Recommendations for Schumann Symphonies
Kevin N
Bob Harper
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
Barenboim, for starters. Great playing, great sound, fine performances.
Bob Harper
Gregory Arkadin
Besides Barenboim, Gardiner (not normally a fan, but these are quite
lively).
Gerard
> Kevin N wrote:
> > Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> Barenboim, for starters.
For enders as well.
> Great playing, great sound, fine
> performances.
>
Or Zinman.
M forever
Just dropping a few names of people whose recordings you happen to
know is not very informative. Why is that you recommend these sets?
Alan Cooper
37g2000vbn.googlegroups.com:
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
The symphonies are not my cup of tea. For the Violin Concerto, Szeryng/Dorati, still
in print in Japan if not elsewhere:
http://www.cdjapan.co.jp/detailview.html?KEY=UCCP-3520 .
Also available used or on ArkivCD (CDR).
A more recent recording that I enjoyed on first hearing is Renaud Capucon's with
Daniel Harding (c/w Mendelssohn, as is Szeryng's).
AC
Gerard
Not for you, of course. For others it can be very informative. People name their
favorites, because they enjoy them, you know.
Prince Myshkin
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
DG is getting ready to reissue Kubelik's BPO set in the Originals
series. His BRSO set is also good.
Kevin N
> Kevin N <bossk...@gmail.com> wrote in news:3736dd4a-dbb0-4501-bf57-5d03f4fc983f@
> 37g2000vbn.googlegroups.com:
>
> > Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> The symphonies are not my cup of tea.
They haven't been my cup of tea either, but with his approaching
bicentenary I've decided give them another chance.
Prince Myshkin
>
> - Show quoted text -
What have you tried in the past?
Randy Lane
Bernstein/DG is also worth checking out (either as a two-fer or in the
bargain priced Collector's Edition box).
As usual, there are some excesses with Lenny. But there are also many
moments of pure delight.
I too look forward to the reissue of Kubelik's BPO set in 24bit/96K
sound. But I'm not sure they will be market in the USA. Lenny's
interesting 1981 BPO Mahler 9th is in that release too.
wkasimer
.
> I too look forward to the reissue of Kubelik's BPO set in 24bit/96K
> sound. But I'm not sure they will be market in the USA.
For most of us, that scarcely matters, since there isn't any local
brick-and-mortar establishment in which to purchase it, even if it
*is* distributed in the US. Fortunately, it'll be available online;
Amazon.com lists it...
...but it may be cheaper to order it from MDT:
http://www.mdt.co.uk/MDTSite/product/NR_January10/4778621.htm
Bill
M forever
Yes, but who do you think gives a shit what *you* "enjoy"? What's
interesting to know is *why* people recommend certain recordings. It
also makes it easier for someone who asks for recommendations to
decide what might work best *for him*.
That may be a little too complex for you to understand though.
M forever
> Bob Harper <bob.har...@comcast.net> - Tue, 05 Jan 2010 09:32:52 -0800:
>
> > Barenboim, for starters. Great playing, great sound, fine performances.
>
> BTW, he conducted a very fine Konzertstück in Chicago (also on DG).
>
> EM
Barenboim's conducting of the Konzertstück may be fine, but the horn
playing is the lamest I have ever heard in any recording of this
piece. Muffled, strained horn playing with no brilliance and no tonal
variation, simplified parts and not much musical inflection. I do
understand that the whole CSO brass thing is like a holy cow for many
people, and even though I personally don't find much to like about
their thinnish, glaring playing, I can see how some people find that
"brilliant". But it isn't even that in this recording. It is just
mediocre and far from particularly "brilliant".
MIFrost
The three most often recommended, I believe, are Barenboim, Zinman and
Sawallisch. I own all three and like them. Barenboim is lush,
beautiful and vibrant. Sawallisch is similar to Barenboim but maybe a
bit more edgy. Zinman is almost the opposite of those two: swift,
transparent and thinner sounding. That's how they all seem to me. I
hope this helps. Maybe others can expand on (or correct) my comments.
MIFrost
Kevin N
> On Jan 5, 12:20 pm, Kevin N <bossk...@gmail.com> wrote:
>
> > Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> The three most often recommended, I believe, are Barenboim, Zinman and
> Sawallisch. I own all three and like them. Barenboim is lush,
> beautiful and vibrant.
CSO or Berlin Staatskapelle?
Kevin N
Only the Haitink, but that was my local library's copy which I only
listened to once, almost 20 years ago.
MIFrost
> On Jan 5, 2:14 pm, MIFrost <sfro...@nycap.rr.com> wrote:
>
> > On Jan 5, 12:20 pm, Kevin N <bossk...@gmail.com> wrote:
>
> > > Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> > The three most often recommended, I believe, are Barenboim, Zinman and
> > Sawallisch. I own all three and like them. Barenboim is lush,
> > beautiful and vibrant.
>
> CSO or Berlin Staatskapelle?
>
Berlin Staatskapelle. Recorded a couple of years ago.
MIFrost
Gerard
> On Jan 5, 12:57 pm, "Gerard" <ghen_nospam_driksen @hotmail.com> wrote:
> > M forever wrote:
> > > On Jan 5, 12:41 pm, Gregory Arkadin <arkadin3...@yahoo.com> wrote:
> > > > On Jan 5, 12:32 pm, Bob Harper <bob.har...@comcast.net> wrote:
> >
> > > > > Kevin N wrote:
> > > > > > Which sets of 1-4, and additionally the Violin Concerto?
> > > > > > Thanks
> >
> > > > > Barenboim, for starters. Great playing, great sound, fine
> > > > > performances.
> >
> > > > > Bob Harper
> >
> > > > Besides Barenboim, Gardiner (not normally a fan, but these are
> > > > quite lively).
> >
> > > Just dropping a few names of people whose recordings you happen to
> > > know is not very informative.
> >
> > Not for you, of course. For others it can be very informative.
> > People name their favorites, because they enjoy them, you know.
>
> Yes, but who do you think gives a shit what *you* "enjoy"?
You don't. If anybody else gives a shit, that's not your business.
>
> What's
> interesting to know is *why* people recommend certain recordings.
In many cases because they enjoy them.
>
> It
> also makes it easier for someone who asks for recommendations to
> decide what might work best *for him*.
> That may be a little too complex for you to understand though.
Don't worry. If you want to spend 1000 more posts to this subject (IIRC you've
already written 129 posts about it), please do. It will keep you busy.
Prince Myshkin
>
> - Show quoted text -
Personally I have Bernstein, Gardiner, Karajan, and Szell. I have
also owned the Haitink (some years ago). I don't recall it standing
out in any way to me. I recently ditched the Zinman set. There were
things I liked about it, moments where the clarity of texture really
pleased me. But after awhile I found it a bit soulless.
Gerard
Nicely stated. My experience with these 3 recordings is almost the same.
I have "tried" several other ones (some Klemperer, Karajan, Marriner, Vonk,
Bernstein [DG], Gardiner, Kubelik, Muti), and I think they all do "the job" very
well. There is no "absolute favorite" for me.
Maybe someone can comment on Skrowaczewski's recording on Oehms?
notesetter
I think you are making a good point, albeit in a sort of smartass way.
What is your favorite set of Schumann symphonies? Could you provide
the kind of description for this set that you'd expect to see here?
Please do - maybe some of us can learn a thing or two.
Bruce
Stan Punzel
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
Szell, Muti. I haven't yet heard the Barenboim. And if one starts going
into single performances, Furtwangler/BPO in the 4th.
Stan Punzel
Phlmaestro
>
I went through a period of heavy Schumann symphony listening a couple
years ago, including some blind testing. And Sawallisch/Dresden came
out as my favorite overall set. But Barenboim/Berlin St. and Bernstein/
VPO are also very good. I also agree with the Zinman recommendations
for a leaner approach.
Christopher Howell
And if one starts going
> into single performances, Furtwangler/BPO in the 4th.
>
> Stan Punzel
And Leibowitz's "Rhenish"
In spite of poor sound and sometimes rough playing (London PO) Boult's
set is one of the most vigorous and bracing ever (some find it too
much so)
Chris Howell
Matthew�B.�Tepper
to be typed in news:3736dd4a-dbb0-4501-bf57-5d03f4fc983f@
37g2000vbn.googlegroups.com:
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
Sawallisch/Staatskapelle Dresden on EMI, Barenboim/Staatskapelle Berlin on
Teldec.
For an interesting alternative, Chailly conducts the Leipzig Gewandhaus
Orchestra in Mahler's re-orchestrations on Decca. (Giulini recorded #3 in
this edition twice!)
For historicals:
#1: Furtw�ngler/VPO 1951 (preferably on Orfeo)
#2: Toscanini/NBCSO 1941 (preferably on Testament)
#3: Toscanini/NBCSO 1949
#4: Furtw�ngler/BerlinPO 1953 (DGG) or Cantelli/Philharmonia 1953
Violin Concerto: I've never warmed to this work, much as I wish I could.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers
Matthew�B.�Tepper
to be typed in news:4b438346$0$28149$5fc...@news.tiscali.nl:
> Bob Harper <bob.h...@comcast.net> - Tue, 05 Jan 2010 09:32:52 -0800:
>
>> Barenboim, for starters. Great playing, great sound, fine performances.
>
> Barenboim recorded them twice, Chicago SO (DG) and SK Berlin (Teldec).
> BTW, he conducted a very fine Konzertst�ck in Chicago (also on DG).
Of the two, I prefer the Teldec, although the Konzertst�ck (which was the
best part of his Chicago set) may still be available as part of a 2CD
collection, "The Chicago Principal."
Steve Emerson
"Matthew�B.�Tepper" <oy�@earthlink.net> wrote:
> Kevin N <boss...@gmail.com> appears to have caused the following letters
> to be typed in news:3736dd4a-dbb0-4501-bf57-5d03f4fc983f@
> 37g2000vbn.googlegroups.com:
>
> > Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> Sawallisch/Staatskapelle Dresden on EMI, Barenboim/Staatskapelle Berlin on
> Teldec.
Seconding Sawallisch. I saw Barenboim/SB in two of them and they were
superb, but I didn't think the CD set was as strong and got rid of it.
(Got rid of Haitink also.)
Lots of terrific one-offs, from Furtwangler, Celibidache, Munch....
SE.
Randy Lane
I would add the Sawallisch EMI recordings (GROC edition Amazon ASIN
B000063UNC UPC 724356777125) to the list of recommendations.
OOP unfortunately, but available from resellers and eBay.
Bob Harper
> Bob Harper <bob.har...@comcast.net> - Tue, 05 Jan 2010 09:32:52 -0800:
>
> > Barenboim, for starters. Great playing, great sound, fine performances.
>
> Barenboim recorded them twice, Chicago SO (DG) and SK Berlin (Teldec).
>
> EM
The Berlin performances were the ones I was recommending. Gerard
mentions Zinman. Very different, lots of detail one usually doesn't
hear, leaner (valveless brass, IIRC). A fine bargain. I will also
admit a guilty pleasure: Chailly, GOL in the Mahler re-orchestrations.
Another great orchestra' urgent performances which incorporate
Mahler's sometimes interesting, sometimes just peculiar, ideas. It
would be faxcinating to have heard an orchestra of Mahler's time
perform both orchestrations to see how the differences sounded at the
time.
Bob Harper
jrsnfld
Which Zinman? Which Sawallisch?
Sawallisch's cycle with the Philadelphia Orchestra actually comes with
the violin concerto, right? I haven't heard it; the Dresden cycle has
won well-deserved praise, but as nicely played as it is, it often
seems to be too reserved for me. I much prefer the juicy romanticism
of Kubelik/BP on DG.
Of the two Zinman cycles, I basically lean toward the latter, but at
its best (like the Spring Symphony), the earlier cycle on Telarc is
equally fun without sounding too "thin" to me. Wonderfully incisive
playing in either case, but maybe a little more powerful in Baltimore
and a little more warm and interesting in Zurich as Zinman's ideas
developed (dare I say) toward something more distinctive.
--Jeff
Ludwig
Paul Goldstein
Kevin N says...
>
>Which sets of 1-4, and additionally the Violin Concerto? Thanks
By now, most of the available sets have probably been recommended, and
understandably so, since most of them are at least very good, and it's not that
easy to think of a really bad recording of a Schumann symphony. My two cents:
for a complete set, I still think the one by Jerzy Semkow and the St. Louis SO,
on Vox, is the finest of them all, the most imaginative and interpretatively
unique. There are a few recordings of single symphonies that also stand out:
the classic Furtwangler/BPO 4th, but also the 4th of the San Francisco SO under
Pierre Monteux; Leonard Bernstein's first recording of the Rhenish, with the New
York P (Sony); and the live Szell/Cleveland and Toscanini/NBC 2nds.
Dontait...@aol.com
> EM <emmemmmemnmme...@gnail.com> appears to have caused the following letters> > Bob Harper <bob.har...@comcast.net> - Tue, 05 Jan 2010 09:32:52 -0800:
>
> >> Barenboim, for starters. Great playing, great sound, fine performances.
>
> > Barenboim recorded them twice, Chicago SO (DG) and SK Berlin (Teldec).
> > BTW, he conducted a very fine Konzertst�ck in Chicago (also on DG).
>
> Of the two, I prefer the Teldec, although the Konzertst�ck (which was the
> best part of his Chicago set) may still be available as part of a 2CD
> collection, "The Chicago Principal."
Wasn't the CSO's "Principal" CD set of the Schumann Konzertstueck
conducted by Solti rather than Barenboim? I seem to recall that it
was, but can't find my copy of that CD set now. I seem to recall that
Solti really lit a fire under them all and that it was hair-raisingly
exciting.
Those sets were all live performances; the Barenboim recording was
DG session(s).
Don Tait
jrsnfld
Don, you're talking about the performance that was issued for
Radiothon by the CSO, in one of the Soloists from the Orchestra
volumes. Matthew is talking about the DG release of "CSO Principals"
which combined Abbado's recordings of Mozart and Haydn concerti with
the Barenboim Schumann, and the Vaughan Williams Tuba Concerto, and I
think also the Britten with Clevenger and Tear--all from DG releases.
--Jeff
Kevin N
> In article <3736dd4a-dbb0-4501-bf57-5d03f4fc9...@37g2000vbn.googlegroups.com>,
Thanks for all your replies. If there were one or two clear favorites,
that would have made my choice. It looks I'll go with Zinman's more
recent recording, as my experience is that Schumann's orchestration is
sort of like lumpy gravy to me, and descriptions as "lean" and
"clarity" indicate that Zinman would be perfect for my ears.
M forever
I think those are good characterizations, but I don't like the Zinman
recordings very much. I like the leanness and transparency of sound,
and the fairly straightforward presentation as an alternative to more
"idulgent" and "romantic" versions, but at the same time, I find
Zinman's performances too stiff and mechanical, lacking a certain
expressive freedom and eloquence which can be accommodated even within
fleeter tempi.
That also is a problem with Gardiner's recordings, although the
sonorities of the period orchestra are very attractive and the
Konzertstück is among the best performances I know, with brilliant and
very sonorous, very "horny" sounding horns and very musical playing.
What's great about this is the raspy presence the lower horns have, so
you really hear all the chord progressions very well.
I find all the merits of the above sets, plus much richer and more
flexible expression, in Harnoncourt's recordings with the COE. These
performances are much "groovier" and more "idiomatically" phrased.
They are not available as a set but on two separate CDs which can be
easily found for very little money on amazon. Harnoncourt also did the
violin concerto with Kremer and the piano concerto with Argerich.
A good addition to this great set is a live recording of Schumann 4
and Schubert 4 plus the "Melusine" overture with Harnoncourt and the
BP. I heard the live concert which was phenomenal, and the recording
captures the occasion very nicely in good sound.
Ah yes, Harnoncourt's COE 4th is the original version, and his BP 4th
is the more familiar revised version.
There are two other sets on the "leaner", "classicist" side which I
like a lot, and those are Muti/WP and Dohnányi/Cleveland. The Muti
recommendation may come as a surprise because Muti can easily get very
mechanical and "bland", too. And it did surprise me (positively) when
I first heard it. The performances are lean and transparent, but warm
and lyrical and with a great balance between forward momentum and
flexibility. Very good sound by Philips, too, BTW.
The Dohnányi set is more on the "analytical" side but it has a lean,
yet vibrant richness of sound to it which demonstrates that Schubert
wasn't a bad orchestrator at all - he just had a different vision of
how an orchestra could sound. In Dohnányi's treatment, you can hear
some pre-echoes of the kind of open-textured, colorful orchestration
of Debussy which is sometimes mislabeled as "impressionism". I heard
them do the 1st on tour in Berlin, and it was a revelation for me.
Apart from these, for a more "conventional" Schumann experience, I
reach for some of the usual suspects. Sawallisch/SD which features
rich and highly idiomatic playing from the SD, Barenboim/SB which is
equally "luxurious" if maybe a little less flexible musically, or
Bernstein's WP recordings which, yes, are a little "overindulgent" in
places, but fantastically well played (especially by the Viennese
horns, and horns are particularly important in Schumann) and very
musical.
jrsnfld
> In article <3736dd4a-dbb0-4501-bf57-5d03f4fc9...@37g2000vbn.googlegroups.com>,
I heartily agree that Semkow is excellent! Well played, bracingly
fresh without being revolutionary. It's still one of the more
"exciting" sets and reasonably well recorded too.
--Jeff
Dontait...@aol.com
I failed to note the difference in Matthew's message. My error.
Thanks for the correction.
Don Tait
Randy Lane
Nobody has mention the Philips Duo set with Inbal and New
Philharmonia.
Is it even worth considering?
J
>
> Nobody has mention the Philips Duo set with Inbal and New
> Philharmonia.
> Is it even worth considering?
You know when they talk about how bad an orchestrator Schumann was?
This is the set they were listening to, IMO.
Will Vaughan
> On Jan 5, 2:14 pm, MIFrost <sfro...@nycap.rr.com> wrote:
>> On Jan 5, 12:20 pm, Kevin N <bossk...@gmail.com> wrote:
>>
>>> Which sets of 1-4, and additionally the Violin Concerto? Thanks
>>
>> The three most often recommended, I believe, are Barenboim, Zinman
>> and Sawallisch. I own all three and like them. Barenboim is lush,
>> beautiful and vibrant. Sawallisch is similar to Barenboim but maybe a
>> bit more edgy. Zinman is almost the opposite of those two: swift,
>> transparent and thinner sounding. That's how they all seem to me. I
>> hope this helps. Maybe others can expand on (or correct) my comments.
*good stuff snipped*
> There are two other sets on the "leaner", "classicist" side which I
> like a lot, and those are Muti/WP and Dohn�nyi/Cleveland. The Muti
> recommendation may come as a surprise because Muti can easily get very
> mechanical and "bland", too. And it did surprise me (positively) when
> I first heard it. The performances are lean and transparent, but warm
> and lyrical and with a great balance between forward momentum and
> flexibility. Very good sound by Philips, too, BTW.
I don't believe the Philips is in print - I've never heard them - but I
remember
liking the EMI Muti recordings as well. How do they compare?
As far as out there recommendations, I like Wit's 1 & 3 (especially 3) on
Naxos. The 3rd and 4th movements of 3 on this recording are especially
good.
The 2 & 4 aren't as good. Other than that, I agree with the others
that have been suggested - Bernstein/VPO, Szell, Barenboim.
For the violin concerto, I like Bell/Dohnanyi on Decca.
Randy Lane
Oh, but we could skip all of this and get the Mahler orchestrations
that were released on Decca under Chailly last year.
M forever
> M forever wrote:
> > On Jan 5, 2:14 pm, MIFrost <sfro...@nycap.rr.com> wrote:
> >> On Jan 5, 12:20 pm, Kevin N <bossk...@gmail.com> wrote:
>
> >>> Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> >> The three most often recommended, I believe, are Barenboim, Zinman
> >> and Sawallisch. I own all three and like them. Barenboim is lush,
> >> beautiful and vibrant. Sawallisch is similar to Barenboim but maybe a
> >> bit more edgy. Zinman is almost the opposite of those two: swift,
> >> transparent and thinner sounding. That's how they all seem to me. I
> >> hope this helps. Maybe others can expand on (or correct) my comments.
>
> *good stuff snipped*
>
> > There are two other sets on the "leaner", "classicist" side which I
> > like a lot, and those are Muti/WP and Dohn nyi/Cleveland. The Muti
> > recommendation may come as a surprise because Muti can easily get very
> > mechanical and "bland", too. And it did surprise me (positively) when
> > I first heard it. The performances are lean and transparent, but warm
> > and lyrical and with a great balance between forward momentum and
> > flexibility. Very good sound by Philips, too, BTW.
>
> I don't believe the Philips is in print - I've never heard them - but I
> remember
> liking the EMI Muti recordings as well. How do they compare?
I have never compared them directly, but as I remember it, the earlier
Muti set is a little weightier and slightly more expansive, kind of
combining a dark, sombre post-Klemperer sound with Muti's at that time
rather insistent and slightly driven manner. The later set is leaner,
more focused, but no less intensive and, as good as the Philharmonia
played back then (and still do), it's not quite the same as the WP,
especially in this music.
Stan Punzel
Is the Boult set available?
Stan Punzel
Stan Punzel
> In article <3736dd4a-dbb0-4501...@37g2000vbn.googlegroups.com>,
> Kevin N says...
>> Which sets of 1-4, and additionally the Violin Concerto? Thanks
>
> By now, most of the available sets have probably been recommended, and
> understandably so, since most of them are at least very good, and it's not that
> easy to think of a really bad recording of a Schumann symphony. My two cents:
> for a complete set, I still think the one by Jerzy Semkow and the St. Louis SO,
I was trying to remember that set too! A real sleeper.
Stan Punzel
FredT
suggest Florian Merz's cycle on EBS with the Dusseldorf Classical
Orchestra. Unlike any other Schumann cycle out there.
For something more of what we're all used to, I like Szell or the
surprisingly fine Zinman set. I also have a very soft spot for
Mitropoulos..
M forever
> For something really different and very ear opening, I'd like to
> suggest Florian Merz's cycle on EBS with the Dusseldorf Classical
> Orchestra. Unlike any other Schumann cycle out there.
In how far?
richard...@gmail.com
The first sets of the Schumann symphonies I bought were Boult on
Mercury and Klemperer on EMI. Klemperer's 1 & 4 work well, the others
seem to me to drag. Boult is very lively, well sprung, and altogether
enjoyable. What both sets have in common is divided violins, which
does wonders for the transparency of the orchestration.
Subsequently I have added and enjoyed Szell, Kubelik DG, Bernstein,
Barenboim Teldec, and Sawallisch EMI. (There are others but not worth
highlighting.)
If recommending a set to others I'd still recommend Boult (which used
to be available as a download; I don't know if it is now), Kubelik,
and Barenboim. Bernstein is a bit OTT for me.
What I would find helpful in comments on recordings of the 19th
century (through Mahler and Elgar) literature is the orchestral
layout. The antiphony to be heard on Klemperer's EMI recordings is
one of the best things about them, and if there are modern recordings
with similar characteristics I'd like to be made aware of them.
Richard
Matthew�B.�Tepper
typed in news:7d5ee85f-2f6b-4325-88a2-
377e4a...@j14g2000yqm.googlegroups.com:
> Sawallisch's cycle with the Philadelphia Orchestra actually comes with
> the violin concerto, right?
I thought it was the piano concerto.
makropulos
> jrsnfld <jrsn...@aol.com> appears to have caused the following letters to be
> typed in news:7d5ee85f-2f6b-4325-88a2-
> 377e4a5bb...@j14g2000yqm.googlegroups.com:
>
> > Sawallisch's cycle with the Philadelphia Orchestra actually comes with
> > the violin concerto, right?
>
> I thought it was the piano concerto.
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> Read about "Proty" here:http://home.earthlink.net/~oy/proty.html
> To write to me, do for my address what Androcles did for the lion
> Opinions expressed here are not necessarily those of my employers
Nope - it's the Violin Concerto with Kavakos, and various other extra
bits and pieces:
Manfred – Overture
Violin Concerto in D minor *
Andante and Variations **
Clara Schumann
Five Songs: ***
Liebst du um Schönheit
Warum willst du and’re fragen
Ich stand in dunkeln Träumen
Sie liebten sich beide
Liebeszauber Philadelphia Orchestra
Wolfgang Sawallisch
*Leonidas Kavakos
** Rudolf Buchbinder & Wolfgang Sawallisch (pianos); Lloyd Smith & Efe
Baltacigil (cellos); Nolan Miller (horn)
*** Thomas Hampson (baritone) & Wolfgang Sawallisch
Heck51
Bernstein/NYPO
Barenboim/CSO - the earlier, the DG set.
Szell/Cleveland
my single favorite tho is Reiner/CSO for #2 - live from '57.
Dil
I'll second the above except for the live Reiner (I don't have that).
The Bernstein/NYPO is wonderful
Dil.
Russ (not Martha)
<richard.simn...@gmail.com> wrote:
>
> The first sets of the Schumann symphonies I bought were Boult on
> Mercury and Klemperer on EMI. Klemperer's 1 & 4 work well, the others
> seem to me to drag. Boult is very lively, well sprung, and altogether
> enjoyable. What both sets have in common is divided violins, which
> does wonders for the transparency of the orchestration.
>
I was about to jump on and ask whether the Boult was in stereo or
mono, but if one can hear divided violins the answer must be stereo.
I kinda remember reading that Boult's tempi in the symphonies were so
quick nthat it was possible to squeeze two symphonies (1 & 2?) onto a
single LP.
I have and like the sets by Paray, Sawallisch, Solti, and Szell, as
well as Cantelli and Furtwängler in #4. Also Chailly's set of the
Mahler reorchestrations, from which Decca infuriatingly omitted the
Genoveva Overture.
Russ (not Martha)
jrsnfld
> The symphonies are not my cup of tea. For the Violin Concerto, Szeryng/Dorati, still
> in print in Japan if not elsewhere:
>
> http://www.cdjapan.co.jp/detailview.html?KEY=UCCP-3520.
>
> Also available used or on ArkivCD (CDR).
>
> A more recent recording that I enjoyed on first hearing is Renaud Capucon's with
> Daniel Harding (c/w Mendelssohn, as is Szeryng's).
I haven't heard Szeryng with Dorati, but I have a (sadly mangled) copy
of a supremely delightful performance with Szeryng/Rosbaud/SWFBaden-
Baden. To my surprise, I haven't broken the seal on my copy of the
Capucon recording yet...I have a listening assignment for
tomorrow. :-)
--Jeff
CharlesSmith
> On Jan 5, 6:32 pm, FredT <fred.tib...@att.net> wrote:
>
> > For something really different and very ear opening, I'd like to
> > suggest Florian Merz's cycle on EBS with the Dusseldorf Classical
> > Orchestra. Unlike any other Schumann cycle out there.
>
> In how far?
>
There are some good quite extended samples on jpc:
http://tinyurl.com/ya74cvp
It's very lively. Trying the start of #3, it's more energetic than
Harnoncourt, but while they have a good tough sound it seems to lack
the richness of Gardiner's orchestral colouring in his similarly
vigorous approach. I don't like the opening of #2, which heads into
quirkiness - unexpected accents and emphasis. But definitely not run
of the mill.
Charles
William Sommerwerck
chamber-orchestra versions on BIS (I forget the name of the conducter) are
highly recommended to the adventurous.
Thornhill
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
My vote goes to Gardiner.
Gardiner offers swift energetic performances that make other
conductor's sound tepid. Case and point would be the fourth movement
of the first symphony. He goes for maximum excitement; I think it
works a lot better than trying to re-imagine Schumann as a late
romantic with slow tempos and a huge string sound, which many
conductors do.
Sol L. Siegel
touching and seldom overheated. Oddly, the sound rather suggests what
the Orchestra was sounding like in concert at the Academy of Music at
the time (late 1970s) - even though the recordings were made at the old
Scottish Rite Cathedral, which was soon to be torn down. Like Levine's
Chicago Brahms set, it's never been totally available in the States; my
copy came home in my carry-on bag from the long-gone Tower at Piccadilly
Circus.
Also, another vote for Sawallisch/SKD/EMI - great playing, and a fine
example of of LTMSFI really meaning that the conductor knew exactly in
which direction he wanted to push the music. I haven't heard *his*
Philly set, but I attended most of the concerts it was based on and was
not so blown away.
And another vote for Szell, leaner in playing and sound and just fine.
For something for temperamental, try Bernstein/DG.
--
- Sol L. Siegel, Philadelphia, PA USA
wkasimer
> My vote goes to Gardiner.
>
> Gardiner offers swift energetic performances that make other
> conductor's sound tepid. Case and point would be the fourth movement
> of the first symphony. He goes for maximum excitement; I think it
> works a lot better than trying to re-imagine Schumann as a late
> romantic with slow tempos and a huge string sound, which many
> conductors do.
I agree; Gardiner's set was the one that made me sit up and take
notice of Schumann's symphonies. Since then, I've found lots of other
admirable sets (all of them mentioned previously, I think), but for
me, the Gardiner was the right place to start.
Bill
Bob Harper
http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38356
and Brahms here:
http://www.cdjapan.co.jp/detailview.html?KEY=BVCC-38358
Prices are low, but there is that pesky shipping from Japan to deal with.
Bob Harper
CharlesSmith
I also have Gardiner at the top of my list. To the qualities already
mentioned I would add the fabulous orchestral colour. My only
reservation is the second symphony where I feel Gardiner's energy is
too relentless. Others (I'm thinking especially of Kubelik, SOBR)
bring an elegance to this symphony, which I miss in the Gardiner.
Charles
operafan
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
Check out Szell/Cleveland in the symphonies.
Greg
<snip>
>
> Thanks for all your replies. If there were one or two clear favorites,
> that would have made my choice. It looks I'll go with Zinman's more
> recent recording, as my experience is that Schumann's orchestration is
> sort of like lumpy gravy to me, and descriptions as "lean" and
> "clarity" indicate that Zinman would be perfect for my ears.
I don’t think there is one cycle that rises above the others. (Why is
it that most of the discussion of Schumann symphonies tends to center
around cycles rather than individual performances?) I would recommend
getting 4 cycles - Sawallisch, Levine/RCA, Barenboim/Teldec, and
Szell. This will give you 4 very good cycles to compare and assure
you of having excellent individual versions of 1 (Sawallisch), 2
(Levine), 3 (Barenboim), and 4 (Szell). If you want to go further,
then add Bernstein/VPO for general excellence (though it is anything
but "lean"). I expected to like the Zinman cycle more than I do, but
it seems pretty dull to me. Fast but not exciting, lean but not
interesting. Just my opinion of course, and many others disagree. If
you want lean with clarity, Sawallisch, Szell, and Chailly tend in
that direction, and are more interesting to me than Zinman.
Greg
Heck51
Bernstein/NYPO is esp good for #s 3 and 4...
for #2 - Barenboim/CSO for the 2nd mvt - amazing....bravo strings,
what a rip......
Heck51
wrote:
> I have and like the sets by Paray, Sawallisch, Solti, and Szell, >>
The Solti/VPO set is quite good - esp 4 and 3 - #1 is good too, Ive
not heard #2...
Ricky Jimenez
Back when the Gardiner set came out, there was quite a discussion in
this forum:
http://groups.google.com/group/rec.music.classical.recordings/browse_thread/thread/23b79079129e7006/c9f9ef1ee1e7982f?hl=en&ie=UTF-8&q=Kapp+Gardiner+Schumann#c9f9ef1ee1e7982f
Look especially for comments from Mark Stenroos and the late Richard
Kapp.
Phlmaestro
>
> Also, another vote for Sawallisch/SKD/EMI - great playing, and a fine
> example of of LTMSFI really meaning that the conductor knew exactly in
> which direction he wanted to push the music. I haven't heard *his*
> Philly set, but I attended most of the concerts it was based on and was
> not so blown away.
>
>
I was more impressed with that Philadelphia cycle in the hall than I
was when I heard it on disc, although I still think the performances
of the first two symphonies are very strong; less so the later two.
Barry
M forever
But you didn't expect the recordings to make the same impression as
the live concerts, did you? Obviously, being there live is always
better and more "exciting".
richard...@gmail.com
On the basis of my limited experience of the old hall used by the
Philadelphia Orchestra, this was not true for the seats I could
afford. It was more like listening to a neighbour's stereo through an
open window.
Richard
stateworkers
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
Gotta tell ya, It's a tougher sell to get them all in one shot, from
the sets I've heard. I went to 4-5 town libraries (not all at once, of
course) and took out the sets each had, as well as individuals. Then I
ended up buying some and venturing on to others without tasting. The
result, anyway, was that the whole set which seemed to keep my
interest the most was -budget priced now- Rafael Kubelik's with the
Bavarian Radio Symphony Orchestra. They kept a good taut line on my
attention throughout most works, with alot of details that I ended up
missing when I didn't hear them in other interpretations. If you can
though, the Second is such a fun work, that it needs a special
performance.
The Second can handle - needs- a big, supersized emotional
splurgefest, done to perfection by the Leonard Bernstein in his later
recording with the Vienna Phil. Not always my preference, in fact
almost never, but here it feels right.
Also, the cold, unyielding Von Dohnanyi with Cleveland does a
wonderful thing, as a counterpoint.
And the violin concerto is such an unsung wonder, with the weird
melodies and naked, brusque emotional turns, My fave has been a
slower, rich live version by Wolfgang Sawallisch and the Fabulous
Philadelphians,
available from the orchestra itself !!!! at
http://www.philorch.org/recentrecordings.html
which features the always deeply-digging work of Leonidas Kavakos as
soloist.
Which reminds me, I always did like the punchiness and brisk pace of
the Sawallisch set, when he recorded 1-4 with the Staatskapelle
Dresden...
Thank you for the question. Think I'll lapse into my little perennial
Schumann obsession early this year...
Guillermo
http://statework.blogspot.com
Sol L. Siegel
dd5aef...@o28g2000yqh.googlegroups.com:
> (Why is it that most of the discussion of Schumann symphonies tends to
> center around cycles rather than individual performances?)
That's not much of a stretch: they tend to fit neatly on two CDs, usually
with Manfred and perhaps another overture thrown in. The slim double jewel
case clinches the deal. In the old days, there may have been been great
stand-alone versions of 3 (Toscanini) or 4 (Furtwangler or Cantelli), but
since LPs the general attitude seems to have been, why settle for just one
or two?
--
jrsnfld
It is more interesting to focus on individual performances. Some that
come to mind immediately include:
1: Munch/BSO; Mitropoulous/Vienna, Maag/Berne
2: Szell (live on Aura or Ermitage); Sinopoli/Vienna; Mitropoulos/
Minneapolis or Vienna; Toscanini/NBC. Pfitzner/Berlin, Reiner/CSO
3: Mehta/Vienna (actually part of a cycle, but not a favorite cycle
overall); Mitropoulos/Minneapolis, Pedrotti/Czech Phil
4: Furtwangler/BP; Karajan/Dresden;
Also, in general, I am fond of Celibidache's Schumann, particularly
the earlier (pre Munich) performances, but even the later ones have
their polished virtues. Harnoncourt is another I admire in Schumann.
But Schumann cycles are relatively common because there are only 4
symphonies and some cycles are not available as individual symphonies.
I would definitely substitute Dohnanyi for Szell in this instance. His
cycle is well recorded plus he's more meticulous about using the score
without retouching. Plus, the orchestra is if anything even finer.
Chailly is the choice for people who want some expert retouching--
Mahler's.
Also, one cycle that may not yet have been mentioned: Konwitschny/
Leipzig. It's cut from a similar dignified cloth as Sawallisch's first
cycle, but I think benefits from a more vigor and muscle to go with
the refinement. And Semkow should be on my short list too.
--Jeff
Dan
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
Sir Adrian Boult recorded a terrific set in stereo in 1956, for Pye (I
believe). It was released in a CD box set by Nixa about 20 years ago.
jrsnfld
> Greg <oneil...@yahoo.com> wrote in news:e1fc5c35-2866-4d26-a09e-
> dd5aef4e4...@o28g2000yqh.googlegroups.com:
>
> > (Why is it that most of the discussion of Schumann symphonies tends to
> > center around cycles rather than individual performances?)
>
> That's not much of a stretch: they tend to fit neatly on two CDs, usually
> with Manfred and perhaps another overture thrown in. The slim double jewel
> case clinches the deal. In the old days, there may have been been great
> stand-alone versions of 3 (Toscanini) or 4 (Furtwangler or Cantelli), but
> since LPs the general attitude seems to have been, why settle for just one
> or two?
>
> --
> - Sol L. Siegel, Philadelphia, PA USA
I think the most recent standout individual Schumann releases were
Harnoncourt's 4 with Berlin and maybe (going back a ways) Sinopoli's
Schumann 2 with Vienna, which was more than 20 years ago. Otherwise,
you're right, almost everybody's jumping ahead to do a complete cycle
(Chailly, Muti 2, and Thielemann didn't come out as a cycle initially,
but it was obvious they were doing all four.
--Jeff
Greg
<snip>
>
> It is more interesting to focus on individual performances. Some that
> come to mind immediately include:
>
> 1: Munch/BSO; Mitropoulous/Vienna, Maag/Berne
> 2: Szell (live on Aura or Ermitage); Sinopoli/Vienna; Mitropoulos/
> Minneapolis or Vienna; Toscanini/NBC. Pfitzner/Berlin, Reiner/CSO
> 3: Mehta/Vienna (actually part of a cycle, but not a favorite cycle
> overall); Mitropoulos/Minneapolis, Pedrotti/Czech Phil
> 4: Furtwangler/BP; Karajan/Dresden;
>
Thanks for listing individual favorites. I must say, I thought I had
a lot of Schumann symphonies, but I only have a few of those. Gives
me something to check out. Anyone else care to list favorites for
each of the symphonies?
>
> I would definitely substitute Dohnanyi for Szell in this instance. His
> cycle is well recorded plus he's more meticulous about using the score
> without retouching. Plus, the orchestra is if anything even finer.
> Chailly is the choice for people who want some expert retouching--
> Mahler's.
I would probably rate Dohnanyi's cycle ahead of Szell's overall, but I
really like Szell's version of 4. Szell's retouchings of the score
don't bother me.
>
> Also, one cycle that may not yet have been mentioned: Konwitschny/
> Leipzig. It's cut from a similar dignified cloth as Sawallisch's first
> cycle, but I think benefits from a more vigor and muscle to go with
> the refinement. And Semkow should be on my short list too.
>
> --Jeff
2 more cycles I don't have. Here I was thinking I already have too
many Schumann cycles (at least relative to the time I spend listening
to them), and now I have to get 2 more...
Greg
Bastian Kubis
> I don�t think there is one cycle that rises above the others. (Why is
> it that most of the discussion of Schumann symphonies tends to center
> around cycles rather than individual performances?) I would recommend
> getting 4 cycles - Sawallisch, Levine/RCA, Barenboim/Teldec, and
> Szell. This will give you 4 very good cycles to compare and assure
> you of having excellent individual versions of 1 (Sawallisch), 2
> (Levine), 3 (Barenboim), and 4 (Szell). If you want to go further,
> then add Bernstein/VPO for general excellence (though it is anything
Funny - I would have recommended Sawallisch and Bernstein/VPO for the
reversed reasons that you give above, Sawallisch for "general
excellence" and Bernstein for my favourite 1... As a reply to Thornhill
somewhere else in this thread, it is specifically 1/iv that makes me
favour Bernstein over Gardiner and several others: I hear much of the
thematic material as invented from the piano (small wonder, with the
Kreisleriana quote in there), and ideally, I would like this movement to
have the dynamic and rhythmic flexibility that you can have in a
romantic piano solo piece, but which is probably much more difficult to
achieve with a full orchestra. I think Bernstein is ideal here, while
Gardiner may be fast, but does not accelerate and decelerate in such a
delightfully spontaneous-sounding way.
On the other hand, Bernstein's 4 is not ideal to me: 4/i is not fast
enough for my taste, in particular the development section hangs fire
somewhat; which I find a problem in particular as Bernstein is, in
contrast, very fast when the same subject re-emerges as the main theme
of the finale, thus (to me) slightly obscuring the cyclic construction.
Bastan
TareeDawg
> On Jan 6, 3:18 pm, Greg<oneil...@yahoo.com> wrote:
>> On Jan 5, 5:23 pm, Kevin N<bossk...@gmail.com> wrote:
>> <snip>
>>
>>
>>
>>> Thanks for all your replies. If there were one or two clear favorites,
>>> that would have made my choice. It looks I'll go with Zinman's more
>>> recent recording, as my experience is that Schumann's orchestration is
>>> sort of like lumpy gravy to me, and descriptions as "lean" and
>>> "clarity" indicate that Zinman would be perfect for my ears.
>>
Can you or any others comment on the mono Kletzki cycle done in the 50s?
I think it was with the Israel PO.
Ray Hall, Taree
Gerard
>
> Can you or any others comment on the mono Kletzki cycle done in the
> 50s? I think it was with the Israel PO.
>
Not me.
But I use this opportunity to ask:
Maybe someone can comment on Skrowaczewski's recording on Oehms?
jrsnfld
Someone else asked earlier, I think. Unless that was you.
I haven't heard the cycle, but I do have a Skrowaczewski/Saarbruecken
performance of the 3rd and it is very good. It moves along well, but
also has some very lively delineation of the counterpoint in the first
movement (which can, to my ears, be a heavy slog in the wrong hands).
I suspect the recorded cycle is very good, but then this is a
conductor I always look forward to hearing.
--Jeff
jrsnfld
> jrsnfld wrote:
> > On Jan 6, 3:18 pm, Greg<oneil...@yahoo.com> wrote:
> >> On Jan 5, 5:23 pm, Kevin N<bossk...@gmail.com> wrote:
> >> <snip>
>
> >>> Thanks for all your replies. If there were one or two clear favorites,
> >>> that would have made my choice. It looks I'll go with Zinman's more
> >>> recent recording, as my experience is that Schumann's orchestration is
> >>> sort of like lumpy gravy to me, and descriptions as "lean" and
> >>> "clarity" indicate that Zinman would be perfect for my ears.
>
Yes, IPO. I remember buying 1 and 4 on LP, but I don't remember what I
thought of the recording or if I still have it.
That reminds me: Harold Farbermann recorded the 4th and it was
released on MHS in the US at least, coupled with Beethoven 8 of all
things. Not quite as weird as coupling Schumann with a Bartok Piano
Concerto, as DG did for Karajan. Farbermann and the Royal Philharmonic
do quite well in this music.
One cycle that I would stay away from is the Vonk/Cologne recording.
It's pleasant, but so far after two listens, I haven't found much to
get excited about.
I don't think anybody's mentioned Goodman/Hanover Band. I liked the
textures and it yielded nothing in terms of muscle or clarity or
warmth, but I haven't heard a more recent "HIP" cycle (except some
individual performances with Herreweghe conducting). Everybody else
seems gaga over Gardiner (who usually is too metronomic for me in
Romantic repertoire). Any others happy with Goodman?
--Jeff
mark
> Which sets of 1-4, and additionally the Violin Concerto? Thanks
I like Bernstein/VPO on DG the best. Amazing performances that just
seem right.
BTW - I say that as one who doesn't take to many of LB's DG
recordings.
M forever
Hmmm - I would say the same qualities can be found in many, if not
most of his DG recordings, especially the ones with the WP. There are
a few really odd and over-the-top performances (e.g. Sibelius 2,
Tchaikovsky 6) - but even these have some musical interest to them.
But, a lot of what he did is of equal quality and style, e.g. his
Beethoven and Brahms recordings with the WP.
M forever
Dunno, but I am not rushing to try Goodman. Call me biased, but I have
heard very few good things from him, and a lot of really mediocre
stuff, like his Beethoven symphonies. The Hanover band always appeared
to me to be the bandwagon trailing the other HIP badwagons, in a time
when labels recorded everything that seemed HIP and everybody who had
a set of gut strings or a somehow antique instrument in London was
suddenly a HIP expert.
I can see that some find Gardiner's set attractive. It certainly is,
from the point of view of interesting sonorities, and some apparently
find his mechanical drivenness "exciting", but I find it just that -
mechanical and driven, and missing many of the finer points of the
music.
Dunno Vonk's cycle either, but again, I won't be rushing to hear that
either. There is a whole lot more cycles around which haven't been
mentioned yet, maybe for good reasons. I just saw that there are
actually two by Eschenbach - with the NDR SO and the Bamberger
Symphoniker. I know some of the NDR recordings but find them
uninteresting. Labored, unorganic, heavyhanded.
There are very good recordings of 3 and 4 with NDR/Wand but
unfortunately, not a complete cycle.
There is also a cycle with Levine/BP which is actually rather good,
quite lush and full of vitality and color and very nicely recorded by
DG. I could see these appealing to some listeners, and I like them,
too, even though I don't find them "outstanding". But still better
than quite a few others who have been mentioned here.
Has Thielemann's Philharmonia cycle been mentioned? Very odd one,
that. I have a hard time figuring out what it was that he was trying
to do there, and my impression is, so did he. From a later
perspective, one can see how he tried to develop his post-
Furtwänglerian sound there, with deep, dark timbres and smooth,
flowing contours but somehow, he hadn't quite managed to get there
yet. It might have been better if DG had recorded him with the
Deutsche Oper orchestra with which he did a number of rather more
successful recordings. They knew him and his ideas better and while he
may not have been able to fully realize them, they could have met him
halfway there. I did hear a very impressive live Schumann 2 with him
years after he made those recordings, with the BP though. It was
probably simply to early for him to make these recordings.
The cycle does include an excellent Konzertstück though, with
brilliant playing contributed by the Philharmonia horns.
There is also a cycle with SD/Sinopoli which is very fine, but not
among their best efforts and IMO not quite living up to the promise of
his early 2 with the WP. He got a lot of ridicule for the
psychological analysis of Schumann's tortured mind as he saw it
reflected in the music, but the performance actually sounds as driven,
ambiguous, and at times deeply melancholic as the text says it should.
Greg
>
> Hmmm - I would say the same qualities can be found in many, if not
> most of his DG recordings, especially the ones with the WP. There are
> a few really odd and over-the-top performances (e.g. Sibelius 2,
> Tchaikovsky 6) - but even these have some musical interest to them.
I think his DG Tchaikovsky 6 has more than "some musical interest" to
it. Aside from the oddly slow (but still effective in its way)
finale, it is absolutely first rate. One of my favorite Bernstein
recordings.
Greg
Bob Harper
Played by the NYPO. Not for frequent listening, but mesmerizing when one
is in a receptive mood.
Bob Harper
Christopher Howell
>
> Can you or any others comment on the mono Kletzki cycle done in the 50s?
> I think it was with the Israel PO.
>
> Ray Hall, Taree- Nascondi testo citato
>
There was a CD transfer of no.1 on Preiser 90730 a year or two ago
coupled with Kletzki's IPO Mahler 1. I remember finding both
unremarkable (while Kletzki's later VPO Mahler 1 is terrific, in spite
of the snip in the finale)
Chris Howell
Oscar
Short list:
The historical choice: London Philharmonic Orchestra / Boult [First Hand FHR07]
The mainstream choice: Berlin Philharmonic / Kubelík [DG 463 201-2]
The period choice: Orchestre Révolutionnaire et Romantique / Gardiner [Archiv 457 591-2AH3]
The overall choice: Chamber Orchestra of Europe / Harnoncourt [Teldec 2564 68831-8]
wade
> On Jan 5, 6:13 pm, Stan Punzel <rapun...@spiritone.com> wrote:
> > Christopher Howell wrote:
> > > On 5 Gen, 21:17, Stan Punzel <rapun...@spiritone.com> wrote:
> > > And if one starts going
> > >> into single performances, Furtwangler/BPO in the 4th.
> >
> > >> Stan Punzel
> >
> > > And Leibowitz's "Rhenish"
> >
> > > In spite of poor sound and sometimes rough playing (London PO) Boult's
> > > set is one of the most vigorous and bracing ever (some find it too
> > > much so)
> >
> > > Chris Howell
> >
> > Is the Boult set available?
> >
> > Stan Punzel
>
> The first sets of the Schumann symphonies I bought were Boult on
> Mercury and Klemperer on EMI. Klemperer's 1 & 4 work well, the others
> seem to me to drag. Boult is very lively, well sprung, and altogether
> enjoyable. What both sets have in common is divided violins, which
> does wonders for the transparency of the orchestration.
>
> Subsequently I have added and enjoyed Szell, Kubelik DG, Bernstein,
> Barenboim Teldec, and Sawallisch EMI. (There are others but not worth
> highlighting.)
> If recommending a set to others I'd still recommend Boult (which used
> to be available as a download; I don't know if it is now), Kubelik,
> and Barenboim. Bernstein is a bit OTT for me.
> What I would find helpful in comments on recordings of the 19th
> century (through Mahler and Elgar) literature is the orchestral
> layout. The antiphony to be heard on Klemperer's EMI recordings is
> one of the best things about them, and if there are modern recordings
> with similar characteristics I'd like to be made aware of them.
> Richard
sorry, but Boult was Westminster not Mercury. Yes now available on CD on First Hand. http://www.amazon.com/Nixa-Westminster-Recordings-Vol-2-London-Philharmonic/dp/B00483CVT8/ref=pd_sim_m_1