Mozart's violin concertos
Pete
with my AAM/Standage CDs. One set could be Anne-Sophie Mutter's
three CDs:
- 3&5 with Karajan/BPO when she was 14 (her debut)
- 1 with Marriner/ASMF, along with an Adagio and Sinfonia concertante
- 2&4 with Muti/BPO, along with a Divertimento
Unfortunately, the latter two are out-of-print, but maybe they will be
reissued like the first one. Does anyone have strong feelings about these
CDs? One comment I heard was the the first one had slightly muddled
sound. True? Also, comments about other collections of Mozart's violin
concertos would be appreciated. How about Monica Hugget, Nikolaus
Harnoncourt, or Thomas Zehetmair? I won't consider anything recorded
before 1970, as I do not like the sound. Thanks.
Pete
Matthew B. Tepper
news:eOHV7.14632$Cw3.1...@newsread2.prod.itd.earthlink.net:
I must remember to order the Oistrakh Berlin recordings, now issued on
cheap EMI CDs (though evidently not Stateside).
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Top 3 worst UK exports: Mad-cow; Foot-and-mouth; Charlotte Church
William D. Kasimer
>I won't consider anything recorded before 1970, as I do not like the sound.
Why 1970? Why not 1975? Or 1978? Or 1965?
Recommended: Grumiaux/Davis, Tetzlaff.
Bill
William D. Kasimer
wkas...@quincymc.org
wkas...@mediaone.net
Bob Lombard
<wkas...@MailAndNews.com> wrote:
>>===== Original Message From "Pete" <nospa...@please.com> =====
>
>>I won't consider anything recorded before 1970, as I do not like the sound.
>
>Why 1970? Why not 1975? Or 1978? Or 1965?
>
Suggests limited experience with '60s recordings. Some of
them, even the original LPs, have really, really good sound.
I'm not saying that as an audiophile - I don't understand
their criteria for good sound, let alone the 'really, really
good' stuff.
bl
William D. Kasimer
>>Why 1970? Why not 1975? Or 1978? Or 1965?
>>
>Suggests limited experience with '60s recordings.
Exactly; I can understand, sort of, not wanting monaural. But a cutoff date
of 1970 strikes me as pretty arbitrary; some of the best-sounding recordings
I
own date from around 1960.
MIFrost
Perlman/Levine. Too serious and sluggish. Did someone recently post
that there was a Biondi set out? I've also heard good things about
Pamela Frank's set with Zinman on Arte Nova, though I haven't heard it
myself. There's a terrific #5 with Schneiderhans coupled with his
Beethoven concerto on DG, if you like the Beethoven also.
MIFrost
"Pete" <nospa...@please.com> wrote in message news:<eOHV7.14632$Cw3.1...@newsread2.prod.itd.earthlink.net>...
Simon Roberts
"Pete" <nospa...@please.com> wrote in message
news:eOHV7.14632$Cw3.1...@newsread2.prod.itd.earthlink.net...
Huggett's fine but not much different from Standage. I would suggest
Kremer/Harnoncourt (their twofer includes a superb Sinfonia
Concertante), Zehetmair, Tetzlaf (recently reissued), Grumiaux/Davis (I
can't remember whether this was recorded before or after 1970 (as others
have said, this seems a quite arbitrary year to have selected); doesn't
matter - the sound is fine) and Frank/Zinman. All of these are no more
than mid price. Mutter's fine, but not sufficiently special to warrant
much effort in tracking them down; those I've mentioned are all at least
as good (I prefer them).
Simon
Pete
sound.
> >
> >Why 1970? Why not 1975? Or 1978? Or 1965?
> >
> Suggests limited experience with '60s recordings.
You are wrong. I have listened to many CDs (AAD) from the 1960s,
in classical, jazz, and pop. In my opinion, the technology started to be
good around 1970. Willi Boskovsky's works recorded in the 1960s
are a good example. I cannot hear the big horns very clearly at all in
the double Decca set, while I have no such trouble with newer works.
Dionne Warwick's best of CD has typical 1950s-60s sound, i.e. muddled.
Etc, etc. My best friend's father in grammar school (in the 1960s) worked
at a recording studio. We hung out there sometimes. His father, not
surprisingly, was an audiophile. I became comfortable with good analog
sound at an early age. I am not one of those who prefer digital to analog,
but I do prefer clearly recorded music. A great deal has been learned over
the years about microphone placement and other techniques. But most
importantly, tape media quality and recording equipment has been greatly
improved. I do not disagree that older works had great conductors and
great musicians. I just disagree that older recordings have clear sound.
You are welcome to your opinion, and I ask that you respect mine.
Pete
William D. Kasimer
>I would suggest
>Kremer/Harnoncourt
I found this a bit disappointing on a casual listening, mostly Harnoncourt,
who seems less interesting here than in the symphonies.
>(Zehetmair, Tetzlaf (recently reissued),
Are these much different? I have the Tetzlaff, but am wondering if it's
worth
seeking out the Zehetmair.
Bob Lombard
<nospa...@please.com> wrote:
>> Suggests limited experience with '60s recordings.
>
>You are wrong.
[snip]
>You are welcome to your opinion, and I ask that you respect mine.
>
Sure, Pete -but 'You are wrong'.
bl
Pete
One more thing I forgot to write. I freely admit that some, even many,
recordings made in the 1960s could be great. Karajan's are definitely some
of those. My comment about the 1970s refers to a desire to eliminate the
majority of muddled recordings. After 1970, most people understood
how to clearly record music. Before 1970, some did and some did not.
1970 is an abitrary date in some respects, but it is a relatively safe date.
Pete
W. J. McCutcheon
Pete <nospa...@please.com> wrote in message
news:eOHV7.14632$Cw3.1...@newsread2.prod.itd.earthlink.net...
I also like Pamela Frank very much (maybe my favorite set?), modern
instrument but what you'd call "HIP-influenced." I haven't heard
Zehetmair, but everything else I have by him is outstanding, so I expect
his Mozart VCs are, too.
-- Bill McCutcheon
William D. Kasimer
>One more thing I forgot to write. I freely admit that some, even many,
>recordings made in the 1960s could be great.
So why do you say "I won't consider anything recorded before 1970"?
>Karajan's are definitely some of those.
Uh, oh...
>After 1970, most people understood how to clearly record music.
>Before 1970, some did and some did not.
After 1970, some did and some did not, judging by the recorded evidence.
>1970 is an abitrary date in some respects, but it is a relatively safe date.
It's arbitrary in every possible respect. If you only want recordings that
are sonically acceptable, that's fine. But by making an absurd exclusionary
criterion like "nothing before 1970", you're no different from the misguided
fools who come to RMCR requesting nothing but digital recommendations.
mkperman
"Simon Roberts" <sd...@pobox.upenn.edu> wrote in message
news:a07pa9$1un$1...@netnews.upenn.edu...
> Huggett's fine but not much different from Standage. I would
suggest
> Kremer/Harnoncourt (their twofer includes a superb Sinfonia
> Concertante), Zehetmair, Tetzlaf (recently reissued),
Grumiaux/Davis (I
> can't remember whether this was recorded before or after 1970
(as others
> have said, this seems a quite arbitrary year to have selected);
doesn't
> matter - the sound is fine) and Frank/Zinman. All of these are
no more
> than mid price. Mutter's fine, but not sufficiently special to
warrant
> much effort in tracking them down; those I've mentioned are all
at least
> as good (I prefer them).
In addition, Pauk/Rolla (Hungaroton), a 3 disc set from 1990 with
the concertante works (Rolla accompanies on these), rondos, and
adagio, in case the Grumiaux recordings are too ancient for you.
Marc Perman
Dave Cook
[big snip]
> I won't consider anything recorded before 1970, as I do not like the
> sound. Thanks.
Huh? Some labels (particularly DG) were putting out *worse* sound
after 1970 because of the popularity of multi-miking.
I recently got the Grumiaux/Davis set and am enjoying it.
Dave Cook
JRsnfld
with my AAM/Standage CDs. One set could be Anne-Sophie Mutter's
three CDs: >>
I liked the Mutter/Muti combination very much when it came out on LP, but never
bothered to hear it on CD. I'm haven't listened to it in a long time, but I
consider it one of her better records and if you like Mutter you needn't
hesitate
--Jeff
Bob Lombard
<wkas...@MailAndNews.com> wrote:
[snips]
>"Pete" wrote
>>1970 is an abitrary date in some respects, but it is a relatively safe date.
>
>It's arbitrary in every possible respect. If you only want recordings that
>are sonically acceptable, that's fine. But by making an absurd exclusionary
>criterion like "nothing before 1970", you're no different from the misguided
>fools who come to RMCR requesting nothing but digital recommendations.
>
>Bill
>
Er, well, that's a bit strong, Bill. There probably were
fewer 'botched sound' recordings made after 1970. You can
almost go by recording company. By moving the arbitrary
cut-off date from ~1980 (onset of digital) to 1970, and not
excluding analog recordings, Pete is several degrees less
'misguided' than those digital-only folks. I have a personal
cut-off year too. Excepting 'historical interest'
recordings, my rule-of-thumb is 'nothing before 1955 unless
it's ffrr or fds.
Of course, that 'historical interest' exception gets broader
as time passes.
bl
Matthew B. Tepper
news:3C47...@MailAndNews.com:
>>===== Original Message From Bob Lombard <hill...@vermontel.net> =====
>
>>>Why 1970? Why not 1975? Or 1978? Or 1965?
>>>
>>Suggests limited experience with '60s recordings.
>
> Exactly; I can understand, sort of, not wanting monaural. But a cutoff
> date of 1970 strikes me as pretty arbitrary; some of the best-sounding
> recordings I own date from around 1960.
And there are some pretty crappy ones from the early 1980s.
Simon Roberts
"William D. Kasimer" <wkas...@MailAndNews.com> wrote in message
news:3C47...@MailAndNews.com...
>
> Are these much different? I have the Tetzlaff, but am wondering if
it's
> worth
> seeking out the Zehetmair.
I don't think you need both. (Frankly, most recordings of this music
made in the past 15 years or so are fairly similar.)
Simon
Simon Roberts
>
> You are wrong. I have listened to many CDs (AAD) from the 1960s,
> in classical, jazz, and pop. In my opinion, the technology started to
be
> good around 1970. Willi Boskovsky's works recorded in the 1960s
> are a good example. I cannot hear the big horns very clearly at all
in
> the double Decca set, while I have no such trouble with newer works.
I don't know what double Decca set you're referring to, but whether or
not "the big horns" can be heard clearly is more the
conductor's/players' doing that the engineers'; if horns are played
gently, they won't make much effect no matter when they're recorded.
> Dionne Warwick's best of CD has typical 1950s-60s sound, i.e. muddled.
> Etc, etc. My best friend's father in grammar school (in the 1960s)
worked
> at a recording studio. We hung out there sometimes. His father, not
> surprisingly, was an audiophile. I became comfortable with good
analog
> sound at an early age. I am not one of those who prefer digital to
analog,
> but I do prefer clearly recorded music. A great deal has been learned
over
> the years about microphone placement and other techniques. But most
> importantly, tape media quality and recording equipment has been
greatly
> improved. I do not disagree that older works had great conductors and
> great musicians. I just disagree that older recordings have clear
sound.
> You are welcome to your opinion, and I ask that you respect mine.
I suppose it would be possible to conjure up a collection of recordings
which supported your cut-off date, but it would just as easily be
possible to conjure up one which didn't. Your experiences with pre-1970
recordings may simply be unlucky.
Simon
MIFrost
about Grumiaux also. Huggett is lovely and lively but a bit on the delicate
and fine-textured side ... not that there's anything wrong with that.
MIFrost
Simon Roberts <sd...@pobox.upenn.edu> wrote in message
news:a089vs$uj9$1...@netnews.upenn.edu...
>
> "William D. Kasimer" <wkas...@MailAndNews.com> wrote in message
Simon Roberts
"MIFrost" <sfr...@nycap.rr.com> wrote in message
news:1DOV7.31155$Bd.87...@typhoon.nyroc.rr.com...
> Is the Huggett similar enough to both? I'm considering another set.
Thinking
> about Grumiaux also. Huggett is lovely and lively but a bit on the
delicate
> and fine-textured side ... not that there's anything wrong with
that.
Grumiaux would provide the greatest contrast. Zehetmair and Tetzlaff
both offer HIP-influenced modern performances that are lively, clean,
articulate, beautifully accompanied by first rate chamber orchestras (I
espcially like Tetzlaff's); while there are certainly differences among
all three, Tetzlaff and Zehetmair have more in common with Huggett
(they're less delicate, though) and each other than any of them does
with Grumiaux.
Simon
Raymond Hall
news:a085c...@enews4.newsguy.com...
| "William D. Kasimer" <wkas...@MailAndNews.com> wrote in
| news:3C47...@MailAndNews.com:
|
| >>===== Original Message From Bob Lombard <hill...@vermontel.net> =====
| >
| >>>Why 1970? Why not 1975? Or 1978? Or 1965?
| >>>
| >>Suggests limited experience with '60s recordings.
| >
| > Exactly; I can understand, sort of, not wanting monaural. But a cutoff
| > date of 1970 strikes me as pretty arbitrary; some of the best-sounding
| > recordings I own date from around 1960.
|
| And there are some pretty crappy ones from the early 1980s.
With the advent of DDD there certainly was. Incidentally, does anyone know
what was the *very first* commercially issued classical music DDD CD? What
label and how good or bad was it from a recording perspective? There could
have been a batch release I suppose, of perhaps half a dozen.
Regards,
# RMCR Contributor Links :
# http://www.users.bigpond.com/hallraylily/tassiedevil2.htm
# Main Page :
# http://www.users.bigpond.com/hallraylily/index.html
Ray, Sydney
---
Outgoing mail is certified Virus Free.
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Jan Depondt
"Raymond Hall" <hallr...@bigpond.com> wrote in message
news:a08dkf$jl904$1...@ID-101911.news.dfncis.de...
|
| With the advent of DDD there certainly was. Incidentally, does anyone know
| what was the *very first* commercially issued classical music DDD CD? What
| label and how good or bad was it from a recording perspective? There could
| have been a batch release I suppose, of perhaps half a dozen.
|
Wasn't that a New Year's concert with Willy Boskovsky, on Decca?
--
Jan Depondt
(mail: jdptATwanadoo.nl)
Audiophilia
> I want to compile another set of Mozart's violin concertos, to go along
> with my AAM/Standage CDs.
Funny, I was just listening to a set unknown to me while at a Christmas get
together. It was very lovely playing and worthy of your consideration --
Zukerman and the St. Paul on CBS. Not what I would have thought to be the
zenith of Mozart interpretation, but super nonetheless. And for the wags, no
alcohol was involved..
Kind regards,
Anthony Kershaw, Editor/Publisher
AUDIOPHILIA -- The Online Journal for the Serious Audiophile
http://www.audiophilia.com
An electronic publication of Audiophilia, Inc.
Matthew B. Tepper
news:a08ei7$jhjg8$1...@ID-79646.news.dfncis.de:
If you allow Japanese imports, a good case could be made for Glenn Gould's
digital remake of Bach's Goldberg Variations. I saw this on an endcap at
Tower Records in Greenwich Village (then the only Tower Records in New York
City) in July 1983.
The Boskovsky 1980 New Year's Concert was one of the first D?A recordings
generally issued in the USA once the record companies had ramped up their
publicity about the new recording method. However, the earliest digital
recording that I remember seeing (and buying on LP) is Jean-Pierre Rampal's
set of the Telemann Flute Fantasies, recorded as early as October 1972!
The US LP release of this was on Odyssey, which my fellow Americans will
fondly remember as a ***budget*** label. It bore a little inscription on
the back cover vaguely describing "Pulse Code Modulation," and I remember
buying mine around 1975. I now have it on a Musical Heritage Society CD,
licensed (I think) from Denon.
Margaret Mikulska
recording?
It's just like "I won't consider anything but DDD".
-Margaret
Paul Kintzele
Pete wrote:
>
> > >>I won't consider anything recorded before 1970, as I do not like the
> sound.
> > >
> > >Why 1970? Why not 1975? Or 1978? Or 1965?
> > >
> > Suggests limited experience with '60s recordings.
>
> You are wrong. I have listened to many CDs (AAD) from the 1960s,
> in classical, jazz, and pop.
Did you mean ADD? It's my impression that the vast majority of reissued
analog recordings (at least from the major labels) have been digitally
remastered. If the discs you listened to were indeed AAD, then perhaps
you were exposed to a non-representative sample. Some AAD transfers can
be very crude.
Of course your request for good recorded sound is perfectly reasonable,
but there are many, many pre-1970 recordings that feature great
performances AND great sound. Check out practically anything from RCA
Living Stereo or Mercury Living Presence, for example.
Paul
MIFrost
sound of AAD recordings over ADD most of the time. I doubt I could tell
blindfolded.
MIFrost
Paul Kintzele <kint...@english.upenn.edu> wrote in message
news:3C281A1F...@english.upenn.edu...
>
>
> Did you mean ADD? It's my impression that the vast majority of reissued
> analog recordings (at least from the major labels) have been digitally
> remastered. If the discs you listened to were indeed AAD, then perhaps
> you were exposed to a non-representative sample. Some AAD transfers can
> be very crude.
>
>
> Paul
Simon Roberts
> Odd (is it?) that Don Vroon, of American Record Guide, says he prefers
the
> sound of AAD recordings over ADD most of the time. I doubt I could
tell
> blindfolded.
>
I wonder if anyone's ever tested whether he can....
Simon
Hub Jennekens
"Matthew B. Tepper" <oy兀earthlink.net> schreef in bericht
news:a08n0...@enews3.newsguy.com...
> However, the earliest digital
> recording that I remember seeing (and buying on LP) is Jean-Pierre
Rampal's
> set of the Telemann Flute Fantasies, recorded as early as October 1972!
> The US LP release of this was on Odyssey, which my fellow Americans will
> fondly remember as a ***budget*** label. It bore a little inscription on
> the back cover vaguely describing "Pulse Code Modulation," and I remember
> buying mine around 1975. I now have it on a Musical Heritage Society CD,
> licensed (I think) from Denon.
I think Denon was the label that put out the earliest digital recordings: I
own a Bartok programme played by Zoltan Kocsis from 1975, and some Mozart by
Maria Joao Pires from around the same year.
Not that they sound particularly good, though.
--
Hub Jennekens
Voerendaal, NL
h.jen...@hccnet.nl
Bill Hunt
>
> Grumiaux would provide the greatest contrast. ...
Grumiaux / Davis is my favorite for 3,4,5. Especially the second
movement of #3. I rarely listen to Standage/AAM now.
Another favorite is Heifetz/Sargent for #4 on RCA.
Heifetz/Primrose/Solomon (on a different RCA) for the Sinfonia
Concertante is a favorite too. This performance of #4 makes me think
of the Sinfonia Concertante every time.
There is a Heifetz of #5 on RCA but the sound isn't good and the
performance doesn't move me. (Concerto #5 rarely seems as good as 3
and 4 to me. Stern/Szell is about the best #5 for me because of
Szell's contribution.)
There is also an older Heifetz recording of 4 & 5 on Naxos Historical.
(Beecham and Barbirolli conducting.) #4 didn't displace the RCA for
me.
Bill Hunt
Simon Roberts
>"Simon Roberts" <sd...@pobox.upenn.edu> wrote in message .
>>
>> Grumiaux would provide the greatest contrast. ...
>
>Grumiaux / Davis is my favorite for 3,4,5. Especially the second
>movement of #3. I rarely listen to Standage/AAM now.
>
>Another favorite is Heifetz/Sargent for #4 on RCA.
>Heifetz/Primrose/Solomon (on a different RCA) for the Sinfonia
>Concertante is a favorite too.
Me too (in fact, if limited to one, that would probably be the Sinf. Conc.
I would keep); what a pity he didn't record all five.
Simon
Roger Lopez
>There's a terrific #5 with Schneiderhans coupled with his
>Beethoven concerto on DG, if you like the Beethoven also.
>
Same coupling with Josef Wolfsthal's #5 on Pearl. I love Wolfstahl
and Schneiderhan, but the poster indicated he was looking for
post-1970 recordings. Given that cutoff date, I think Takako Nishizaki
on Naxos is an exceptional value. Simon Standage also plays
marvelously, but I'm not as taken with his accompaniment as I am with
his own performance.
Arthur La Porta
order today.
Pete wrote:
> I want to compile another set of Mozart's violin concertos, to go along
> with my AAM/Standage CDs. One set could be Anne-Sophie Mutter's
> three CDs:
> - 3&5 with Karajan/BPO when she was 14 (her debut)
> - 1 with Marriner/ASMF, along with an Adagio and Sinfonia concertante
> - 2&4 with Muti/BPO, along with a Divertimento
>
> Unfortunately, the latter two are out-of-print, but maybe they will be
> reissued like the first one. Does anyone have strong feelings about these
> CDs? One comment I heard was the the first one had slightly muddled
> sound. True? Also, comments about other collections of Mozart's violin
> concertos would be appreciated. How about Monica Hugget, Nikolaus
> Harnoncourt, or Thomas Zehetmair? I won't consider anything recorded
> before 1970, as I do not like the sound. Thanks.
>
> Pete
Ambrose Wolfinger
Angel # SD-3789. 4 lp's.
Vive la vinyl!
Alain
Jan Depondt
"Ambrose Wolfinger" <alai...@netscape.net> wrote in message
news:3C2C5730...@netscape.net...
| No one's mentioned Davis Oistrakh (conducting and playing violin) on
| Angel # SD-3789. 4 lp's.
No one, except Matthew Tepper (who does not get tired mentioning them).
Oistrach's recordings were recently reissued on cd (EMI, Encore series).
I'ld like to hear some opinions by others about these recordings. I remember
(from the vinyl era) that these performances were a little ... uh ... 'fat'
(or was it 'velvet'?). Maybe because of the (sound of the) recording, maybe
because of the orchestra (Berliner Philharmoniker), maybe both.
--
Jan Depondt
____________________________
mail: jdptATwanadoo.nl
Matthew B. Tepper
> No one's mentioned Davis Oistrakh (conducting and playing violin) on
> Angel # SD-3789. 4 lp's.
As Jan Depondt correctly notes, I've often mentioned my fondness for this
set. There are now CD issues of practically everything in it ... except,
alas, for the Concertone, which is missing in action.
> Vive la vinyl!
Well, yeah, okay, but it's kind of hard to fit it into my CD player!
Margaret Mikulska
the old school they are among the best. Maybe the best. I wouldn't
call the sound "fat", it's more like voluminous, full, Romantic, with
vibrato. But played with great taste and musicality.
-Margaret
Jan Depondt wrote:
>
> "Ambrose Wolfinger" <alai...@netscape.net> wrote in message
>
Matthew B. Tepper
news:3C2D7A31...@silvertone.princeton.edu:
> They were previously on EMI Studio, 3 CDs. It's the old school, but of
> the old school they are among the best. Maybe the best. I wouldn't
> call the sound "fat", it's more like voluminous, full, Romantic, with
> vibrato. But played with great taste and musicality.
Did that include the Concertone, or no?
Jan Depondt
| Margaret Mikulska <miku...@silvertone.princeton.edu> wrote in
| news:3C2D7A31...@silvertone.princeton.edu:
|
| > They were previously on EMI Studio, 3 CDs. It's the old school, but of
| > the old school they are among the best. Maybe the best. I wouldn't
| > call the sound "fat", it's more like voluminous, full, Romantic, with
| > vibrato. But played with great taste and musicality.
|
| Did that include the Concertone, or no?
It did. On CDZ 4 79512 2 the Concertone is to be found, with the Sinfonia
Concertante, and the Adagio K.261, and the Rondo K.269.
Matthew B. Tepper
Thank you. Now I have a Quest.
Margaret Mikulska
Sinfonia Concertante - the whole usual Mozart violin enchillada.
-Margaret
Margaret Mikulska
Kremer/Harnoncourt into a twofer, did they also drop something from the
original issue? (I'm referring also to the Mozart violin concertos.) I
suppose they must have.
-Margaret
Norman M. Schwartz
>From: Margaret Mikulska miku...@silvertone.princeton.edu
>Date: 12/29/01 5:46 PM Eastern Standard Time
>Message-id: <3C2E470A...@silvertone.princeton.edu>
>
>It did. And all three single movements: Adagio and two Rondos. And the
>Sinfonia Concertante - the whole usual Mozart violin enchillada.
>
Philips' CME, The Violin Concertos, featuring Szeryng contains even more than
the usual enchillada, namely the concerto of unknown origin, KV271a/271i and
additional reconstructions including a concerto for Violin and Piano. ASFAIK,
the 4 disc set is the only way to purchase Szeryng's 271a, a concerto just as
enjoyable of some of WAM's!
IMO the sound of all of the recordings in this set is second to none. As for
the performances, I ain't no musician but just a casual listener!
Matthew B. Tepper
news:20011230100245...@mb-fo.aol.com:
> Philips' CME, The Violin Concertos, featuring Szeryng contains even more
> than the usual enchillada, namely the concerto of unknown origin,
> KV271a/271i and additional reconstructions including a concerto for
> Violin and Piano. ASFAIK, the 4 disc set is the only way to purchase
> Szeryng's 271a, a concerto just as enjoyable of some of WAM's! IMO the
> sound of all of the recordings in this set is second to none. As for the
> performances, I ain't no musician but just a casual listener!
Was ist das "CME"?
Richard S. Sandmeyer
"Matthew B. Tepper" <oy兀earthlink.net> wrote:
> nm...@aol.com (Norman M. Schwartz) wrote in
> news:20011230100245...@mb-fo.aol.com:
>
> > Philips' CME, The Violin Concertos, featuring Szeryng contains even more
> > than the usual enchillada, namely the concerto of unknown origin,
> > KV271a/271i and additional reconstructions including a concerto for
> > Violin and Piano. ASFAIK, the 4 disc set is the only way to purchase
> > Szeryng's 271a, a concerto just as enjoyable of some of WAM's! IMO the
> > sound of all of the recordings in this set is second to none. As for the
> > performances, I ain't no musician but just a casual listener!
>
> Was ist das "CME"?
>
I think CME = Complete Mozart Edition or possibly Compact Mozart Edition
(on Philips).
The Szeryng/Gibson set (with the exception noted below) was included in
the Philips Mozart Edition. I used to own the Szeryng set on Philips LPs,
and found it to be a good set -- better sound than the Grumiaux on the
same label. Interpretively, it was a closer contest, though each
(Grumiaux and Szeryng) had its own strengths.
The Szeryng set included the canonical five violin concerti, the
Concertone, the Sinfonia Concertante K. 364, the Rondo and the Adagio, and
the KV271a/i mentioned by Mr. Schwartz.
The exception is that Philips did not include the Sinfonia Concertante K
364 from the Szeryng set in the CME. They covered that piece with one by
ASMF.
Rich Sandmeyer
richsand at iximd dot com
Matthew B. Tepper
news:richsand-301...@192.168.123.135:
Thanks for the elucidation. I used to have a bunch of Szeryng's Mozart
recordings decades ago, and I *think* one of the two spurious concerti was
included -- probably the K. 271 already cited.
Richard Kapp
and something catches my attention.
Has any of you encountered the Mozart concerto I recorded two years
ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
as "Adelaide", as well as the two Rondos and Adagio). I would be
delighted to send up to three sets of these to any of you who might
reply by requesting them - but please reply to the group as well as to
me personally so we can all keep track. The only other condition is
that, after receiving and hearing them, you post your comments to the
group as you have in the current discussion.
The orchestra is the Czech Philharmonic CO, by the way.
Richard Kapp
rk...@earthlink.net
"Matthew B. Tepper" <oy?earthlink.net> wrote in message news:<VWJX7.643$%C1.1...@newsread1.prod.itd.earthlink.net>...
John Thomas
rk...@earthlink.net (Richard Kapp) wrote:
> Forgive me for intruding but occasionally I look through this group
> and something catches my attention.
>
> Has any of you encountered the Mozart concerto I recorded two years
> ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
> as "Adelaide", as well as the two Rondos and Adagio). I would be
> delighted to send up to three sets of these to any of you who might
> reply by requesting them - but please reply to the group as well as to
> me personally so we can all keep track. The only other condition is
> that, after receiving and hearing them, you post your comments to the
> group as you have in the current discussion.
>
> The orchestra is the Czech Philharmonic CO, by the way.
>
> Richard Kapp
> rk...@earthlink.net
>
>
As a fan of Tenenbaum's Bach S & P's and the two of yours' Bach Violin
Sonatas I'd love to hear and comment on these; contact me by e-mail
(below signature) for the shipping addrtess.
--
-Regards,
John Thomas
jwth...@sonic.net
Matthew B. Tepper
news:4c8202fb.01123...@posting.google.com:
> Forgive me for intruding but occasionally I look through this group
> and something catches my attention.
>
> Has any of you encountered the Mozart concerto I recorded two years
> ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
> as "Adelaide", as well as the two Rondos and Adagio). I would be
> delighted to send up to three sets of these to any of you who might
> reply by requesting them - but please reply to the group as well as to
> me personally so we can all keep track. The only other condition is
> that, after receiving and hearing them, you post your comments to the
> group as you have in the current discussion.
>
> The orchestra is the Czech Philharmonic CO, by the way.
Did Ms. Tenenbaum use the Hindemith cadenzas in the "Adelaïde" (which if
memory serves is a forgery concocted by Henri Casadesus)?
Bob Lombard
Kapp) wrote:
>Forgive me for intruding but occasionally I look through this group
>and something catches my attention.
>
>Has any of you encountered the Mozart concerto I recorded two years
>ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
>as "Adelaide", as well as the two Rondos and Adagio). I would be
>delighted to send up to three sets of these to any of you who might
>reply by requesting them - but please reply to the group as well as to
>me personally so we can all keep track. The only other condition is
>that, after receiving and hearing them, you post your comments to the
>group as you have in the current discussion.
>
>The orchestra is the Czech Philharmonic CO, by the way.
>
>Richard Kapp
>rk...@earthlink.net
>
I have enjoyed some - not all - of Mela's playing I have
heard. I would be happy to accept your largesse under the
conditions you specify.
bl
Simon Roberts
"Richard Kapp" <rk...@earthlink.net> wrote in message
news:4c8202fb.01123...@posting.google.com...
> Forgive me for intruding but occasionally I look through this group
> and something catches my attention.
>
> Has any of you encountered the Mozart concerto I recorded two years
> ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
> as "Adelaide", as well as the two Rondos and Adagio). I would be
> delighted to send up to three sets of these to any of you who might
> reply by requesting them - but please reply to the group as well as to
> me personally so we can all keep track. The only other condition is
> that, after receiving and hearing them, you post your comments to the
> group as you have in the current discussion.
>
> The orchestra is the Czech Philharmonic CO, by the way.
I would be pleased to receive and comply.
Simon (who thinks you should "intrude" more often)
Richard Kapp
Richard
"Simon Roberts" <sd...@pobox.upenn.edu> wrote in message
news:a0odqt$kbd$1...@netnews.upenn.edu...
Richard Kapp
the concerto was actually by Marius Casadesus - one of the better musical
psuedo-frauds.
"Matthew B. Tepper" <oyū@earthlink.net> wrote in message
news:APMX7.8908$yi.9...@newsread2.prod.itd.earthlink.net...
> rk...@earthlink.net (Richard Kapp) wrote in
> news:4c8202fb.01123...@posting.google.com:
>
> > Forgive me for intruding but occasionally I look through this group
> > and something catches my attention.
> >
> > Has any of you encountered the Mozart concerto I recorded two years
> > ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
> > as "Adelaide", as well as the two Rondos and Adagio). I would be
> > delighted to send up to three sets of these to any of you who might
> > reply by requesting them - but please reply to the group as well as to
> > me personally so we can all keep track. The only other condition is
> > that, after receiving and hearing them, you post your comments to the
> > group as you have in the current discussion.
> >
> > The orchestra is the Czech Philharmonic CO, by the way.
>
> Did Ms. Tenenbaum use the Hindemith cadenzas in the "Adelaīde" (which if
Margaret Mikulska
Some time ago, when you offerred to give away a certain number of CDs
provided people review them in this group, we had an e-mail exchange,
mostly about the authenticity of the two Mozart concertos (the third,
"Adelaide" is spurious). You promised to send me the CDs with all three
doubtful/spurious concertos, but I never heard from you afterwards and
never received the CDs. Perhaps it was just an overlooking; in any
case, I hope you can send them to me this time.
Regards,
-Margaret Mikulska
Norman M. Schwartz
> and something catches my attention.
>
> Has any of you encountered the Mozart concerto I recorded two years
> ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
> as "Adelaide", as well as the two Rondos and Adagio). I would be
> delighted to send up to three sets of these to any of you who might
> reply by requesting them - but please reply to the group as well as
to
> me personally so we can all keep track. The only other condition is
> that, after receiving and hearing them, you post your comments to
the
> group as you have in the current discussion.
>
> The orchestra is the Czech Philharmonic CO, by the way.
K. 271a has an odd attraction to me. I have the Szeryng performance on
Philips LP 6882 006 and CD as contained in the Philips Complete Mozart
Edition Volume 8, your Ess.a.y's CD 1072, as well as several others.
From what very little I know about violin playing, all I can say is
that Mela is no Henryk!
Philip Peters
Richard Kapp wrote:
> Forgive me for intruding but occasionally I look through this group
> and something catches my attention.
>
> Has any of you encountered the Mozart concerto I recorded two years
> ago with Mela Tenenbaum - we did all eight (incl. nos. 6 & 7 as well
> as "Adelaide", as well as the two Rondos and Adagio). I would be
> delighted to send up to three sets of these to any of you who might
> reply by requesting them - but please reply to the group as well as to
> me personally so we can all keep track. The only other condition is
> that, after receiving and hearing them, you post your comments to the
> group as you have in the current discussion.
>
> The orchestra is the Czech Philharmonic CO, by the way.
>
> Richard Kapp
> rk...@earthlink.net
Ah, Mr. Kapp! Yes, this is a very interesting proposition. I have some of your recordings and am interested in Ms.
Tenenbaum. I will probably be too late but if not, I would be very happy to hear this.
Philip
Jan Depondt
| > Sinfonia Concertante, and the Adagio K.261, and the Rondo K.269.
|
| Thank you. Now I have a Quest.
|
BTW, today I saw the new reissues (EMI, Encore series) in the store. The Rondo
K.373 is (in contradiction witk the folder and the website
(http://www.emi-encore.com/cat/encore1.html or
http://www.emi-encore.com/cat/encore2.html)) on both of these 2 discs. Maybe
the notes (contents) on the cd's are wrong; maybe somebody at EMI is ....
tlste...@tpgi.com.au
"Pete" <nospa...@please.com> wrote:
> I want to compile another set of Mozart's violin concertos, to go along
> with my AAM/Standage CDs. One set could be Anne-Sophie Mutter's
> three CDs:
> - 3&5 with Karajan/BPO when she was 14 (her debut)
> - 1 with Marriner/ASMF, along with an Adagio and Sinfonia concertante
> - 2&4 with Muti/BPO, along with a Divertimento
>
> Unfortunately, the latter two are out-of-print, but maybe they will be
> reissued like the first one. Does anyone have strong feelings about these
> CDs? One comment I heard was the the first one had slightly muddled
> sound. True? Also, comments about other collections of Mozart's violin
> concertos would be appreciated. How about Monica Hugget, Nikolaus
> Harnoncourt, or Thomas Zehetmair? I won't consider anything recorded
> before 1970, as I do not like the sound. Thanks.
>
>
> Pete
Hmmm... well, you'll be missing out on the very fine set recorded by
Artur Grumiaux with the London Symphony Orchestra, cond. Colin Davis.
Recording quality is pretty good, but try before you buy, eh?
--
Cheers!
Terry
(remove the numbers if replying direct)
vaneyes
tlste...@tpgi.com.au says...
Grumiaux's is a favorite. I also enjoy Mutter and Tetzlaff.
Re the latter for those interested, he'll be appearing with Andsnes in Vancouver
January 20...
http://www.vanrecital.com/season/0102/concert4.html
Regards
Vincent Ventrone
> >> with my AAM/Standage CDs. One set could be Anne-Sophie Mutter's
> >> three CDs:
Unless I simply missed it no one mentioned my favorite cycle -- Lin /Leppard
on sony.
Al R
"vaneyes" <van...@nospamexcite.com> wrote in message
news:GlJY7.956$cD4....@www.newsranger.com...
I have that 4 cd album of Mutter, Karajan, BPO, and various great violin
concertos, including Mozarts 3rd & 5th. I'm sorry I bought it. I realize
she was very young when this was recorded. Nevertheless, it is sub-par. In
fact, it drags. Perhaps her performances improved with age. I really
wouldn't know since these initial recordings soured me toward listening to
more of her.
The is another album which I would recommend. It's a 2 cd album with
Perlman, Levine, VPO, and it's a digital recording (about 1983). It was
made for BMG and is on the DG label. This one is hard to beat, and you
usually can get it at a very good price from BMG.
Al
John Thomas
"Al R" <alb...@nccw.net> wrote:
> The is another album which I would recommend. It's a 2 cd album with
> Perlman, Levine, VPO, and it's a digital recording (about 1983). It was
> made for BMG and is on the DG label. This one is hard to beat, and you
> usually can get it at a very good price from BMG.
> Al
This was the one set I had for comparison when I received the
Tenenbaum/Kapp recordings for evaluation. Hard to beat as
Perlman/Levine may have been, they were IMO beaten.
Mike Painter
> The is another album which I would recommend. It's a 2 cd album with
> Perlman, Levine, VPO, and it's a digital recording (about 1983). It was
> made for BMG and is on the DG label. This one is hard to beat, and you
> usually can get it at a very good price from BMG.
> Al
Musical Heritage Society recently had it on clearance, I think for $4.99 or so.
cheers,
mike