skro...@yahoo.com
Apologize to ask a question you had just answered above; it looked as
if the cd number was referring to the Rosbaud recording in jrnsfld's
message. Thanks for the help!
Matthew B. Tepper
> Matthew B. Tepper wrote:
>> skro...@yahoo.com appears to have caused the following letters to be
>> typed in news:1164492996....@h54g2000cwb.googlegroups.com:
>>
>> > Matthew B. Tepper wrote:
>
>> > Hello. Do you know what label this is on, and do you know whether the
>> > memoirs are available in English (although I often agree with
>> > Debussy's description of Weingartner conducting with the air "of a
>> > conscientious gardener")?
>>
>> As I noted in another thread, it has been on CD as Shinseido EMI
>> SGR-8536. I know that's not a *lot* of help, but it's something.
>>
>> The memoirs have been published in English as _Buffets and Rewards: A
>> Musiican's Reminiscences_ (trans. Marguerite Wolff; London: Hutchinson
>> & Co., 1937). Try a site such as abebooks.com to find your own copy.
>
> Apologize to ask a question you had just answered above; it looked as
> if the cd number was referring to the Rosbaud recording in jrnsfld's
> message. Thanks for the help!
You asked the question before I had answered it in another post, so no
apology necessary.
I'm glowing a bit now, because I ran into one of the announcers from one of
the local classical stations, who asked me for the proper pronunciation of
"Scherchen."