Beethoven's Fourth Piano Concerto
David Whitbeck
I've tried Gardiner but it's boring and the piano sounds plain silly.
I have Serkin/Bernstein for #3 and 5 and I really love that cd. It
looks like they haven't done #4 so I don't know where to look. Any
suggestions? Personal favorites? I already google searched this
newsgroup but I didn't find anything, which is quite odd.
David Whitbeck
Bob Lombard
Yeah, it's odd; Google ought to have plenty. Anyway, my favorites are
Arrau/Colin Davis, Fleisher/Szell, and L. Hoffman/Caridis. I interpret
all of these interpretations as celebratory, and have occasionally
wept tears of joy on hearing them.
bl
Robert G Adams
the Amsterdam Concertgabouw. The latter is coupled with the third concerto.
"Bob Lombard" <hill...@vermontel.net> wrote in message
news:959n6v8f69096605k...@4ax.com...
Frank Berger
favorite recordings of anything.
"David Whitbeck" <dwhi...@invalid.net> wrote in message
news:3e6ba1cf...@news.psu.edu...
Alan Hayward
> I've tried Gardiner but it's boring and the piano sounds plain silly.
> I have Serkin/Bernstein for #3 and 5 and I really love that cd. It
> looks like they haven't done #4 so I don't know where to look. Any
> suggestions? Personal favorites?
For me: Gilels/Ludwig, Fleisher/Szell and Perahia/Haitink.
Robert Newman
Gilels/Ludwig on Philips Great Pianists or Testament (1957 recording in
stereo)
Sol L. Siegel
>I'm interested in getting a nice recording of this piano concerto.
Fleisher/Szell, (Bishop-)Kovacevich/Davis, Schnabel/Stock, and, if you can find
it, Mewton-Wood. Also Moravec/Turnovsky, though
that uses an alternate cadenza and it, too, can be hard to find.
-Sol Siegel, Philadelphia, PA
--------------------
"I am sure of very little, and I shouldn't be surprised if those things were
wrong." - Clarence Darrow
--------------------
(Remove "dammspam" from the end of my e-mail address to respond.)
Mark Perlman
stereo versions: Fleischer/Szell and Curzon/Knappertsbusch.
"David Whitbeck" <dwhi...@invalid.net> wrote in message
news:3e6ba1cf...@news.psu.edu...
Joshua Kaufman
>
> dwhi...@invalid.net (David Whitbeck) writes:
>
> >I'm interested in getting a nice recording of this piano concerto.
>
> Fleisher/Szell, (Bishop-)Kovacevich/Davis, Schnabel/Stock, and, if you can find
> it, Mewton-Wood. Also Moravec/Turnovsky, though
> that uses an alternate cadenza and it, too, can be hard to find.
My favorite CD with said concerto is Uchida preforming, because she
plays the best 3rd I've heard, and her 4th is very good too.
-Joshua
--
AOL-IM: TerraEpon ICQ: 5404138
Frank Berger
"Sol L. Siegel" <vod...@aol.comdammspam> wrote in message
news:20030309185530...@mb-ft.aol.com...
> dwhi...@invalid.net (David Whitbeck) writes:
>
> >I'm interested in getting a nice recording of this piano concerto.
>
> Fleisher/Szell, (Bishop-)Kovacevich/Davis, Schnabel/Stock, and, if you can
find
> it, Mewton-Wood. Also Moravec/Turnovsky, though
> that uses an alternate cadenza and it, too, can be hard to find.
>
order from jpc after I couldn't find it anywhere else.
Tony Movshon
> Curzon/Knappertsbusch.
You only said that because Simon's away.
Tony Movshon
mov...@nyu.edu
Samir Golescu
On Sun, 9 Mar 2003, Tony Movshon wrote:
> Mark Perlman wrote:
> > Curzon/Knappertsbusch.
>
> You only said that because Simon's away.
Is he, really?
No connection whatsoever -- did anybody mention Haskil?
regards,
SG
Dirk A. Ronk
> Fleisher/Szell,
My favorite. Period.
Closest runners-up: Gilels/Ludwig (very different, but beautiful), and
Moravec/Turnovsky. And I recently heard a Serkin/Ormandy performance
from the early '60s collaboration that's well worth another listen.
Historic versions:
Backhaus with Cantelli/NYP in a live '56 performance. Hansen with
Furtwangler/Berlin (wartime).
YMMV, as always,
Dirk
Mason Verger
Ashkenazy/Cleveland from 1987. Others hate it, but it's a complete Beethoven
Concerti cycle with Choral Fantasy Op. 80, very well played and sung.
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in news:959n6v8f69096605k...@4ax.com:
Would that be Militiades Caridis? That odd name seems to have stuck in my
head for decades. I see via Google that he's Greek, so maybe Alex Rigas can
fill in some information about him and his recording career.
--
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
Mark Coy tossed off eBay? http://makeashorterlink.com/?M2B734C02
RMCR's most pointless, dumb and laughable chowderhead: Mark Coy.
REG
"Samir Golescu" <gol...@uiuc.edu> wrote in message
news:Pine.GSO.4.31.030309...@ux8.cso.uiuc.edu...
Simon Roberts
>
>Mark Perlman wrote:
>> Curzon/Knappertsbusch.
>
>You only said that because Simon's away.
>
Little do they know....
Anyone know when Moravec's remake is due out? At least that one may, unlike its
predecessor, feature a decent orchestra, conductor and engineer(s). Meanwhile I
would suggest Kovacevich (either or both), Gould (honest), Hoffman (not sure
which one), Yudina, Gilels (live, with Sanderling, not the studio recording) and
Mewton-Wood, among others. If the original poster wants Serkin, he should avoid
the hideous recording unearthed from Marlboro a few years ago by Sony in favor
of one of his earlier efforts (but earlier than the Telarc recording).
Simon
Bob Lombard
>In article <3E6C09B5...@nyu.edu>, Tony says...
>>
>>Mark Perlman wrote:
>>> Curzon/Knappertsbusch.
>>
>>You only said that because Simon's away.
>>
>
>Little do they know....
>
>Anyone know when Moravec's remake is due out? At least that one may, unlike its
>predecessor, feature a decent orchestra, conductor and engineer(s). Meanwhile I
>would suggest Kovacevich (either or both), Gould (honest), Hoffman (not sure
>which one)[...]
Ludwig. I think we've had this conversation before.
bl
Bob Lombard
uswest.net are forged)" <oyþ@earthlink.net> wrote:
>Bob Lombard <hill...@vermontel.net> appears to have caused the following
>letters to be typed in news:959n6v8f69096605k...@4ax.com:
>
>> Yeah, it's odd; Google ought to have plenty. Anyway, my favorites are
>> Arrau/Colin Davis, Fleisher/Szell, and L. Hoffman/Caridis. I interpret
>> all of these interpretations as celebratory, and have occasionally
>> wept tears of joy on hearing them.
>
>Would that be Militiades Caridis? That odd name seems to have stuck in my
>head for decades. I see via Google that he's Greek, so maybe Alex Rigas can
>fill in some information about him and his recording career.
That's the guy (I think you have an extra i in there). The recording
I'm referring to is with the Philharmonia Hungarica. MHS issued it -
many summers ago - and now refuses to tell where they got it. I have
sought out several other recordings of Ludwig Hoffman since, and they
are very ordinary. That performance with Caridis may have been his
'half-hour of greatness'.
bl (still waiting for mine)
RX-01
interpretations of Beethoven's 4th concerto are among my favourite
recordings of any concertos, definitely among my desert island discs.
RX-01
Neil
> Personal favorites? I already google searched this
>newsgroup but I didn't find anything, which is quite odd.
Gould / Bernstein
David Whitbeck
seems to be a personal favorite for alot of people.
David Whitbeck
James Kahn
because it was (I'm pretty sure) my first classical LP, a gift when
I was about 12. It was on one of those floppy LPs, as I recall, that
ended up not retaining the greatest sound. But it was kind of neat
to be able to bend it and touch opposite edges together.
--
Jim
New York, NY
(Please remove "nospam." to get my e-mail address)
http://www.panix.com/~kahn
RX-01
> Well it looks like I'll be getting Fleisher/Szell. Great price and it
> seems to be a personal favorite for alot of people.
>
> David Whitbeck
I have to warn you though the recording is not very good. There's plenty of
tape hissing since the CD has not been remastered.
RX-01
Diaz Philipp
> Any
> suggestions? Personal favorites? I already google searched this
> newsgroup but I didn't find anything, which is quite odd.
>
> David Whitbeck
From the historical point of view, try Serkin with Toscanini (of
course, not the best sound) or Rubinstein/Beecham (better sound). From
modern recordings Rattle with Brendel (Vienna Philharmonic, Philips)
is exciting (the best of Brendel's several versions). Also possible is
Gilels/Ludwig (Philharmonia, EMI), Fleisher/Szell (Cleveland
Orchestra, CBS, Sony). Acceptable also Curzon with Knappertsbusch
(Decca).
It's your choice!
Kai-Uwe
Allen & Linda Tyler
RX-01 wrote:
Is this the case with its latest incarnation (the 3-CD set that includes the
Triple Cto instead of a Mozart Cto)?
Incidentally, you should pick up the Fleisher/Szell Brahms Cti at the same
time.
Allen Tyler
-----------== Posted via Newsfeed.Com - Uncensored Usenet News ==----------
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Dirk A. Ronk
> > No connection whatsoever -- did anybody mention Haskil?
I didn't, though I have her 3rd and 4th, IIRC. Her LvB concerti
haven't grabbed me in the way that her LvB violin/piano sonatas and so
much of her Mozart has, but it's been a while since I spun these LPs.
Maybe it's time for another listen.
My pet peeves: why didn't Sviatoslav Richter give us a 4th and 5th? Or
Annie Fischer, whose LvB 3rd is just about my favorite? And what would
William Kapell have done with the bigger LvB concerti...let alone the
sonatas? Why didn't Elly Ney record a concerto cycle earlier in her
career? Why are Michelangeli's best performances of these on crappy
pirate-recording type sound (I have the late DGG recordings but these
are more problematic performance-wise than some of the non-commercial
stuff)?
Dirk
Andrew T. Kay
Between those, I prefer the former. I'm afraid I usually find that Pollini and
Abbado bring out the most lifeless side of each other when they get together in
the standard rep (less so in contemporary music).
--Todd K
Andrew T. Kay
>Well it looks like I'll be getting Fleisher/Szell. Great price and it
>seems to be a personal favorite for alot of people.
If you'd gone to a certain second-hand store in my hometown a few years back,
you could have had my copy for an even lower price...
--Todd K
Ward Hardman
: "RX-01" wrote:
However, Pollini plays the "short" cadenza in the first movement, which
drops the performance waaaaaaay down in my estimation. (I wonder if he
really felt that cadenza was better in any way?)
--Ward Hardman
"The older I get, the more I admire and crave competence, just simple
competence, in any field from adultery to zoology."
- H.L. Mencken
Andrew T. Kay
>What's the view on Rubinstein's effort on RCA? I can't be objective
>because it was (I'm pretty sure) my first classical LP, a gift when
>I was about 12. It was on one of those floppy LPs, as I recall, that
>ended up not retaining the greatest sound. But it was kind of neat
>to be able to bend it and touch opposite edges together.
>--
He left four commercial recordings of it, all now RCA/BMG, in addition to the
live ones that are in circulation. If you had the floppy LP one, it was the
Leinsdorf/BSO performance. I don't know if "a" view on it exists; my view is
that it's a polished, considered, and well-recorded performance that is
effective and often beautiful as far as it goes, but it comes from a stage of
his career when his studio remakes and re-remakes of the standard repertoire
were on the cautious side; and while this brings about a greater degree of
precision and exactitude in the pianism, there's a corresponding loss in the
spontaneity and freshness of the interpretation; one may find it labored or
heavy-handed. There's more of Rubinstein's "personality" on display in the
Krips-conducted performance of ten years earlier (although Krips's RCA
orchestra cannot match the sheen of the BSO, and sounds scrappy by comparison)
and especially in a Beecham-conducted performance of the late forties, on which
Rubinstein plays Saint-Saëns's dazzling first-movement cadenza.
--Todd K
RX-01
>
> RX-01 wrote:
>
>
>>"David Whitbeck" <dwhi...@invalid.net> wrote in message
>>news:3e6cb504...@news.psu.edu...
>>
>>>Well it looks like I'll be getting Fleisher/Szell. Great price and it
>>>seems to be a personal favorite for alot of people.
>>>
>>>David Whitbeck
>>
>>I have to warn you though the recording is not very good. There's plenty of
>>tape hissing since the CD has not been remastered.
>>
>
>
> Is this the case with its latest incarnation (the 3-CD set that includes the
> Triple Cto instead of a Mozart Cto)?
>
Yes. No remastering - the latest incarnation has just the 3 individual
Essential Classics CDs packed together.
RX-01
--
To reply be e-mail, add the word kons before the number.
Samir Golescu
On Mon, 10 Mar 2003, REG wrote:
> You don't like Yudina anymore?
I adore Yudina, but not in this concerto particularly (the slow moevement
is unique, though).
regards,
SG
________
<<At every concert I've sensed a certain insecurity about the tempo. It's
clearly marked quarter note = 80, uhh, 69.>> -- Eugene Ormandy
Samir Golescu
On Mon, 10 Mar 2003, Bob Lombard wrote:
> >Anyone know when Moravec's remake is due out? At least that one may, unlike its
> >predecessor, feature a decent orchestra, conductor and engineer(s). Meanwhile I
> >would suggest Kovacevich (either or both), Gould (honest), Hoffman (not sure
> >which one)[...]
>
> Ludwig. I think we've had this conversation before.
Take out of rmcr "the conversations we've had before" and what we are
left shall be one posting per week.
regards,
SG
John Gavin
Yes, I agree, particularly with Pollini/Bohm - one's of Pollini's
finest recorded efforts.
bal...@australia.edu
> On Sun, 09 Mar 2003 20:27:11 GMT, dwhi...@invalid.net (David Whitbeck) wrote:
>
> > Personal favorites? I already google searched this
> >newsgroup but I didn't find anything, which is quite odd.
Gilels/Ludwig tops the list for me followed by:
Perahia/Haitink
Rubinstein/Krips
Moravec/Turnovsky
and a rare outsider - Michael Roll on the Tring label I think. I
haven't heard the Fleisher/Szell but can't se it outdoing any of the
others.
Cheers
Baldric
Matthew B. Tepper (posts from uswest.net are forged)
following letters to be typed in
I'm glad to see a much more helpful reply than my wimpy one! Are you sure
it wasn't the Barenboim that was on a Dynaflex pressing? I'm glad to see
I'm not the only one who likes the Saint-Saëns cadenza, on occasion anyway,
although I would like to hear a world-class pianist play that by Brahms.
Matthew B. Tepper (posts from uswest.net are forged)
be typed in news:HBJoH...@bath.ac.uk:
I'll put it on my list for when Peter Gelb has been rusticated and I've
been appointed to turn the company around. ;--)
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in news:b4iatv$6ir$1...@reader2.panix.com:
> What's the view on Rubinstein's effort on RCA? I can't be objective
> because it was (I'm pretty sure) my first classical LP, a gift when
> I was about 12. It was on one of those floppy LPs, as I recall, that
> ended up not retaining the greatest sound. But it was kind of neat
> to be able to bend it and touch opposite edges together.
Of the four he made of that work, I think the one with Barenboim might have
been on those awful Dynaflex LPs, but I've never heard it.
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in
> From the historical point of view, try Serkin with Toscanini (of course,
> not the best sound)
There's also an earlier performance (in fact Serkin's US debut) where the
orchestra is the Philharmonic-Symphony. Better orchestra, but then much
worse sound.
> or Rubinstein/Beecham (better sound).
If you don't mind an unusual cadenza, I think by Saint-Saëns.
> From modern recordings Rattle with Brendel (Vienna Philharmonic, Philips)
> is exciting (the best of Brendel's several versions). Also possible is
> Gilels/Ludwig (Philharmonia, EMI), Fleisher/Szell (Cleveland Orchestra,
> CBS, Sony). Acceptable also Curzon with Knappertsbusch (Decca).
> It's your choice!
> Kai-Uwe
--
David Whitbeck
>
>I have to warn you though the recording is not very good. There's plenty of
>tape hissing since the CD has not been remastered.
>
>RX-01
>
>
Oh yes I'm quite used to that from the Essential Classics line. What
about the sound for Perahia/Haitink?
David Whitbeck
Tony Movshon
> What's the view on Rubinstein's effort on RCA? I can't be objective
> because it was (I'm pretty sure) my first classical LP, a gift when
> I was about 12. It was on one of those floppy LPs, as I recall, that
> ended up not retaining the greatest sound. But it was kind of neat
> to be able to bend it and touch opposite edges together.
Probably a more worthwhile feature than its content, if you ask me ...
Tony Movshon
mov...@nyu.edu
Fabian Piller
<bal...@australia.edu> schrieb im Newsbeitrag
news:afe35cfd.03031...@posting.google.com...
> Neil <ne...@thump.org> wrote in message
news:<q2cp6vor112nmnhq2...@4ax.com>...
> > On Sun, 09 Mar 2003 20:27:11 GMT, dwhi...@invalid.net (David
Whitbeck) wrote:
> >
> > > Personal favorites? I already google searched this
> > >newsgroup but I didn't find anything, which is quite odd.
>
>
> Gilels/Ludwig tops the list for me followed by:
>
> Perahia/Haitink
>
> Rubinstein/Krips
>
> Moravec/Turnovsky
>
> and a rare outsider - Michael Roll on the Tring label I think.
Seconded! A superb cycle you can get really cheap (at least in
Germany).
Fabian
RX-01
The sound for the Perahia/Haitink is superb. Both recording sound and
orchestral. In fact I agree with Gramophone (or was it the Penguin
Guide?) that the Haitink performances of this concertos have the
greatest orchestral detail. Having said that though, this is not my
favourite performance simply because I find Perahia's playing too
gentle, too "Mozartian".
RX-01
Pierre-Laurent Aimard at the piano and the Chamber Orchestra of Europe
conducted by Harnoncourt. This has just been released recently by Teldec
and something tells me it's going to be one of the great cycles. It's
not expensive either, at least in the UK. Has anyone heard these
recordings yet to comment on them?
Andrew T. Kay
>I'm glad to see a much more helpful reply than my wimpy one! Are you sure
>it wasn't the Barenboim that was on a Dynaflex pressing?
The Leinsdorf definitely was a Dynaflex pressing; whether the Barenboim was
*too*, I'm unable to say. But I thought RCA had abandoned that particular
gimmick by the early seventies.
On artistic grounds, I mark the Barenboim the weakest performance of the four
official ones in the Rubinstein Collection. It's more careful and slowed down
than the Leinsdorf (and much more so than the other two), with fewer
compensating virtues, less overall vigor.
>I'm glad to see
>I'm not the only one who likes the Saint-Saëns cadenza,
And I like still more the one he (Saint-Saëns) wrote for Mozart 24 --
anachronistic, I suppose, but wonderfully intricate and mercurial for all that,
and a great fire-breathing finish. It's the principal reason I hold on to the
Casadesus/Szell disc with same work.
--Todd K
Tony Movshon
The Essential Classics remastering is nothing to write home about, but
it's better than the one in the old box that included Mozart 25.
Unfortunately, that Mozart 25 is a) wonderful and b) not otherwise
available. So I kept the old box, hiss and all. Sigh.
Tony Movshon
mov...@nyu.edu
Mark K. Ehlert
news:20030309185530...@mb-ft.aol.com:
> Also Moravec/Turnovsky, though
> that uses an alternate cadenza and it, too, can be hard to find.
Which cadenza would that be (and in which movement)? Another by
Beethoven, the performer, or another composer?
--
Mark K. Ehlert
To reply via e-mail, X = 3
Alan Cooper
news:b4hv4...@drn.newsguy.com...
> If the original poster wants Serkin, he should avoid
> the hideous recording unearthed from Marlboro a few years ago by Sony in
favor
> of one of his earlier efforts (but earlier than the Telarc recording).
. . . preferably Serkin / Toscanini, which is a vivid, energetic
performance.
AC
Diaz Philipp
> > From the historical point of view, try Serkin with Toscanini (of course,
> > not the best sound)
>
> There's also an earlier performance (in fact Serkin's US debut) where the
> orchestra is the Philharmonic-Symphony. Better orchestra, but then much
> worse sound.
Interesting. Thanks. Do you know where this version was released?
>
> > or Rubinstein/Beecham (better sound).
>
> If you don't mind an unusual cadenza, I think by Saint-Saëns.
Yes - it is the Saint-Saens.
Kai-Uwe
Simon Roberts
>
>The sound for the Perahia/Haitink is superb. Both recording sound and
>orchestral. In fact I agree with Gramophone (or was it the Penguin
>Guide?) that the Haitink performances of this concertos have the
>greatest orchestral detail. Having said that though, this is not my
>favourite performance simply because I find Perahia's playing too
>gentle, too "Mozartian".
Haitink's better with Schiff (the orchestra this time is Dresden), but then you
have to contend with Schiff....
Simon
Tony Movshon
> "Matthew B. Tepper (posts from uswest.net are forged)" <oyž@earthlink.net> wrote
>>>or Rubinstein/Beecham (better sound).
>>
>>If you don't mind an unusual cadenza, I think by Saint-Saėns.
>
> Yes - it is the Saint-Saens.
And yes, it is "unusual". Brrr.
Tony Movshon
mov...@nyu.edu
James Kahn
>Matthew B. Tepper wrote:
>>I'm glad to see a much more helpful reply than my wimpy one! Are you sure
>>it wasn't the Barenboim that was on a Dynaflex pressing?
>The Leinsdorf definitely was a Dynaflex pressing; whether the Barenboim was
>*too*, I'm unable to say. But I thought RCA had abandoned that particular
>gimmick by the early seventies.
The Leinsdorf was the one I was referring to--I hadn't realized there
were so many others.
--
Jim
New York, NY
(Please remove "nospam." to get my e-mail address)
http://www.panix.com/~kahn
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in
news:d74c25e2.03031...@posting.google.com:
> "Matthew B. Tepper (posts from uswest.net are forged)"
> <oyþ@earthlink.net> wrote
>>
>> > From the historical point of view, try Serkin with Toscanini (of
>> > course, not the best sound)
>>
>> There's also an earlier performance (in fact Serkin's US debut) where
>> the orchestra is the Philharmonic-Symphony. Better orchestra, but then
>> much worse sound.
>
> Interesting. Thanks. Do you know where this version was released?
Radio Years RY 53.
>> > or Rubinstein/Beecham (better sound).
>>
>> If you don't mind an unusual cadenza, I think by Saint-Saëns.
> Yes - it is the Saint-Saens.
> Kai-Uwe
--
Alfred Schmidt
"RX-01" <6...@yahoo.co.uk> schrieb im Newsbeitrag
news:HBJEM...@bath.ac.uk...
> I'm surprised no-one has mentioned Pollini/Bohm or Pollini/Abbado.
Pollini's
> interpretations of Beethoven's 4th concerto are among my favourite
> recordings of any concertos, definitely among my desert island discs.
>
And I also recommand the Pollini/Böhm recording.
Compliments from Vienna
Alfred
Lena
> >
> >Mark Perlman wrote:
> >> Curzon/Knappertsbusch.
> >
> >You only said that because Simon's away.
> >
>
Dear Simon, as you notice, we do need firm dates for when you're mired in
some very out-of-town used CD store... :)
> Anyone know when Moravec's remake is due out?
I'm not sure it has even been made yet? Aren't the plans for recording
it for sometime this year?
Though since I don't any sort of a connection to Moravec (he doesn't even
appear in my dreams), I suppose that's fairly worthless contribution.... :)
> would suggest Kovacevich (either or both), Gould (honest), Hoffman (not sure
> which one), Yudina, Gilels (live, with Sanderling, not the studio recording) and
> Mewton-Wood, among others.
FWIW, I second Mewton-Wood, Kovacevich, Gilels, Gould, don't know the others.
(And Schnabel.)
Lena
Steven Clarke
not quite as good as the BMG but much improved sound from the Radio Years
disaster of the '36.
Steven Clarke
Matthew B. Tepper (posts from uswest.net are forged)
following letters to be typed in news:b4lqe...@enews4.newsguy.com:
> Guild has issued the two Serkin/Toscanini performances. The '44 sounding
> not quite as good as the BMG but much improved sound from the Radio Years
> disaster of the '36.
>
> Steven Clarke
How about the Mozart K. 595 from the same concert?
Steven Clarke
I enjoyed the Quartet movements and thay are an addition to the Toscanini CD
discography.
The rehearsal is the Coriolan Overture and is the same as issued on Naxos.
Guild GHCD 2230/31
Beethoven Coriolan Overture . Quartets No. 9 & 16
Cavatina & Fugue . Piano Concerto No. 4 with Rudolf Serkin
Rehearsal, also: American Debut of Rudolf Serkin, New York Philharmonic
Concert February 23, 1936 Mozart Piano Concerto 27 . Beethoven Concerto
No. 4
"Matthew B. Tepper (posts from uswest.net are forged)" <oyþ@earthlink.net>
wrote in message news:Xns933BD416170...@129.250.170.99...
Alex Rigas
> Bob Lombard <hill...@vermontel.net> appears to have caused the following
> > > Yeah, it's odd; Google ought to have plenty. Anyway, my favorites are
> > Arrau/Colin Davis, Fleisher/Szell, and L. Hoffman/Caridis. I interpret
> > all of these interpretations as celebratory, and have occasionally
> > wept tears of joy on hearing them.
>
> Would that be Militiades Caridis? That odd name seems to have stuck in my
> head for decades. I see via Google that he's Greek, so maybe Alex Rigas can
> fill in some information about him and his recording career.
Miltiades Caridis (1923-1998); not an odd name at all; there are
thousands in Greece :-))
Some biographical data as per a www site
http://www.kalomiris.org/kalorg/Notes/BioCaridiEn.htm.
"Recordings that I know. I assume there are more:
*Liszt Piano Concerto 1, The Legend of Saint Francis Ludwig Hoffman
cond. Miltiades Caridis Hungarian Philharmonic Gold Award Classics
MER208
*UNICORN UN 75027 SCHOENBERG,CHAM.SYM.#1/WEBERN,5 PCS/BERG
HORENSTEIN,CARIDIS
*Skalkottas:Ulysse Return, Kalomiris: Levendia Symphony: KOCH
*Fartein Valen, The Eternal, ECM RCD2013
*AMAZING>>> RACHMANINOV PAGANINI VARIATIONS with Nicolas Economou and
the ORF http://www.nefcy.com/CDs_new.html
-He died from heart attack after a quarrel he had, during a rehearsal,
with some incompetent Greek musicians of the Athens State Orchestra.
Very sad. Articles appeared in the Greek press that time titled
"Karydis's murderers" etc.
"Caridis was born in Danzig (today Gdansk) in 1923, from a German
mother and a Greek father. He was brought up and went to school in
Dresden. His father was a successful merchant there, but sensing that
war was imminent he moved his family to Greece, in 1938. Although the
war followed the Caridis family to Greece, this was an exceptionally
wise decision : by 1946 Miltiades was the only survivor from his
school class in Dresden.
During the war he studied music in Athens, in Kalomiris' National
Conservatory with E. Pana (piano) and T.Vavayannis (theory). He
concluded his studies after the War, at the Vienna Music Academy, with
Professor Hans Swarowsky, where he received his degree in conducting.
His career was based in central Europe but he visited Greece often.
He started his career at the opera houses of Köln and Graz and
conducted at the Vienna Staatsoper for seven years. Between 1960 and
1967 he was principal conductor of the Philharmonia Hungarica with
which he toured and made repeated visits to Athens.
He spent some years of his career freelancing conducting in total 129
different orchestras and 80 different choirs around the world as far
as Japan or Argentina also participating in all the major festivals.
He served as principal conductor of the Oslo Philharmonic (1969-71),
Duisburg (1975-81), Tonkünstler (1979-85) and Greek Radio (1995 to his
death in 1977)
He was a member of the board of many international competitions. He
was awarded the Bella Bartok Medal in 1981 for his contribution to the
dissemination of Bartok's work and was honoured by the Athens Academy
for his overall contribution to music in 1991".
Best
Alex
Matthew B. Tepper (posts from uswest.net are forged)
following letters to be typed in news:b4lqe...@enews4.newsguy.com:
> Guild has issued the two Serkin/Toscanini performances. The '44 sounding
> not quite as good as the BMG but much improved sound from the Radio Years
> disaster of the '36.
>
> Steven Clarke
How about the Mozart K. 595 from the same concert?
>> >> > From the historical point of view, try Serkin with Toscanini (of
>> >> > course, not the best sound)
>> >>
>> >> There's also an earlier performance (in fact Serkin's US debut) where
>> >> the orchestra is the Philharmonic-Symphony. Better orchestra, but
>> >> then much worse sound.
>> >
>> > Interesting. Thanks. Do you know where this version was released?
>>
>> Radio Years RY 53.
>>
>> >> > or Rubinstein/Beecham (better sound).
>> >>
>> >> If you don't mind an unusual cadenza, I think by Saint-Saëns.
>> > Yes - it is the Saint-Saens.
>> > Kai-Uwe
--
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Matthew B. Tepper (posts from uswest.net are forged)
following letters to be typed in news:b4lqe...@enews4.newsguy.com:
> Guild has issued the two Serkin/Toscanini performances. The '44 sounding
> not quite as good as the BMG but much improved sound from the Radio Years
> disaster of the '36.
>
> Steven Clarke
How about the Mozart K. 595 from the same concert?
>> >> > From the historical point of view, try Serkin with Toscanini (of
>> >> > course, not the best sound)
>> >>
>> >> There's also an earlier performance (in fact Serkin's US debut) where
>> >> the orchestra is the Philharmonic-Symphony. Better orchestra, but
>> >> then much worse sound.
>> >
>> > Interesting. Thanks. Do you know where this version was released?
>>
>> Radio Years RY 53.
>>
>> >> > or Rubinstein/Beecham (better sound).
>> >>
>> >> If you don't mind an unusual cadenza, I think by Saint-Saëns.
>> > Yes - it is the Saint-Saens.
>> > Kai-Uwe
--
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David Whitbeck
expressed my disgust with the Levin/Gardiner recording, I'm not
anti-HIP. I just think that particular recording stunk.
David Whitbeck
Matthew Silverstein
Ah well. That's probably one of my two favorite recordings (the other being
Kovacevich/Davis on Philips).
Matty
Kalman Rubinson
The latter now available on a superb multichannel Pentatone SACD,
fwiw.
Kal
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in
> "Matthew B. Tepper (posts from uswest.net are forged)"
> <oyþ@earthlink.net> wrote
>>
>> > From the historical point of view, try Serkin with Toscanini (of
>> > course, not the best sound)
>>
>> There's also an earlier performance (in fact Serkin's US debut) where
>> the orchestra is the Philharmonic-Symphony. Better orchestra, but then
>> much worse sound.
>
> Interesting. Thanks. Do you know where this version was released?
Radio Years RY 53.
>> > or Rubinstein/Beecham (better sound).
>>
>> If you don't mind an unusual cadenza, I think by Saint-Saëns.
> Yes - it is the Saint-Saens.
> Kai-Uwe
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
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Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in news:b4iatv$6ir$1...@reader2.panix.com:
> What's the view on Rubinstein's effort on RCA? I can't be objective
> because it was (I'm pretty sure) my first classical LP, a gift when
> I was about 12. It was on one of those floppy LPs, as I recall, that
> ended up not retaining the greatest sound. But it was kind of neat
> to be able to bend it and touch opposite edges together.
Of the four he made of that work, I think the one with Barenboim might have
been on those awful Dynaflex LPs, but I've never heard it.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
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Matthew B. Tepper (posts from uswest.net are forged)
be typed in news:HBJoH...@bath.ac.uk:
> Allen & Linda Tyler wrote:
>>
>> RX-01 wrote:
>>
>>>"David Whitbeck" <dwhi...@invalid.net> wrote in message
>>>news:3e6cb504...@news.psu.edu...
>>>
>>>> Well it looks like I'll be getting Fleisher/Szell. Great price and
>>>> it seems to be a personal favorite for alot of people.
>>>>
>>>> David Whitbeck
>>>
>>> I have to warn you though the recording is not very good. There's
>>> plenty of tape hissing since the CD has not been remastered.
>>>
>>
>> Is this the case with its latest incarnation (the 3-CD set that
>> includes the Triple Cto instead of a Mozart Cto)?
>>
>
> Yes. No remastering - the latest incarnation has just the 3 individual
> Essential Classics CDs packed together.
I'll put it on my list for when Peter Gelb has been rusticated and I've
been appointed to turn the company around. ;--)
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
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Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in
> From the historical point of view, try Serkin with Toscanini (of course,
> not the best sound)
There's also an earlier performance (in fact Serkin's US debut) where the
orchestra is the Philharmonic-Symphony. Better orchestra, but then much
worse sound.
> or Rubinstein/Beecham (better sound).
If you don't mind an unusual cadenza, I think by Saint-Saëns.
> From modern recordings Rattle with Brendel (Vienna Philharmonic, Philips)
> is exciting (the best of Brendel's several versions). Also possible is
> Gilels/Ludwig (Philharmonia, EMI), Fleisher/Szell (Cleveland Orchestra,
> CBS, Sony). Acceptable also Curzon with Knappertsbusch (Decca).
> It's your choice!
> Kai-Uwe
--
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Matthew B. Tepper (posts from uswest.net are forged)
following letters to be typed in
> James Kahn wrote:
>
>> What's the view on Rubinstein's effort on RCA? I can't be objective
>> because it was (I'm pretty sure) my first classical LP, a gift when
>> I was about 12. It was on one of those floppy LPs, as I recall, that
>> ended up not retaining the greatest sound. But it was kind of neat
>> to be able to bend it and touch opposite edges together.
>> --
>
> He left four commercial recordings of it, all now RCA/BMG, in addition to
> the live ones that are in circulation. If you had the floppy LP one, it
> was the Leinsdorf/BSO performance. I don't know if "a" view on it exists;
> my view is that it's a polished, considered, and well-recorded
> performance that is effective and often beautiful as far as it goes, but
> it comes from a stage of his career when his studio remakes and re-
> remakes of the standard repertoire were on the cautious side; and while
> this brings about a greater degree of precision and exactitude in the
> pianism, there's a corresponding loss in the spontaneity and freshness of
> the interpretation; one may find it labored or heavy-handed. There's more
> of Rubinstein's "personality" on display in the Krips-conducted
> performance of ten years earlier (although Krips's RCA orchestra cannot
> match the sheen of the BSO, and sounds scrappy by comparison) and
> especially in a Beecham-conducted performance of the late forties, on
> which Rubinstein plays Saint-Saëns's dazzling first-movement cadenza.
I'm glad to see a much more helpful reply than my wimpy one! Are you sure
it wasn't the Barenboim that was on a Dynaflex pressing? I'm glad to see
I'm not the only one who likes the Saint-Saëns cadenza, on occasion anyway,
although I would like to hear a world-class pianist play that by Brahms.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
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Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in news:959n6v8f69096605k...@4ax.com:
> On Sun, 09 Mar 2003 20:27:11 GMT, dwhi...@invalid.net (David
> Whitbeck) wrote:
>
>> I'm interested in getting a nice recording of this piano concerto.
>> I've tried Gardiner but it's boring and the piano sounds plain silly.
>> I have Serkin/Bernstein for #3 and 5 and I really love that cd. It
>> looks like they haven't done #4 so I don't know where to look. Any
>> suggestions? Personal favorites? I already google searched this
>> newsgroup but I didn't find anything, which is quite odd.
>>
>>David Whitbeck
>
> Yeah, it's odd; Google ought to have plenty. Anyway, my favorites are
> Arrau/Colin Davis, Fleisher/Szell, and L. Hoffman/Caridis. I interpret
> all of these interpretations as celebratory, and have occasionally
> wept tears of joy on hearing them.
Would that be Militiades Caridis? That odd name seems to have stuck in my
head for decades. I see via Google that he's Greek, so maybe Alex Rigas can
fill in some information about him and his recording career.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
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Uwe Hesse
> I'm surprised no-one has mentioned Pollini/Bohm or Pollini/Abbado. Pollini's
> interpretations of Beethoven's 4th concerto are among my favourite
> recordings of any concertos, definitely among my desert island discs.
>
recordings DG from 1994.
Enjoy music the universal language!
Uwe
notrump15-17
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in
> "Matthew B. Tepper (posts from uswest.net are forged)"
> <oyþ@earthlink.net> wrote
>>
>> > From the historical point of view, try Serkin with Toscanini (of
>> > course, not the best sound)
>>
>> There's also an earlier performance (in fact Serkin's US debut) where
>> the orchestra is the Philharmonic-Symphony. Better orchestra, but then
>> much worse sound.
>
> Interesting. Thanks. Do you know where this version was released?
Radio Years RY 53.
>> > or Rubinstein/Beecham (better sound).
>>
>> If you don't mind an unusual cadenza, I think by Saint-Saëns.
> Yes - it is the Saint-Saens.
> Kai-Uwe
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
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Subject: Cancel "Re: Beethoven's Fourth Piano Concerto"
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Subject: Cancel "REPOST: Re: Beethoven's Fourth Piano Concerto"
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Dan Koren
>
> I'm interested in getting a nice recording of this piano concerto.
define "nice"?
> I've tried Gardiner but it's boring and the piano sounds plain silly.
> I have Serkin/Bernstein for #3 and 5 and I really love that cd. It
> looks like they haven't done #4 so I don't know where to look. Any
> suggestions? Personal favorites?
Michelangeli, Michelangeli, Michelangeli.
> I already google searched this newsgroup but I didn't find anything,
> which is quite odd.
?!? Are you sure you hit the wright keys?
dk
Tony Movshon
> Michelangeli, Michelangeli, Michelangeli.
On Exclusive. Accompanied by one of the worst orchestras recorded. And the
recording, though frightful, is not frightful enough to conceal it.
No, thanks.
Tony Movshon
mov...@nyu.edu
Samir Golescu
On Mon, 17 Mar 2003, Tony Movshon wrote:
> > Dan Koren wrote:
> > Michelangeli, Michelangeli, Michelangeli.
>
> On Exclusive. Accompanied by one of the worst orchestras recorded. And the
> recording, though frightful, is not frightful enough to conceal it.
>
> No, thanks.
Not for this concerto, indeed. In my experience, one can take a Chopin
Concerto or even a Grieg Concerto with a so-and-so orchestra, provided the
pianism is fantastic -- that doesn't work with Brahms, Mozart or
Beethoven's concertos.
regards,
SG
________
"The Finale of the Ninth is sung in French, thus reducing Schiller's
majestic poetry to an amorphous mass of nazalized vowels and swallowed
consonants." -- American Record Guide
Alan Cooper
Paquin's CD transfer of Casadesus / Van Beinum in the Concerti ## 1 and 4.
These are wonderful performances; I even enjoyed the cadenzas ;-)
AC
Simon Roberts
>
>I know I'm coming late into this thread, but yesterday I listened to Pierre
>Paquin's CD transfer of Casadesus / Van Beinum in the Concerti ## 1 and 4.
>These are wonderful performances; I even enjoyed the cadenzas ;-)
Eek. By the way, these are now on a French Sony CD (which may not sound any
better, of course).
Simon
Jan Depondt
"Dan Koren" <dank...@yahoo.com> schreef in bericht
>
>
> Michelangeli, Michelangeli, Michelangeli.
>
At first I'ld to second the third.
But later I hesitated.
Maybe the second is better.
Alan Cooper
I'm guessing that "eek" is not a cry of delight ;-) Pierre's transfer is
very good (as usual), but I would appreciate hearing from anyone who is in a
position to compare it with the Sony issue.
AC
Dan Koren
> On Mon, 17 Mar 2003, Tony Movshon wrote:
>
> > > Dan Koren wrote:
> > > Michelangeli, Michelangeli, Michelangeli.
> >
> > On Exclusive. Accompanied by one of the worst orchestras recorded. And the
> > recording, though frightful, is not frightful enough to conceal it.
> >
> > No, thanks.
>
> Not for this concerto, indeed. In my experience, one can take a Chopin
> Concerto or even a Grieg Concerto with a so-and-so orchestra, provided the
> pianism is fantastic -- that doesn't work with Brahms, Mozart or
> Beethoven's concertos.
>
It works fine with Michelangeli's concerti.
dk
Lehobe
Chicago Symphony and the broadcast performance with Rudolf Serkin and the NBC
Symphony conducted by Toscanini. Les
Dan Koren
I listed the top choices for
each of the three movements :_)
dk