"The 100 Greatest Recordings" (GRAMOPHONE)
Andrew T. Kay
time (I might weigh in later if this turns into a thread). None of my
beloved diacriticals, also owing to time constraints.
Bach
Goldbergs; Glenn Gould/Sony (1955/1981)
Cello Suites; Casals/various labels
Mass in Bm; Gardiner/Archiv (1985)
St. Matthew Passion; Harnoncourt/Teldec (2000)
Bax
Complete symphonies; Handley/Chandos
Bartok
Concerto for Orchestra; Reiner/RCA
Beethoven
Fidelio; Klemperer/EMI
Piano Sonatas; Schnabel/various labels
Complete symphonies; Harnoncourt/Warner
Sym 3; Klemperer/EMI
Sym 5/7; Kleiber/DG
Sym 6; Boehm/DG
Sym 9; Furtwaengler/EMI
Complete quartets; Quartetto Italiano/Philips
Missa Solemnis; Gardiner/Archiv (1989)
Berlioz
Troyens; Davis/Philips (1969)
Sheherazade and Les nuits; Ansermet, Crespin/Decca
Brahms
Requiem; Klemperer/EMI
Violin concerto (+ Sibelius); Neveu, Susskind, Dobrowen/Dutton
Piano concerti 1 and 2; Gilels, Jochum/DG
Piano concerto 1; Curzon, Szell/Decca
Sym 4; Kleiber/DG
Piano Quartets; Stern, Ma, Ax, Laredo/Sony
Britten
Peter Grimes; Britten/Decca
War Requiem; Hickox/Chandos
Bruckner
Sym 4; Boehm/Decca
Sym 8; Karajan/DG (1988)
Masses; Jochum/DG
Chopin
Piano conc 1; Pollini/EMI
Ballades etc.; Perahia/Sony
Waltzes; Lipatti/EMI
Debussy
Orchestral works; Cantelli/Testament
La mer etc. (+ Ravel Daphnis...); Karajan/DG (1964-65)
Orchestral works; Haitink/Philips
Pelleas et Melisande; Desormiere/EMI
Preludes; Zimmerman/DG
Delius
Orchestral works; Beecham/EMI
Dvorak
Cello concerto (+ Tchaikovsky variations); Rostropovich, Karajan/DG
Syms 8 and 9; Kubelik/DG
Elgar
Cello conc., Sea Pictures; du Pre, Baker, Barbirolli/EMI
Violni conc.; Menuhin, Elgar/EMI
Gershwin
Porgy and Bess; Rattle/EMI
Grieg
Peer Gynt; Beecham/EMI
Lyric Pieces; Gilels/DG
Songs; von Otter/DG (1992)
Haydn
Piano Sonatas; Brendel/Philips
Hildegard of Bingen
A Feather on the Breath of God; Gothic Voices/Hyperion
Honegger
Syms 2 and 3; Karajan/DG
Janacek
Katya Kabanova; Mackerras/Decca
Josquin Desprez
Masses; Tallis Scholars/Gimell
Liszt
Piano concerti; Richter/Philips
Mahler
Das Lied; Ferrier, Patzak, Walter/Decca
Sym 5; Barbirolli/EMI
Sym 6; Karajan/DG
Sym 9; Karajan/DG (1982)
Mozart
Horn Concerti; Brain, Karajan/EMI
Piano Concerto; Perahia/Sony
String Quartets; Grumiaux Ensemble/Philips
Don Giovanni; Giulini/EMI
Le nozze di Figaro; Jacobs/Harmonia Mundi
Idomeneo; Gardiner/Archiv
Prokofiev
Sym 5; Karajan/DG
Puccini
Boheme; Beecham/EMI
Tosca; de Sabata/EMI
Ravel
Piano concerto (+ Rachmaninov) -- I don't care enough about the music
to own this, and they don't say which concerti are included, so you're
on your own; Michelangeli/EMI
Daphnis et Chloe; Munch/RCA
Rossini
Barbiere di Siviglia; Gui/EMI
Schoenberg
Verklarte Nacht and Pelleas und Melisande; Karajan/DG
Schubert
Syms 3, 5, and 6; Beecham/EMI
String Quintet; Stern, Casals et al/Sony
Wandererfantasie; Pollini/DG
Winterreise; Fischer-Dieskau, Demus/DG (1965)
Schumann
Fantasie etc.; Richter/EMI
String Quartets 1 and 3; Zehetmair Qt./ECM
Shostakovich
String Quartets; Fitzwilliam Qt./Decca)
Sibelius
Syms 2, 5, 7, and fill-ups; Koussevitzky/Pearl
Smetana
Ma vlast; Talich/Supraphon
R. Strauss
Orchestral works; Kempe/EMI
Ein Heldenleben and Zarathustra; Reiner/RCA (1954)
Four Last Songs; Schwarzkopf, Szell/EMI
Salome; Solti/Decca
Der Rosenkavalier; Karajan/EMI [They're calling this "a controversial
recording" now. In what sense -- that some people like it and others
don't? Isn't that true of everything else here?)
Stravinsky
Rite of Spring; Stravinsky/Sony
Tchaikovsky
Sym 5; Jansons/Chandos
Syms 4-6; Mravinsky/DG
Sym 6; Pletnev/Virgin
Vaughan Williams
A London Symphony; Hickox/Chandos
Verdi
Aida; Muti/EMI [surprised...but pleasantly so]
Otello; Toscanini/RCA
Falstaff; Toscanini/RCA
Traviata; Callas, Ghione/EMI (1958)
Wagner
Tristan und Isolde; Boehm/DG [I'm floored that they didn't pick
Furtwaengler's. Not that I mind.]
Ring; Solti/Decca
Parsifal; Knappertsbusch/Philips
Walton
Violin and Viola Concerti; Kennedy, Previn/EMI
Webern
Complete works; Boulez/Sony
Non-Composer-Specific
Debut album of Martha Argerich/DG
The Art of the Netherlands; Munrow/Virgin
20th Century Piano Music; Pollini/DG
Art of the Prima Donna; Sutherland/Decca
Todd K
Andrew T. Kay
> Mozart
> Piano Concerto; Perahia/Sony
This refers to the complete cycle he conducted from the keyboard. I
neglected to pluralize.
Todd K
Richard Loeb
do hold up well and bear repeated listening - the Bohm Beethoven 6th has
always been special to me - as for the EMI Rosenkavalier the controversy
concerns the soprano and the conductor - I have to be in the mood for that
recording; there is not a line that is not unbeautiful though the whole can
seem over-perfumed- but then I always go back to the Kleiber for a tonic
(and the Lehmann for her).
As for the Tristan its a great library recording but I don't feel it really
presents this work properly - the Furtwangler does that.
Richard
"Andrew T. Kay" <lastredl...@aol.com> wrote in message
news:1133391186.9...@z14g2000cwz.googlegroups.com...
na...@uiuc.edu
> Shostakovich
> String Quartets; Fitzwilliam Qt./Decca
Not the most obvious choice, but it won't cost you much to find out for
yourself. This set is currently available from various amazon.com third
party sellers for as little as $11.20 plus shipping. At times the price
has dropped even below that.
Naun.
Thornhill
virtually nothing by American orchestras. Most recordings are by the
major labels, specifically DG, EMI and Decca. Lots of Karajan. The way
they blindly push the same old recordings you'd think no one at
Gramophone has heard anything made post 1975 (except for stuff by
Karajan).
A typical example of Gramophone's mediocrity is Barbirolli's Mahler 5.
Maybe in 1969 this was 'hot' stuff, but in the last 35 years it has
been far surpassed. Does Barbirolli have relatives working at
Gramophone or something?
bzuk...@phillynews.com
His recordings of 6 and 9 are much more deserving than his fifth.
Bernstein's VPO fifth should be on the list. But I agree with you
generally. There are so many that I'd remove from or add to the list
that it's not even worth the effort. I'd almost be starting from
scratch.
Barry
Paul Goldstein
na...@uiuc.edu says...
>
>Hmm. Karajan seems to have been rehabiliated, and with a vengeance.
According to Gramophone, Karajan was never in need of rehabilitation. They have
consistently touted these same recordings as best-evers.
Thornhill
His 9th is certainly better, but if you want to add 9ths to the list,
start with Ancerl, Szell, Gielen (II) and a dozen other recordings
first. With a few very legitimate exceptions (Elgar), the only reason
Gramophone shoves him on these kinds of lists is because without
they're constant cheerleading for Barbirolli, he'd probably be
forgotten. He may have been much loved in his time, but most of his
recordings have not held up nearly us well as Gramophone would like us
to think.
Dan Koren
Can you spell "political correctness"?
Just look at the Chopin recommendations.
Sheer idiocy.
dk
"Andrew T. Kay" <lastredl...@aol.com> wrote in message
news:1133390149.9...@g49g2000cwa.googlegroups.com...
Andrew T. Kay
> Grumieaux and the boys
> recorded the Mozart quintets, are you sure you meant quartets?
My mistake, not that of Mr. Jolly et al.
Todd K
Vaneyes
Andrew T. Kay wrote:
> Have at it. Alpha by composer. Minimal comments from me -- pressed for
> time (I might weigh in later if this turns into a thread). None of my
> beloved diacriticals, also owing to time constraints.
I've no quarrel with 17% of them.
Regards
SanV
Barbirolli's Mahler, I don't like his 6th and 9th much either.
Actually, I don't know any Barbirolli recording I really like, except
his Mahler Lieder with Janet Baker. I remember a rehearsal fragment in
the 'great conductors' DVD where the orchestra's playing of a certain
passage actually got worse and worse due to his frequent interruptions.
Some other 'classics' on the list that I don't 'get':
Elgar
Cello conc., Sea Pictures; du Pre, Baker, Barbirolli/EMI
Mahler
Das Lied; Ferrier, Patzak, Walter/Decca
R. Strauss
Four Last Songs; Schwarzkopf, Szell/EMI
na...@uiuc.edu
> According to Gramophone, Karajan was never in need of rehabilitation. They have
> consistently touted these same recordings as best-evers.
There's been plenty of antipathy towards Karajan among the
post-Layton/Greenfield/March/Osborne generation of reviewers. It goes
back a long way -- see the 1988 Karajan 80th birthday issue for lots of
damning with faint praise. Why this trend doesn't seem to be reflected
in the "best" lists is a mystery.
Naun.
Paul Ilechko
>
> Brahms
> Piano concerti 1 and 2; Gilels, Jochum/DG
> Chopin
> Ballades etc.; Perahia/Sony
>
> Dvorak
> Cello concerto (+ Tchaikovsky variations); Rostropovich, Karajan/DG
>
> Elgar
> Cello conc., Sea Pictures; du Pre, Baker, Barbirolli/EMI
> Janacek
> Katya Kabanova; Mackerras/Decca
(Not dreadful, but not a patch on his Supraphon outing)
>
> Schoenberg
> Verklarte Nacht and Pelleas und Melisande; Karajan/DG
>
> R. Strauss
> Four Last Songs; Schwarzkopf, Szell/EMI
> Non-Composer-Specific
Thornhill
SanV wrote:
>
> Some other 'classics' on the list that I don't 'get':
>
>
> Mahler
> Das Lied; Ferrier, Patzak, Walter/Decca
>
That's another example of Gramphone refusing to let go of the 'legend'
and acknowledge recordings which aren't crappy.
Jerry
As a Gramophone subscriber since about 1970, I will grant that they
have
never, ever, regardless of editor, gotten past their U.K.- and
Euro-centric views. By
my count, only 11 of the 100 selected are recognizably of North
American
origin (and that includes things like the Beecham La Boheme whose
principals
were European even though recorded in New York).
But that's the fun of obviously subjective lists. There are things
here that I may
never get (but it's nice to get recommendations from others on things
that are deserving
of another hearing).
jrs...@aol.com
Thornhill wrote:
> Yawn. This list pretty much sums up Gramophone Magazine. As always,
> virtually nothing by American orchestras. Most recordings are by the
> major labels, specifically DG, EMI and Decca. Lots of Karajan. The way
> they blindly push the same old recordings you'd think no one at
> Gramophone has heard anything made post 1975 (except for stuff by
> Karajan).
>
Over the 100 years from which to choose, one might expect a
preponderance of recordings from those periods in which records were
made frequently. So, maybe the last 25 years are underrepresented, but
they aren't ignored. There was a fair amount of relatively recent stuff
like Gardiner's Bach (and Beethoven), the Zehetmaier Schumann, von
Otter's Grieg, Jacobs' Mozart, Harnoncourt's Bach and Beethoven,
Hickox's VW, Pletnev and Jansons' Tchaikovsky, Kennedy's Walton,
Rattle's Gershwin, Zimermann's Debussy, the Hildegard and Josquin
discs, in addition to some late Karajan stuff. I think of Perahia as
relatively recent, but I guess I must be getting old. More than one in
six seem to be from the digital age.
> A typical example of Gramophone's mediocrity is Barbirolli's Mahler 5.
> Maybe in 1969 this was 'hot' stuff, but in the last 35 years it has
> been far surpassed. Does Barbirolli have relatives working at
> Gramophone or something?
Opinion seems divided on that recording, but if Barbirolli had an "in"
his Vaughan Williams would have been on the list. Barbirolli's Mahler 5
is my least favorite of all his Mahler.
--Jeff
Vaneyes
Thornhill wrote:
> SanV wrote:
>
> >
> > Some other 'classics' on the list that I don't 'get':
> >
>
> >
> > Mahler
> > Das Lied; Ferrier, Patzak, Walter/Decca
> >
>
> and acknowledge recordings which aren't crappy.
Glancing at some old copies (the only ones I have), I don't see much
evidence of opinion change for nearly twenty years. Is anyone still
alive there? Or, is the publication now totally computer-generated?
Regards
Andrew T. Kay
> Paul Goldstein wrote:
> > According to Gramophone, Karajan was never in need of rehabilitation. They have
> > consistently touted these same recordings as best-evers.
>
> There's been plenty of antipathy towards Karajan among the
> post-Layton/Greenfield/March/Osborne generation of reviewers.
Indeed. Did anyone read Ashman's one-page review of the most recent
batch of EMI reissues? He was only unequivocally positive about two or
three out of the dozen.
>It goes
> back a long way -- see the 1988 Karajan 80th birthday issue for lots of
> damning with faint praise. Why this trend doesn't seem to be reflected
> in the "best" lists is a mystery.
When I started collecting recordings, the post-death backlash was going
strong in GRAMOPHONE as elsewhere. There does seem to have been an
uptick since the nadir his reputation reached in the mid- to late
1990s, and not only in the British press. Not to worshipfulness, but to
a more balanced view. However, the specific recordings chosen for this
list are pretty "safe" Karajan picks; these seem always to have
weathered the vicissitudes of his overall standing, and often have been
recommended even by his non-fans: the first ROSENKAVALIER, the Honegger
disc, the live Mahler 9, the final Bruckner 8, the concerto discs with
Brain and Rostropovich, and the Schoenberg disc. The inclusion of the
Mahler 6 was a mild surprise.
Todd K
Marc Perman
"SanV" <sanv...@yahoo.com> wrote in message
news:1133398258.1...@g43g2000cwa.googlegroups.com...
> Yes, this is very much a list of their 'usual suspects'. As for
> Barbirolli's Mahler, I don't like his 6th and 9th much either.
> Actually, I don't know any Barbirolli recording I really like, except
> his Mahler Lieder with Janet Baker. I remember a rehearsal fragment in
> the 'great conductors' DVD where the orchestra's playing of a certain
> passage actually got worse and worse due to his frequent interruptions.
Barbirolli's recordings of his countrymen, including Elgar, RVW, and Delius,
are usually very good.
Marc Perman
Andrew T. Kay
> I remember a rehearsal fragment in
> the 'great conductors' DVD where the orchestra's playing of a certain
> passage actually got worse and worse due to his frequent interruptions.
I'm no fan, but I thought he was in the right there and was being too
easy on them. (God help any orchestra that played that ineptly for a
Cantelli, Toscanini, or Muti -- the front-desk players would be lucky
to leave with all their digits intact.) I wondered if the players were
having some fun at his expense. I would not like to believe the
alternative -- that a professional orchestra would *need* that much
instruction to properly execute a rhythm that is not terribly
complicated (it was the beginining of Bruckner 7/iii, wasn't it?), and
*still* couldn't get it right, even after all the explanations.
Todd K
Thornhill
jrs...@aol.com wrote:
> Thornhill wrote:
> > Yawn. This list pretty much sums up Gramophone Magazine. As always,
> > virtually nothing by American orchestras. Most recordings are by the
> > major labels, specifically DG, EMI and Decca. Lots of Karajan. The way
> > they blindly push the same old recordings you'd think no one at
> > Gramophone has heard anything made post 1975 (except for stuff by
> > Karajan).
> >
>
> Over the 100 years from which to choose, one might expect a
> preponderance of recordings from those periods in which records were
> made frequently. So, maybe the last 25 years are underrepresented, but
> they aren't ignored.
I'll put it this way: there's an unwillingness to bump so called
'classic' or 'legendary' recordings.
SanV
insecure and maybe annoyed, but you're probably right.
Thornhill
Yes, but they've become a caricature of themselves.
SanV
Beecham's Delius, for some reason).
Vaneyes
SanV wrote:
>....I do enjoy Beecham's Delius, for some reason.
Me, too...and Barbirolli, Mackerras, Groves, Handley, Sutherland,
Hughes.
Regards
Thornhill
jrs...@aol.com wrote:
> Over the 100 years from which to choose, one might expect a
> preponderance of recordings from those periods in which records were
> made frequently.
I have no evidence to back this up, but I think it's reasonable to
assume that number of new recordings made yearly in the last 20 to 30
years is significantly higher than in prior decades due to the drop in
equipment costs for making a recording. Look at all of the independent
labels that sprung up in the late '70s.
Simon Roberts
says...
You can see similar failed repetitions from Solti, once trying to get the CSO to
take Beethoven 5/i "up to speed" (a broadcast) and once (bizarrely released on
video) trying to get Te Kanawa to put the emphasis in the right place in the
second word in the first of the VLL - in each case he gives up....
Simon
Frank Berger
"Owen Hartnett" <ow...@xids.xnet> wrote in message
news:301120052151257923%ow...@xids.xnet...
> In article <438e...@news.meer.net>, Dan Koren <dank...@yahoo.com>
> wrote:
>
>> Can you spell "political correctness"?
>>
>> Just look at the Chopin recommendations.
>>
>> Sheer idiocy.
>>
>>
>
> good enough to be in the top 100.
>
> -Owen
Nor any Mendelssohn at all.
Simon Roberts
Kay says...
[list snipped]
What struck me about this list is less their interpretative taste (which by now
is, if nothing else, familiar enough) than what strikes me as their bizarre
choice of repertoire. Mozart gets horn concertos but no string quartets?
Idomeneo but not Cosi? Mozart gets both but Haydn only gets a handful of piano
sonatas? Only two discs for Schumann? And if Chopin is to get only three, why
take up valuable space with the first piano concerto? And so on, and on and
on....
Simon
Raymond Hall
news:1133390149.9...@g49g2000cwa.googlegroups.com...
> Have at it. Alpha by composer. Minimal comments from me -- pressed for
> time (I might weigh in later if this turns into a thread). None of my
> beloved diacriticals, also owing to time constraints.
Wholly predictable list snipped .....
Yawn ..... very very predictable from Gramophone. Almost as though they have
been in a time warp for 15 years. Why the heck should anyone want a copy of
their Guide, when they have trotted out such a predictable list as this.
Many of the choices are well known, and very good, but where, oh where, is
some imagination.
...... zzzzzZZZZZZZZZzZZZZZZZZZZZ
Ray H
Taree
long_ter...@yahoo.com
according to these
(british) guys nobody made a good recording of the Mendelsohn violin
Cto.....
Matthew B. Tepper
and/or contributors of one magazine, I'd recognize it instantly.
--
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
I ask you to judge me by the enemies I have made. ~ FDR (attrib.)
Matthew B. Tepper
following letters to be typed in news:dmlek...@drn.newsguy.com:
> In article <1133393401.7...@o13g2000cwo.googlegroups.com>,
> na...@uiuc.edu says...
>>
>>Hmm. Karajan seems to have been rehabiliated, and with a vengeance.
>
> According to Gramophone, Karajan was never in need of rehabilitation.
> They have consistently touted these same recordings as best-evers.
They did turn on him for a while, in his last years.
Matthew B. Tepper
letters to be typed in news:1133403886.366626.62480
@g43g2000cwa.googlegroups.com:
> Jerry wrote:
>> As a Gramophone subscriber since about 1970, I will grant that they have
>> never, ever, regardless of editor, gotten past their U.K.- and
>> Euro-centric views. By my count, only 11 of the 100 selected are
>> recognizably of North American origin (and that includes things like the
>> Beecham La Boheme whose principals were European even though recorded in
>> New York).
>>
>> But that's the fun of obviously subjective lists. There are things here
>> that I may never get (but it's nice to get recommendations from others
>> things that are deserving of another hearing).
>
> Yes, but they've become a caricature of themselves.
I began reading Gramophone in 1970. I gave up on them in 2000.
Matthew B. Tepper
@g14g2000cwa.googlegroups.com:
Do you think that's unwillingness to admit that they were "wrong" (or had
simply rethought), or unwillingness to slight an advertiser, or both?
Matthew B. Tepper
letters to be typed in news:dmlof...@drn.newsguy.com:
> Mozart gets horn concertos but no string quartets?
Because the soloist and the orchestra were English? If they had included
anything by the Wobbledeus Quartet, the sycophancy would have been far too
obvious to be safely ignored.
Andrew T. Kay
> I remember about ten years ago Gramaphone came out with two separate,
> special magazine issues. The first featured the "100 greatest recordings"
> of all time and the other profiled their "100 greatest opera recordings" of
> all time.
I wish it had been done that way this time. I have no quarrel with four
Verdi operas making the list, and at least three of them are deserving
(the Ghione TRAVIATA strikes me as Callas's least interesting one --
maybe it has the best sound), but if the operas were relegated to a
separate list, maybe a Verdi Requiem would have made it in. (As well as
all the other omissions noted. There's also much too much British music
for my taste, but then...I'm not British.)
> I'm not sure where Andrew's new present list derives from
The December 2005 issue, which is their special 1000th-issue
extravaganza as well as James Jolly's final issue as editor -- the list
is a sort of parting gift from him.
> Also, I thought it was curious that the old listing (IIRC) used
> Furtwangler's Tristan as one of the greatest recordings of all time but
> then they used Bohm's Tristan as one of the greatest opera recordings of
> all time.
Progress of a sort. Sorry, Furtwaengler/Flagstad fans. I've tried and
tried, and I still think it's one of the most dull-as-dust of all
"essential recordings." Love the younger Flagstad's live Isoldes, and
would have loved to hear Furtwaengler conduct the work complete when
the fire burned a good deal brighter, but this is a sleep aid for me.
> Recordings I high five:
>
> Bach Goldbergs; Glenn Gould/Sony (1955/1981) (Give me 1981)
>
> LVB Piano Sonatas; Schnabel/various labels (Fun and always enjoyable -I
> have the Pearl versions -glorious scratches and all).
>
> LVB Sym 5/7; Kleiber/DG (lean and mean!)
>
> LVB Sym 6; Boehm/DG (relaxing in a good way)
>
> LVB Sym 9; Furtwaengler/EMI (still the best Furtwangler Beethoven 9th
> despite what the rmcr revisionists will argue)
>
> Berlioz Troyens; Davis/Philips (1969) (eat your heart out Mr Gable)
>
> Brahms Piano concerti 1 and 2; Gilels, Jochum/DG (tarnished bronze)
>
> Brahms Sym 4; Kleiber/DG
>
> Chopin Waltzes; Lipatti/EMI
>
> Dvorak Syms 8 and 9; Kubelik/DG
>
> Mahler Sym 5; Barbirolli/EMI -I find it funny this recording stirs up so
> much love or hate. To me, it has the ability to immediately transport you
> to turn-of-the century, somewhere in Bohemia land. And not a fanciful
> idyllic Bohemia, but an urban, cobbled-stone street of Mahler's time.
>
> Mozart Piano Concertos; Perahia/Sony -Many of the Mozart piano concertos
> sound a little too long to my ears but these come off perfect with their
> intimacy.
>
> Schubert Winterreise; Fischer-Dieskau, Demus/DG (1965). I've heard a lot of
> Winterrise's, but DFD to my years gets the most out of the music although I
> might go for the later recording first.
I, on the other hand, would yank from that list the Kleiber Brahms 4
(there's nothing wrong with it, but I've never thought it distinguished
itself from any number of other well-played Brahms 4s of the stereo
period; the thin, nasty recorded sound doesn't help) and the
Gilels/Jochum Brahms (Gilels is clumsy and well below his best; I don't
hear any special unity of intent or style between him and Jochum, and
these don't begin to compare to Rubinstein's stereo versions of either
concerto).
Todd K
aest...@hotmail.com
Stereo recording. I happen to like his 2nd L.S. recording better.
However, I would pick Monteux's London OS (not budget Treasury) as the
absolute best. It has a wonderful gauzy atmospheric quality.
On this list, isn't the oldest recording Desormiere's PELLEAS...?
Thornhill
Owen Hartnett wrote:
> In article <3v70e5F...@individual.net>, Paul Ilechko
> <noSPaM_pile...@patmedia.net> wrote:
>
> > These are my "you've got to be kidding" candidates"
> >
> > >
> > > Brahms
> > > Piano concerti 1 and 2; Gilels, Jochum/DG
>
It's amusing that Szell's only recordings to make the list were NOT
with Cleveland. Gramophone and some other Euro-centric publications
seem to be the only people who pretend that the Fleisher/Szell
recordings don't exist.
Thornhill
Matthew B. Tepper wrote:
> Simon Roberts <sd...@comcast.net> appears to have caused the following
> letters to be typed in news:dmlof...@drn.newsguy.com:
>
> > Mozart gets horn concertos but no string quartets?
>
> Because the soloist and the orchestra were English? If they had included
> anything by the Wobbledeus Quartet, the sycophancy would have been far too
> obvious to be safely ignored.
>
I think you're exactly right. Repertoire was clearly picked so that
favorite artists could make the list. With the loan Haydn selection,
that merely looks like a vechile to get Brendel on the list (I have
nothing against him; it just looks like he got shut out of all the
other categories).
Thornhill
long_ter...@yahoo.com wrote:
> Bax, Elgar, Jamacek, Delius and god knows what other kind of crap, but
> according to these
Don't go dissing Janacek; he's the man.
If anything, the inclusion of Mackerras' Decca "Kata Kabanova"
recording shows how little Gramophone knows about Janacek (and other
non German, Austrian and English composers), but how they like to
pretend that they know something. If Gramophone dared to listen to
recordings by Supraphon, they'd know that Mackerras version of "Kata"
done on that label is superior, and more importantly, they might have
heard of someone called Karel Ancerl.
> (british) guys nobody made a good recording of the Mendelsohn violin
> Cto.....
Or how about the Octet?
Nick Sun
up here. Haven't we (even with me, the younger generation below 40)
been long past this stage? :-)
Shouldn't their job be selling, well, introducing should be a better
word, new music and new recordings instead of those old, well known
ones? Or is it because those reviewers start aging, with not much left?
Gee, some times I thought here turned out to be the same. What a shame!
Time to ask ourselves, just how many new stuffs we are listening to
these days? Couldn't we discuss about those? Talking about enemies of
classical music, I think some of us are the VERY enemy within! :-)
Andrew T. Kay
Well...I'll admit, I had some of the same initial reactions (no this?
no that? Composer's X makes it in, while no recording of his Y and Z
was good enough?), but when I examined my own response, I actually came
down on the side of the list-maker(s). It's not achievement in
composition being singled out here; it's achievement in recorded
performance, and the only honest criterion is, how well does this
represent whatever work it preserves? If I posted to this group my own
list of my (arbitrary number of) favorite recordings, you might
question why there's a recording of SIMON BOCCANEGRA on the list but no
TRAVIATA, DON CARLOS, or OTELLO. My answer would be that I've found a
SIMON BOCCANEGRA about which I have no serious reservation and to which
I feel everyone involved contributes something valuable, and I feel it
earns a place on my list; whereas I haven't found any recordings of
those other operas about which I can say the same (and not for lack of
looking!). To take it a step further, I feel that the Karajan/DG
recording of CAVALLERIA RUSTICANA with Cossotto and Bergonzi is like a
heavenly dream, and there's nothing on it that I would want to change
at all -- and I don't like the work. But my borderline antipathy for
the music doesn't keep me from acknowledging it's a "great" recording,
in that it fulfills its presumed aim of making the most of what
Mascagni wrote. If someone forced me to make a "greatest opera
recordings of the stereo era" list (and forced I would have to be),
that would probably have a spot on it.
Todd K
Matthew B. Tepper
following letters to be typed in
> The December 2005 issue, which is their special 1000th-issue
> extravaganza as well as James Jolly's final issue as editor -- the list
> is a sort of parting gift from him.
Who's taking over, Posh Spice?
Andrew T. Kay
> On this list, isn't the oldest recording Desormiere's PELLEAS...?
No. Schnabel's Beethoven has it beat by nearly a decade, and even the
last items to be recorded for the Koussevitzky Sibelius set and
Casals's Bach have a couple years' headstart on that PELLEAS.
Todd K
A. Brain
news:301120052151257923%ow...@xids.xnet...
> good enough to be in the top 100.
Well, isn't the idea that only the best recordings of
what may be second rate works qualify for the list?
The list is wildly unrepresentative of first rate
works. Just look at all the Richard Strauss
recordings on it.
If the idea were to be the best recordings of
first rate works, there would only be a handful
of composers on it. And one of them would
be Handel, who's not even on the list; another
would be Haydn, who's barely on the list.
--
A. Brain
Remove NOSPAM for email.
Andrew T. Kay
> "Andrew T. Kay" <lastredl...@aol.com> appears to have caused the
> following letters to be typed in
> news:1133414938.8...@g43g2000cwa.googlegroups.com:
>
> > The December 2005 issue, which is their special 1000th-issue
> > extravaganza as well as James Jolly's final issue as editor -- the list
> > is a sort of parting gift from him.
>
> Who's taking over, Posh Spice?
No; she's just going to be taking over "Singertalk" from John Edward
Steane.
Domingo will be the editor.
Todd K (serious answer: James Inverne)
Steven de Mena
"Matthew B. Tepper" <oy兀earthlink.net> wrote in message
news:Xns971ED9294D0...@207.217.125.201...
> If somebody showed me that list and said it was the product of the editors
> and/or contributors of one magazine, I'd recognize it instantly.
Just for the record, the list is the product of one person, editor James
Jolly, and not a collective list. But yes, it would have been obvious to me
also what the magazine was.
Steve
Steven de Mena
<long_ter...@yahoo.com> wrote in message
news:1133411752.8...@f14g2000cwb.googlegroups.com...
As mentioned elsewhere, this is not a collective list by the editors, but a
list created by one person (editor James Jolly) of "100 recordings that have
become part of his life".
Steve
Richard Loeb
news:Y42dnTE7TfrjIxPe...@comcast.com...
Exactly - and thats all it is - calling it the 100 Greatest Recordings was
really a mistake
Richard
>
tomdeacon
Dec 1, 4:03 am show options
"Matthew B. Tepper" <oyþ@earthlink.net> wrote in message
news:Xns971ED9294D0...@207.217.125.201...
Isn't that a good thing?
You want the list to be "objective" and unrecognizable?
Try the Oscars.
TD
Steven de Mena
"tomdeacon" <tomde...@yahoo.ca> wrote in message
news:1133435812....@f14g2000cwb.googlegroups.com...
53. Steven de Mena
Dec 1, 4:03 am show options
"Matthew B. Tepper" <oy兀earthlink.net> wrote in message
news:Xns971ED9294D0...@207.217.125.201...
> If somebody showed me that list and said it was the product of the editors
> and/or contributors of one magazine, I'd recognize it instantly.
Just for the record, the list is the product of one person, editor
James
Jolly, and not a collective list. But yes, it would have been obvious
to me
also what the magazine was.
Steve
Isn't that a good thing?
You want the list to be "objective" and unrecognizable?
Try the Oscars.
TD
Actually I had no real strong thoughts about the list, knowing it was from
one person. I was surprised to see so many Karajan CD's (and ones I like!).
I have never heard the Perahia Chopin Ballades, I can't imagine they could
be better than Zimerman.
Steve
Alan Cooper
first choice. The aleged "greatest" are either sacred cows (the
Casals et al. Schubert Quintet) or major-label mediocrities.
AC
Steve Molino
news:1133398223.2...@z14g2000cwz.googlegroups.com...
>
> Andrew T. Kay wrote:
>> Have at it. Alpha by composer. Minimal comments from me -- pressed for
>> time (I might weigh in later if this turns into a thread). None of my
>> beloved diacriticals, also owing to time constraints.
>
>
6% for me.
Allen
Andrew T. Kay wrote:
Reinforcement for my decision to quit buying Gramophone several years ago.
Allen
Richard Schultz
: A typical example of Gramophone's mediocrity is Barbirolli's Mahler 5.
: Maybe in 1969 this was 'hot' stuff, but in the last 35 years it has
: been far surpassed.
It was surpassed in 1947 by Bruno Walter and the NYPO. (Not to mention
Kubelik and the BRSO.)
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"We cannot see how any of his music can long survive him."
-- From the New York Daily Tribune obituary of Gustav Mahler
Richard Schultz
: "Vaneyes" <van...@excite.com> wrote in message
: news:1133398223.2...@z14g2000cwz.googlegroups.com...
1 or 2% for me.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"an optimist is a guy/ that has never had/ much experience"
Richard Schultz
: Among the handful of chamber music selections, not one would be my
: first choice. The aleged "greatest" are either sacred cows (the
: Casals et al. Schubert Quintet) or major-label mediocrities.
It certainly warms my heart to know that I'm not the only one who finds
that recording overrated (not bad, just not one of the 100 best recordings
ever).
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
It's a bird, it's a plane -- no, it's Mozart. . .
Brendan R. Wehrung
> SanV wrote:
>>....I do enjoy Beecham's Delius, for some reason.
>
> Me, too...and Barbirolli, Mackerras, Groves, Handley, Sutherland,
> Hughes.
>
> Regards
>
What about Tintner?
Brendan
Matthew B. Tepper
following letters to be typed in
Well, Jolly Jim and his once-great rag ceased to be part of my life five
years ago....
JohnGavin
It seems like a mostly SAFE list - no going out on a limb for the most
part. The biggest turn off is when you sense a consensus critic, a
music critic who subconsciously checks for the overall acceptance of a
recording - I sense it here.
Paul Goldstein
says...
>
>Paul Goldstein <Paul_...@newsguy.com> appears to have caused the
>following letters to be typed in news:dmlek...@drn.newsguy.com:
>
>> In article <1133393401.7...@o13g2000cwo.googlegroups.com>,
>> na...@uiuc.edu says...
>>>
>>>Hmm. Karajan seems to have been rehabiliated, and with a vengeance.
>>
>> According to Gramophone, Karajan was never in need of rehabilitation.
>> They have consistently touted these same recordings as best-evers.
>
>They did turn on him for a while, in his last years.
I must not have been paying attention. Of course, few of HvK's late recordings
received strongly favorable reviews from anyone.
MIFrost
This one surprised me. I'm not aware this recording was at the top of
anyone's list of great recordings, let alone great Barbieres. It's
better than Muti, Callas, Merrill/Peters, et. al.?
MIFrost
MIFrost
Oops. Stupid me. Gui is Callas. Never mind.
MIFrost
Matthew B. Tepper
letters to be typed in
And that is exactly what has made Gramophone what it is today.
Gerard
> "Andrew T. Kay" <lastredl...@aol.com> wrote in message
> news:1133390149.9...@g49g2000cwa.googlegroups.com...
> > Have at it. Alpha by composer. Minimal comments from me -- pressed
> > for time (I might weigh in later if this turns into a thread). None
> > of my beloved diacriticals, also owing to time constraints.
>
>
> Yawn ..... very very predictable from Gramophone. Almost as though
> they have been in a time warp for 15 years. Why the heck should
> anyone want a copy of their Guide, when they have trotted out such a
> predictable list as this.
>
> Many of the choices are well known, and very good, but where, oh
> where, is some imagination.
>
Isn't it the essence of such a list that it is predictable?
The list would have been quite remarkable if it had contained imagination.
Raymond Hall
news:438f3e3b$0$88369$dbd4...@news.wanadoo.nl...
Not really. One does expect them to change, even slightly, with time. Apart
from a few welcome inclusions, such as Handley's Bax, the list could have
been predicted 10 years or more ago. Such stale predictable museum-like
repertoire. No wonder classical music is dying slowly.
And why shouldn't any list surprise us? Is it in the essence of a list to be
so damned boring to some of us here. I mean, take Kleiber Jnr's LvB 5 and 7.
Please. Just send me the postage and a couple of dollars and it is yours.
Ray H
Taree
Dan Koren
news:dmn298$lj5$3...@news.iucc.ac.il...
> In article <9bqto11igq309vhu4...@4ax.com>, Alan Cooper
> <amco...@nospamoptonline.net> wrote:
>
> : Among the handful of chamber music selections, not one would be my
> : first choice. The aleged "greatest" are either sacred cows (the
> : Casals et al. Schubert Quintet) or major-label mediocrities.
>
> It certainly warms my heart to know that I'm not the only one who finds
> that recording overrated (not bad, just not one of the 100 best recordings
> ever).
>
The Casals Schubert Quintet stinks.
Casals should have stuck to pre-Bach composers.
They are better suited to his bowing technique.
The Arrau of the cello.
dk
John L. Grant
JohnGavin wrote:
> It seems like a mostly SAFE list - no going out on a limb for the most
> part. The biggest turn off is when you sense a consensus critic, a
> music critic who subconsciously checks for the overall acceptance of a
> recording - I sense it here.
The Perahia recommendations seem to me totally suspect in that regard.
The word "Greatest" is good advertising, but hopelessly vague and
ambiguous in any context other than Ripley's. Even those among us who
believe that the "greatest recordings" can be rated objectively will
want to change the "100" number to "1000" or so. Music marketing is
such a drag.
Bas
> Casals should have stuck to pre-Bach composers.
> They are better suited to his bowing technique.
> The Arrau of the cello.
>
>
>
> dk
>
What an honour for Arrau (and he deserves it)
I see the christmas spirit is already shining on you, mr Koren.
Bas
Vaneyes
Average playing by the Nova Scotians.
Regards
Simon Roberts
says...
>
>Simon Roberts wrote:
>> In article <1133390149.9...@g49g2000cwa.googlegroups.com>, Andrew T.
>> Kay says...
>>
>> [list snipped]
>>
>>What struck me about this list is less their interpretative taste (which by now
>> is, if nothing else, familiar enough) than what strikes me as their bizarre
>> choice of repertoire. Mozart gets horn concertos but no string quartets?
>>Idomeneo but not Cosi? Mozart gets both but Haydn only gets a handful of piano
>>sonatas? Only two discs for Schumann? And if Chopin is to get only three, why
>> take up valuable space with the first piano concerto? And so on, and on and
>> on....
>
>Well...I'll admit, I had some of the same initial reactions (no this?
>no that? Composer's X makes it in, while no recording of his Y and Z
>was good enough?), but when I examined my own response, I actually came
>down on the side of the list-maker(s). It's not achievement in
>composition being singled out here; it's achievement in recorded
>performance, and the only honest criterion is, how well does this
>represent whatever work it preserves?
Yes, but even then: is there really no such recording of *anything* Handel or
Mendelssohn wrote? Is it plausible that the only music by Haydn that has been
so lucky on records is a few piano sonatas?
Simon
Simon Roberts
says...
>
>
>"Matthew B. Tepper" <oy兀earthlink.net> wrote in message
>news:Xns971ED9294D0...@207.217.125.201...
>> If somebody showed me that list and said it was the product of the editors
>> and/or contributors of one magazine, I'd recognize it instantly.
>
>Just for the record, the list is the product of one person, editor James
Who, perhaps, got the job in part because he learned his musical taste by
reading Gramophone and thus exhibited the "right" taste....
Simon
Paul Goldstein
Simon Roberts
says...
>
>This is just a list for beginners!
There is, I hope, a constant stream of beginners.
Simon
Simon Roberts
says...
No, it isn't. Never mind.
Simon
Matthew B. Tepper
letters to be typed in news:dmnj5...@drn.newsguy.com:
I always thought that Quita Chavez should be running the show.
Gerard
>
>
> Not really. One does expect them to change, even slightly, with time.
> Apart from a few welcome inclusions, such as Handley's Bax, the list
> could have been predicted 10 years or more ago. Such stale
> predictable museum-like repertoire. No wonder classical music is
> dying slowly.
>
> And why shouldn't any list surprise us? Is it in the essence of a
> list to be so damned boring to some of us here.
I think it is. Many threads consist of lists, a lot of them very predictable
(even your posts - but not only yours - are predictable in a lot of cases).
This list is just another list.
Andrew T. Kay
> >news:Xns971ED9294D0...@207.217.125.201...
> >> If somebody showed me that list and said it was the product of the editors
> >> and/or contributors of one magazine, I'd recognize it instantly.
> >
> >Just for the record, the list is the product of one person, editor James
> >Jolly [...].
>
> Who, perhaps, got the job in part because he learned his musical taste by
> reading Gramophone and thus exhibited the "right" taste....
Heh. You'll be so delighted with this reinforcement of your theory: In
his farewell piece on the first page of this issue, Jolly (whom I do
like on the personal level) writes, "James Inverne takes over to steer
THE GRAMOPHONE into its second 'millennium' and as he's been a reader
for two decades, I feel sure the magazine will be in good hands."
Oh. As to the matter of the list being entirely the product of Jolly
and not a poll of all their current contributors -- I did realize this
after I'd posted, but by then we were all having so much fun
scrutinizing/challenging/agreeing with the selection. Anyway, a few
idiosyncratic choices aside, I wonder if a "collective" GRAMOPHONE
survey would have been that much different.
Someone earlier in the thread was correct, though; the front cover (and
the teaser in the previous issue, which trumpeted "*our* list") really
should have said, "James Jolly's 100 favorite recordings" instead of
"100 greatest recordings of all time."
Todd K
Andrew T. Kay
Right. Galliera is Callas. Gui is de los Angeles.
*Is* there a Muti BARBIERE? I've never heard of one. It sounds like
something I would enjoy. Or does MIFrost mean Abbado?
Todd K
Andrew T. Kay
I hope some of them are adventuresome beginners, if they're going to
dive into the complete Webern works, or Hildegard of Bingen.
Todd K
Warren B. Hapke
: MIFrost
No, the Callas is conducted by Galleria, not Gui. The one on the liste
has Victoria de Los Angeles, Luigi Alva, and Sesto Bruscantini amount
the principals. I have it on LP and it's a decent recording, but not
one I'd list as among the best of all time.
Warren B. Hapke
wbh...@prairienet.org
tomdeacon
57. Steven de Mena
Dec 1, 6:31 am show options
"tomdeacon" <tomdedea...@yahoo.ca> wrote in message
news:1133435812....@f14g2000cwb.googlegroups.com...
53. Steven de Mena
Dec 1, 4:03 am show options
"Matthew B. Tepper" <oyþ@earthlink.net> wrote in message
news:Xns971ED9294D0...@207.217.125.201...
> If somebody showed me that list and said it was the product of the editors
> and/or contributors of one magazine, I'd recognize it instantly.
Just for the record, the list is the product of one person, editor
James
Jolly, and not a collective list. But yes, it would have been obvious
to me
also what the magazine was.
Steve
Isn't that a good thing?
You want the list to be "objective" and unrecognizable?
Try the Oscars.
TD
Actually I had no real strong thoughts about the list, knowing it was
from
one person. I was surprised to see so many Karajan CD's (and ones I
like!).
I have never heard the Perahia Chopin Ballades, I can't imagine they
could
be better than Zimerman.
Steve
A suggestion, Steve. Stop imagining. Start listening. The Chopin
Ballades are among the very finest recordings Murray Perahia has ever
made. In my opinion.
TD
Ralph
luck in finding someone that will agree with that list completely, or
even with 80 or 90% of it. I don't think the Gramophone list is
scandalous. A different list that doesn't include any of that 100 can
probably easily be made. My personal pet peeve is the ignoring
completely, by the British reviewers (forget about top 100) of my
favorite set of Bach's Brandenburg Concertos, the one by the Chamber
Music Society of Lincoln Center on Delos. Now of course another fellow
can come along and write, how it's bland, dull, and lifeless.
Perhaps some newcomers to music will go out and buy all of Gramophone's
100. That's fine. They could do worse. As long as they continue from there.
Ralph
tomdeacon
82. Matthew B. Tepper
Dec 1, 3:20 pm show options
Simon Roberts <s...@comcast.net> appears to have caused the following
letters to be typed in news:dmnj5...@drn.newsguy.com:
> In article <eLOdnZ_rJtwXIRPenZ2dnUVZ_tadn...@comcast.com>, Steven de
> Mena says...
>>"Matthew B. Tepper" <oyþ@earthlink.net> wrote in message
>>news:Xns971ED9294D0...@207.217.125.201...
>>> If somebody showed me that list and said it was the product of the
>>> editors and/or contributors of one magazine, I'd recognize it
>>> instantly.
>>Just for the record, the list is the product of one person, editor James
>>Jolly [...].
> Who, perhaps, got the job in part because he learned his musical taste
> by reading Gramophone and thus exhibited the "right" taste....
I always thought that Quita Chavez should be running the show.
Matthew B. Tepper
Typical comment from someone who doesn't even know this lady, who comes
about as close to an excentric wacko as it is humanly possible.
She could have stepped out the Third Man!!!
TD
Jon Alan Conrad
> MIFrost <sfr...@nycap.rr.com> wrote:
> : > This one surprised me. I'm not aware this recording was at the top of
> : > anyone's list of great recordings, let alone great Barbieres. It's
> : > better than Muti, Callas, Merrill/Peters, et. al.?
I don't think there is a Muti. Abbado maybe?
> No, the Callas is conducted by Galleria, not Gui. The one on the liste
> has Victoria de Los Angeles, Luigi Alva, and Sesto Bruscantini amount
> the principals. I have it on LP and it's a decent recording, but not
> one I'd list as among the best of all time.
But it has that Glyndebourne imprimatur, you know. Plus the
mild-mannered non-ostentatiousness of the cast, ensures that it will be
Tasteful and Respectable as understood within the hallowed Gramophone
halls, and will avoid anything so ill-bred as laughter or excitement. I
believe every British opera critic (even Andrew Porter, who's not
really "school of Gramophone" although he did write for it at one
point) has at some point written the sentence that begins "Some day, I
hope to see Il Barbiere di Siviglia played as an elegant comedy of
manners rather than a vulgar slapstick romp...."
Even though I generally approve of the stifling of inappropriate
audience noise during opera performances, I thought it was a bit much
when I saw a Covent Garden audience turn to stare in horror at a young
American (no, it wasn't me) who had the nerve to laugh out loud at a
funny bit during this opera.
JAC
Andrew T. Kay
> Warren B. Hapke wrote:
>
> > MIFrost <sfr...@nycap.rr.com> wrote:
>
> > : > This one surprised me. I'm not aware this recording was at the top of
> > : > anyone's list of great recordings, let alone great Barbieres. It's
> > : > better than Muti, Callas, Merrill/Peters, et. al.?
>
> I don't think there is a Muti. Abbado maybe?
I could imagine someone confusing them. Both Italian. Close enough in
age. Both led La Scala. Recorded a lot of the same stuff. (Hated each
other, until recently...)
> > No, the Callas is conducted by Galleria, not Gui. The one on the liste
> > has Victoria de Los Angeles, Luigi Alva, and Sesto Bruscantini amount
> > the principals. I have it on LP and it's a decent recording, but not
> > one I'd list as among the best of all time.
>
> But it has that Glyndebourne imprimatur, you know. Plus the
> mild-mannered non-ostentatiousness of the cast, ensures that it will be
> Tasteful and Respectable as understood within the hallowed Gramophone
> halls, and will avoid anything so ill-bred as laughter or excitement. I
> believe every British opera critic (even Andrew Porter, who's not
> really "school of Gramophone" although he did write for it at one
> point) has at some point written the sentence that begins "Some day, I
> hope to see Il Barbiere di Siviglia played as an elegant comedy of
> manners rather than a vulgar slapstick romp...."
They must have been suffering apoplexy at that FALSTAFF production CG
has used for the last several years (though I hear it's dead and buried
now). As vulgar and slapstick a romp as one could imagine...
Todd K
Eric Grunin
Thornhill wrote:
> jrs...@aol.com wrote:
>
> > Over the 100 years from which to choose, one might expect a
> > preponderance of recordings from those periods in which records were
> > made frequently.
>
> I have no evidence to back this up, but I think it's reasonable to
> assume that number of new recordings made yearly in the last 20 to 30
> years is significantly higher than in prior decades due to the drop in
> equipment costs for making a recording. Look at all of the independent
> labels that sprung up in the late '70s.
Here's a chart of the frequency of recording for the Eroica:
http://www.grunin.com/eroica?page=covered.asp
Note that the bump from 1950-1964 is due to live recordings issued many
years later. (You can see this by clicking "Show only official
recordings").
You could make a chart like this from any of the complete online
discographies (Bruckner, Mahler, Wagner, etc.). I wonder how they would
differ.
Regards,
Eric Grunin
www.grunin.com/eroica
aest...@hotmail.com
Jon Alan Conrad wrote:
> Warren B. Hapke wrote:
>
> > MIFrost <sfr...@nycap.rr.com> wrote:
>
> > : > This one surprised me. I'm not aware this recording was at the top of
> > : > anyone's list of great recordings, let alone great Barbieres. It's
> > : > better than Muti, Callas, Merrill/Peters, et. al.?
>
> I don't think there is a Muti. Abbado maybe?
>
> > No, the Callas is conducted by Galleria, not Gui. The one on the liste
> > has Victoria de Los Angeles, Luigi Alva, and Sesto Bruscantini amount
> > the principals. I have it on LP and it's a decent recording, but not
> > one I'd list as among the best of all time.
>
> But it has that Glyndebourne imprimatur, you know. Plus the
> mild-mannered non-ostentatiousness of the cast, ensures that it will be
> Tasteful and Respectable as understood within the hallowed Gramophone
> halls, and will avoid anything so ill-bred as laughter or excitement. I
> believe every British opera critic (even Andrew Porter, who's not
> really "school of Gramophone" although he did write for it at one
> point) has at some point written the sentence that begins "Some day, I
> hope to see Il Barbiere di Siviglia played as an elegant comedy of
> manners rather than a vulgar slapstick romp...."
When I listened to a recording of Paisiello's BARBIERE..., it seemed to
me (at least musically) to be more subdued and restrained and I recall
thinking to myself that whereas Rossini's score had the sparkle and
glitter of a gemstone, P.'s score had the glow and warmth of a pearl.
Raymond Hall
Including yours of course. Why not take your predictable pedantry to one of
the many museum threads here, and add to the constant whining found within
most of them.
> This list is just another list.
Well, blow me down with a feather. Such perception.
Ray H
Taree
Thornhill
Ralph wrote:
> My Take. Anyone can make a list of their favorite 100 recordings. Good
> luck in finding someone that will agree with that list completely, or
> even with 80 or 90% of it. I don't think the Gramophone list is
> scandalous. A different list that doesn't include any of that 100 can
> probably easily be made.
Yes, but I doubt any truly well-rounded listener would create a list
with almost no recordings by American orchestras, dominated with
recordings by the major labels, specifically DG and EMI. More so than
the actual recordings, this is what makes the list such a typical
'Gramophone' list; it's so narrow minded.
Andy Evans
Chopin Waltzes; Lipatti/EMI
La mer etc. (+ Ravel Daphnis...); Karajan/DG (1964-65)
Janacek Katya Kabanova; Mackerras/Decca
Wandererfantasie; Pollini/DG
Shostakovich String Quartets; Fitzwilliam Qt./Decca)
Poor choice:
Chopin Ballades etc.; Perahia/Sony
Debussy Orchestral works; Haitink/Philips
Preludes; Zimmerman/DG
Haydn Piano Sonatas; Brendel/Philips
Mozart Piano Concerto; Perahia/Sony
Prokofiev Sym 5; Karajan/DG
Ridiculous:
Gershwin
Porgy and Bess; Rattle/EMI
wkas...@comcast.net
MIFrost wrote:
> This one surprised me. I'm not aware this recording was at the top of
> anyone's list of great recordings, let alone great Barbieres.
I'm surprised that anyone would choose Barbiere, in any recording, in
their top 100.
Bill
Steven de Mena
"tomdeacon" <tomde...@yahoo.ca> wrote in message
news:1133470361.4...@g47g2000cwa.googlegroups.com...
57. Steven de Mena
Dec 1, 6:31 am show options
"tomdeacon" <tomdedea...@yahoo.ca> wrote in message
news:1133435812....@f14g2000cwb.googlegroups.com...
53. Steven de Mena
Dec 1, 4:03 am show options
"Matthew B. Tepper" <oy兀earthlink.net> wrote in message
news:Xns971ED9294D0...@207.217.125.201...
Try the Oscars.
TD
Steve
TD
Tom,
I will check them out. The Perahia CD is out of print in the U.S. but I
found it on eBay (in a collection of four CD's for $5.50).
Steve