Classical Music for Aficionados


I would like to start a thread, similar to Orpheus’ jazz site, for lovers of classical music.
I will list some of my favorite recordings, CDs as well as LP’s. While good sound is not a prime requisite, it will be a consideration.
  Classical music lovers please feel free to add to my lists.
Discussion of musical and recording issues will be welcome.

I’ll start with a list of CDs.  Records to follow in a later post.

Berlioz: Symphonie Fantastique.  Chesky  — Royal Phil. Orch.  Freccia, conductor.
Mahler:  Des Knaben Wunderhorn.  Vanguard Classics — Vienna Festival Orch. Prohaska, conductor.
Prokofiev:  Scythian Suite et. al.  DG  — Chicago Symphony  Abbado, conductor.
Brahms: Symphony #1.  Chesky — London Symph. Orch.  Horenstein, conductor.
Stravinsky: L’Histoire du Soldat. HDTT — Ars Nova.  Mandell, conductor.
Rachmaninoff: Symphonic Dances. Analogue Productions. — Dallas Symph Orch. Johanos, cond.
Respighi: Roman Festivals et. al. Chesky — Royal Phil. Orch. Freccia, conductor.

All of the above happen to be great sounding recordings, but, as I said, sonics is not a prerequisite.


128x128rvpiano
Europeans simply have no brains to be brainwashed. You are confused, schubert.
**** Their culture is "how am I doing " , Ours is " how are we doing " .****

Interesting comment coming from a learned professor, but to assume that in music making this is necessarily a “problem” is a mistake, IMO. I assume that he was speaking about the concept of “ensemble”. Yes, in any ensemble small or large, it is important to think as one and feel phrasing as one when necessary....but, not at all times and certainly not at the total expense and subjugation of individuality. Unanimity of musical concept is of paramount importance, but individuality at appropriate times is equally as important; otherwise a performance runs the risk of being very bland. The key to good ensemble playing is knowing when to ask oneself “how am I doing”, and when to ask “how are we doing”. The great ensemble player knows how to strike the right balance between the two.

The comment is particularly interesting because it goes counter to what is one of the main differences in the training of players in Europe vs the US. First, neither European nor American conservatories have a clear advantage nor superiority in all areas of training one over the other. The main problem in the US right now is probably that there too many fine conservatories for the number of jobs available. Importantly, the main difference is that in European conservatories professors tend to overwhelmingly be natives of the country where the conservatory is located. American conservatories have much more diversity in their teaching staff and the various European playing traditions are well represented; and their influence (and others) came together to create the “American” school of playing.  There is no reason that the very relevant idea of the advantages and richness that are the result of diversity should not apply to music making; just as exists bias against it.

As usual, there is danger in generalities. Just one example of the opposite view:

https://nyconcertreview.com/articles/the-european-string-quartet-tradition-in-americathe-henschel-ku...


@inna      I am a European, are you insinuating that I have no brain ?
I find that extremely insulting.
inna, What you said proves what I have thought, you are mentally ill.

frogman , I think that were he still alive, that Prof would say what you did .
It  was said in the 1960’s and took about 2 minutes .
It stuck in MY mind . 

I have noticed over the years that many players have become more harsh etc. I thought it might be because the World they were born into was that.

























frogman , I am all into diversity in large countries like the USA. Over 10% of Minnesota population are refuges or immigrants
and we are better for it in our Nations largest % iof Federal Voters. . My best friend is Chinese and a nicer man I have never known .

It can be not so good for little countries

Little European Counties like Austria , 8 million, Slovenia 2 million,Czech Republic 3 mill ,fear for their culture and unlike USA have real reason to . They have taken as much people as they can take and are musical lands that want what they have.
Big -hearted Sweden is falling apart for taking more than it could handle .Germany , The Euro Engine with about 90 mil took a million in one year and 2,500 refugees raped German women on New Years in Berlin.

Their religion says that is their duty.