In Classical music the effect of SQ on appreciation

Nicely put.

'Start out with the focus truly on the music and I think a lot of the angst goes away.'

If find that I do that, and when I do I find that my 15,000.00 system sounds very satisfying. That is compared to hundred thousand dollar systems I have heard many of.  Rarely but at times when I am listening to hear a difference between anything, musical or hardware, I find there is always something lacking. So I just focus on enjoying the artistry and I am in heaven with my stuff.

Just this weekend listening to Goldberg Variations by artist I can't even recall sound quality so dead. Then I went to Glenn Gould, music brought to life, sound quality just so much better! Producers wanted to eliminate his humming, Glenn refused, based on sound quality grounds, at least in some measure, he was totally right!

With large symphonic pieces can't listen to recordings with macro dynamics quashed. In these recordings lower level sections nice dynamics, micro and macro, crescendo hits, there goes all the life. And this not a system defect, since the best recordings don't have nearly as much of this.

I actually think I'm more critical of classical recordings than every other genre. Must have something to do with aural memory of live classical music concerts, hearing crescendos with no dynamic limitations plays large role in emotional involvement. The sheer volume and impact of orchestra in full throttle tutti is unforgettable!

Interesting thread. I’ll chime in, beginning with a caveat: I do not consider myself expert in either classical music interpretation or classical music recording. That said, I listen largely to classical music, mostly solo piano and small group. I find that sound quality definitely, but not always, affects my appreciation of the music in the sense that I tend to listen to recordings that sound better.

I own Bach’s Goldberg Variations recorded by Gould (both versions), Perahia, and Jeremy Denk. I listen to the latter most often because the piano sounds to me more lifelike.

I own Bach’s Well-Tempered Clavier recorded by Schiff and by Hewitt. I listen to Hewitt’s more often for the same reason.

I own Shostakovich’s 24 Preludes and Fugues recorded by Jarrett and Scherbakov, and I listen to Scherbakov’s because I think it has a naturalist sound.

Two counter-examples. First, I have recently listened several times to Dinnerstein’s Goldbergs via streaming at low bit rate because I find her interpretation so fresh. And I have more recordings of Bach’s Chaconne from his Partita #2 for solo violin than I can list, but my favorite is a video on YouTube in which Perlman performs in a London church, St. John’s or something like that because of its overwhelming emotional expressiveness.

As I said, as a rule, the quality of the recording definitely affects my listening habits, but there are exceptions to the rule.

And not meaning to highjack the thread, can anyone recommend recordings of Mozart’s piano concertos for a good combination of sound and interpretation? I have Ashkenazy’s but would be interested in one that’s recorded better.

Thanks to RVpiano for posting and thanks for reading. Happy new year!

Hard to go wrong with Brendel on Phillips. Either his recordings with Neville Marriner, a tad more relaxed than his later re-makes with Mackerras which have a more spot-lit piano, but for me both are enjoyable. BTW, if you are interested in the Goldbergs, as it seems you are, you should hear Beatrice Rana's recent recording - outstanding I think and I easily enjoy it more than the others which preceeded it. 

Good recommendations from Newbee.

Also, for great sound and good performances try Mitsuko Uchida/Jeffrey Tate cond. the great English Chamber Orchestra on Phillips.

Still, I have to mention the fantastic interpretations with decent overall sound (if one can tolerate a little tape hiss and digititis from the Sony remastering) and typically exquisite piano tone from Murray Perahia with the same orchestra. Of note, and adding to the incredible cohesion between pianist and orchestra is the fact that Perahia himself conducts from the keyboard.