Building a Classical Music Library (My Version)

[tcoy777]

Originally Posted by stingo

Beethoven: Symphonies 5 & 7
Vienna Philharmonic
Carlos Klieber, conductor
Deutsche Grammphon SACD

What do you get when you put together one of the world's great orchestras with one of the world's great albeit reclusive conductors with a pair of the greatest works in the symphonic literature? The answer, thankfully, has been recorded on this wonderful SACD. Klieber takes us through both symphonies with a very sure hand, and Vienna Philharmonic responds beautifully. He strips off all the dross and varnish that has accumulated to the 5th over the years, infusing it with an energy that is unforced yet vital. The 7th fares equally well - those who remember the funereal music as used in Mr. Holland's Opus may be disappointed as Klieber takes it at Beethoven's indicated tempo (allegretto) rather than the slow tempo on the version used in the film.

There is much to delight the ear here, mine (on this listening) being drawn to the woodwinds, as they provide the needed character and contrast to bring the score alive. Also, I'm not sure if it's the orchestra, or the recording or both, but I heard details in this interpretation I've missed in others. That said, this mid 70's recording really blossoms with the SACD layer - as the sound expands the virtual concert hall in which they play.

Beethoven of course is a composer who, if you're into classical music, you really can't ignore. (You know you'll end up owning all nine symphonies and his other works as well.) And like any great composer he wrote music for which perfection in performance is impossible, but excellence is expected. You may find things you prefer in other performances of these works and vice versa, but as far as these readings go, they go a long way to fulfilling the promise of Beethoven's score.

Basic Library (Repertoire and Performance)

Audio Samples, Beethoven

I put my itunes on the classical station at work today and had the pleasure of hearing Beethoven's Symphony No 5. Impressive.

[stingo]

I'm listening to your Naxos Rachmaninov Piano Concertos (Rhapsody has a lot of Naxos CDs in its library). I think you'll be pleased with your selection. And as a side note, did you know that Rachmaninov idolized Tchaikovsky?

[stingo]

WGBH in Boston has an all-Classical stream available. I'm listening to a delightful and different quartet for flute, guitar, violin and cello by Schubert. They also feature an excellent podcast (updated weekly) with chamber performances that are very good as well.

[stingo]

Elgar: Cockaigne Overture; Cello Concerto; Sea Pictures
Jacqueline du Pre, cello
Janet Baker, mezzo-soprano
London Symphony Orchestra
John Barbirolli, conductor

This is one of my all-time favorite recordings, both for performance and repertoire, though my older version does not have the Overture on it. (Apart from increasing the music to $ value ratio, I'm not sure why the Overture is on the disc, as it's a total opposite in mood from the other two works with which it is coupled.) Still, it's quite well played and entertaining in its own right - well worth the hearing.

Once past the general good humor of the Cockaigne Overture lies one of Elgar's master works, his Cello Concerto. Written just after the end of World War I, to me it represents the passing away of the world that Elgar knew. It is by turns, angry, melancholy, nostalgic, and resigned. And none played it like Jacqueline du Pre. All of 20 years old when she made this recording, it sounds like she's channeling a much older soul. Her opening solo is remarkable - a truly soul-rending experience, and it just goes on from there. While she makes many technical mistakes, she's dead on for the feeling and mood the piece is attempting to convey. Some find her performance histrionic, but I'm not one of those - this is one for the record books. She also recorded this work with her husband, Daniel Barenboim, and again some prefer that performance. But this is the one that made her a star in her all too brief career, as she was felled by multiple sclerosis at the age of 42.

While it's hard to imagine an encore for such a performance/piece, Janet Baker's rendition of Sea Pictures is quite a worthy followup. The lyrics may not always be first rate, but the music Elgar wrote for it surely is. It also gives us a chance to hear the pre-war Elgar, as he composed these just at the end of the 1800's. These are large scale (in their orchestral arrangements) romantic songs, and Ms. Baker is in very fine voice for them. Admittedly they may sound quaint/old-fashioned to some, but I like them for that reason.

Cockaigne Overture - Worth Hearing (Repertoire), Basic Library (Performance)
Cello Concerto - Basic Library (Repertoire and Performance)
Sea Pictures - Worth Hearing (Repertoire), Basic Library (Performance)

Audio Samples, Elgar

[tcoy777]

Originally Posted by stingo

I'm listening to your Naxos Rachmaninov Piano Concertos (Rhapsody has a lot of Naxos CDs in its library). I think you'll be pleased with your selection. And as a side note, did you know that Rachmaninov idolized Tchaikovsky?

One cd just came in. I must have made a mistake and ordered the Sonatas 1 and 2 and then the Concertos 2 and 3. I still have some money left on my itunes gift card for Christmas. So when I get home I will buy the Naxos Concertos 1 and 4. Its actually cheaper on itunes then direct from them.

I also just reserved 2 books on Rachmaniov and should be in this week. I had read some where that he did idolize Tchaikovsky, so I am thinking he will be my next to study.

[tcoy777]

What an amazing piece of work Rachmoniov's Piano Concerto 1 is. From the triumphant horns and string builds to the subtle piano notes that bring such emotion to this work. The movements continue to build and build taking moments to show his amazing piano creativity. The final movement ends in such a inspiring and moving way. So far this is my favorite piece by him. No. 4 is more subdued and darker. From what I have read I have a feeling why, as No 1 was written before his 1st Symphony was deemed a flop by his critics. There was more of free will imposed in the 1st Concerto as in the 4th it seems like was playing it safe, if there is such a thing in composing.

[stingo]

Props to the musicians on this one!

[RacerBill]

Hahahahahaha!!!!! I have a new favorite YouTube clip!!!

Thanks, Tom! That was priceless!

[Mahler]

That was his network, wasn't it?

[stingo]

Mahler: Symphony No. 8
Juliane Banse - soprano
Christine Brewer - soprano
Jane Henschel - mezzo soprano
Soile Isokoski - soprano
John Relyea - bass
Birgit Remmert - mezzo soprano
Jon Villars - tenor
David Wilson-Johnson - baritone
City of Birmingham Symphony Orchestra
City of Birmingham Symphony Orchestra Chorus
City of Birmingham Symphony Youth Chorus
London Symphony Chorus
Toronto Children's Chorus
Simon Rattle, conductor
EMI CD or DVD-A

After so much has been written about it, I figured I'd add a few more words about Mahler's 8th Symphony. Its nickname is the 'Symphony of a Thousand' due to (some say) the number of musicians needed to perform it. It's scored for (very) full orchestra, a huge chorus, a children's chorus and 8 soloists. Mahler himself said of the work, "Try to imagine the whole universe beginning to ring and resound. These are no longer human voices, but planets and suns revolving." So yes, this is very, very big music.

For all that, it's written in two movements, the first a setting of a Latin text "Veni Creator Spiritus" attributed to Hrabanus Maurus, a 9th century cleric. The second is a setting of the last part of Goethe's Faust, where Faust's soul is carried by angels to heaven. A performance takes roughly an hour and a half, with the first movement taking about half an hour and the second lasting about an hour. Still, with all that time, I've never felt bored with the piece. Hard to be bored when the assembled forces (including a massive organ) simultaneously erupt into song, imploring the presence of the Creator Spiritus. I could go on and on about this first movement but suffice it to say, two of my favorite parts are the Infirma nostris corporis, where the soloists get a chance to shine with some absolutely drop dead gorgeous harmonies (this is particularly true in the present recording), and the Accende lumen sensibus, when the vocalists (soloists and choruses) sing it in unison - just mind blowing (perhaps the most rousing version I've heard was Tennstedt's but Rattle does fine enough). As a side note, our very own Mahler (John) told me something I didn't know - that Mahler always let the orchestra have the last word in any of his pieces. The chorus gets that honor in the first movement, but not so the second.

The second movement starts with an orchestral introduction of about 12 to 15 minutes, and is intended to indicate a journey through a dark wood, with appropriate lyrics sung by the male chorus members (as acolytes who live in the wood). The rest of the movement is again mainly for the vocalists, with the soloists each having a particular part to sing, right up to the very end of the 'Alles vergaengliche is nur ein Gleichnis' (All transitory things are but parables) sung by the Chorus Mysticus. The orchestra however, true to Mahler's compositional form, gets the last word, while the orchestra continues the theme of the Alles vergaengliche, and an offstage brass choir intones the Veni Creator Spiritus theme.

Interestingly, there are two characters in the second movement that typify (to me) the approaches taken toward this massive symphony. The first is the ecstatic (after Pater Ecstaticus), which is quick, intense and riveting. Sir Georg Solti's recording on Decca Legends is probably the best example of this approach. With driving rhythms and intense drama, the symphony moves at a fast clip (if that can be said of a typically 80 minute work). The second is profound (after Pater Profundis), where tempi are slower, details a bit more in evidence and the good bits are drawn out for their full effect (the way Tennstedt and his musicians land on the Accende lumen sensibus is transcendent, and rarely fails to bring a tear to my eye). The present recording under the baton of Simon Rattle is a good mix of these two approaches - tempi are fast enough that the work fits onto one disc, but it doesn't feel rushed. The soloists are great, particularly (as mentioned above) in the Infirma nostris corporis, another tearjerker for me. The choruses (especially given the size of them) do well enough with the diction, but are quite enthusiastic, as is the orchestra.

One last note, the recording is available in two formats - regular CD, or a surround sound DVD-A (yes, I have both). While there's an awkward layer change, the sound is (to my ears) much better in this very difficult to record work. However, since the CD is about a third of the price of DVD-A that might be a factor in the purchase. Still, quite a bargain for some truly world (or is it universe) encompassing music.

Basic Library (Repertoire and Performance)

[Mahler]

Tom,
I have been listening to this recording all week. Truly one of the best interpretations.
Yet, nothing beats a live performance.

[stingo]

Originally Posted by Mahler

Tom,
I have been listening to this recording all week. Truly one of the best interpretations.
Yet, nothing beats a live performance.

Agreed, though I note that Christine Brewer (as Magna Peccatrix in both productions I'd imagine) was also in Philadelphia, and wow, what a voice.

[stingo]

It's been a while since I've updated this thread, but I learned of this website on another forum. Priceless, not only for the music but also for the people who write and play it. The opening "Glimpse" alone is priceless.

[stingo]

Stumbled across a youtube of du Pre playing the Elgar Cello Concerto's first movement. The video portion is a series of still shots of the cellist, many with her then husband Daniel Barenboim (who at the time was a pianist, but who has since become a conductor). An cellist of astounding talent, she eventually lost her ability to play the cello, and eventually her life to multiple sclerosis.