Dvorák/Janáek (FR-710), garnered a GRAMMY® nomination for Best Orchestral Performance. Each album, including the newest Bruckner 4 (FR-713) has received dozens of critical accolades.
Youtube music beethoven 7th symphony series#
This release is the fourth in the highly acclaimed Pittsburgh Live! series of multi-channel hybrid DSD recordings in the Fresh! series from Reference Recordings. For me, this is always the most beautiful part of the creative process.” It has been a joy to look deeply into that which Beethoven has composed, while also discovering the sense and content of the music and thus the reason it has been written. The marrying of the music’s historic interpretation with the brilliance of the Pittsburgh Symphony Orchestra’s playing and the fantastic technique of Soundmirror have made this recording, comprised of three live concerts from December 2014, possible. Brahms nearly quotes it in the first movement of the First Symphony and I love it.Conductor Manfred Honeck writes in his fascinating and thorough music notes: “A recording of Beethoven is always a great occasion and event. *"Hail to the Lord's Anointed" for those of us with a Protestant upbringing. I really think Beethoven does gain something from the HIP approach. But if peasants did offer thanksgivings after thunderstorms I'm glad they did so to the tune "Crueger":Īnyway, I'm still enjoying, after repeated hearings, the Anima Eterna recording of the Pastoral. I never used to like the "Pastoral" very much - that brook always seemed to outstay its welcome, and the descriptions of the Austrian peasantry failed to convince. Modern sound preferred here since it's quite a sensuous work and the woodwind detail is lovely. > So looking for a short list of excellent performances, whether historical or in modern sound.
I don't listen much to Beethoven's symphonies but I make an exception for the Pastoral - to my ears the most modern he wrote, with passages that could be Dvorak or Mendelssohn. On Saturday, Augat 6:36:27 PM UTC+10, Andy Evans wrote: Undoubtedly a lot I haven't heard yet - hopefully some gems amongst them. I didn't feel the need to go further with Bernstein, Kletzki, Cluytens, Dorati, Munch, Steinberg, Jochum, Zinman, Vanska, Gardiner, Celibidache, Paray, C.Kleiber, Abbado, or any of the historical performances, some of which were very weird to modern ears. Not quite so sure about Monteux, Reiner, Schmidt-Isserstedt, Karajan, Ansermet, Gielen, Keilberth, Szell, Guilini, Bruggen, but I'll try and listen more to those. From what remain and I want to listen further to I'd say Mravinsky, Bohm, Walter, Harnoncourt, Haitink, E.Kleiber, Klemperer, Beecham, Jarvi. I've been going through short clips of the first movement on YT, and there are a number that I've discarded just on that basis, mostly for too fast or too pushed. You're right - it's addictive, can't stop listening as you say. Can't stop- there's real electricity to this performance, but no loss of feeling. The strings are divided, too, which makes for wonderful phrasing contrasts. I can't help but be aware that this is a live performance, and that things just come off perfectly.
> Another favorite of mine is Mravinsky from '82 on Erato.
It is never too controlled- if you want that, go to Vänskä. I'd take either of the '58 recordings from Mahler's students than this '71 one on the yellow label.Īnother favorite of mine is Mravinsky from '82 on Erato. Turning to the Bohm, the string-centered sound takes away the richness of the bass line, which is a real loss here. Walter seems to bring more sentiment- perhaps because the dynamics are not as good as for the contemporaneous EMI. In a movement that seems primed for sentiment, you can see Klemperer's purpose with clarity. I just sampled Klemperer and Walter in v. The "obvious" choices are Bohm/VPO, Walter/Columbia and Klemperer/Philharmonia.
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