Decisions, decisions, what do you think?

[Seán]

I am stuck.

Of late I have listened to Mozart symphonies on a daily basis and I love them and am now ready to get another box set and so I have chosen to get this one:



But I also have a yearning to broaden my horizons and explore Gardiner's seven opera set:




What should I do?

[Jose Echenique]

Well Seán, this is what yours truly thinks:

Stay away of the Hogwood cycle, it´s rather boring. No less than Nicholas McGegan, who played the flute in that cycle, told me that Hogwood underrehearsed everything, that he had no clear ideas about the scores (he just went along without saying much to the orchestra), and he plainly described the recordings as a joke. I think that is a little too hard, but quite frankly Brüggen, Gardiner and others outclass him big time. If you want the early symphonies Harnoncourt has recorded them with the Concentus Musicus, for the middle and late symphonies you can´t go wrong with Brüggen.

As for the Mozart Gardiner cycle, there are unfortunately ups and downs. The Idomeneo, Abduction, Clemenza di Tito and Don Giovanni are glorious, among the finest Mozart opera recordings ever which is saying quite something. But unfortunately the Marriage of Figaro is ruined by a dull Cherubino who is made (by Gardiner!!!!) to do some unmusical things that are ever harder to take with repeated listenings. The Susanna and Countess are rather pale too, a great pity, because it could have been a great recording, but even more infuriating is Gardiner´s choice for Sarastro in The Magic Flute, he hired a hideous singer (Harry Peeters) to sing what George Bernard Shaw described as the only music fit to be put in the mouth of God. The Pamina, infuriatingly because she deserved to be in a far better recording, is exquisite.
On the other hand he has the finest Konstanze ever for Abduction (Luba Orgonasova), and a Callas-like performance from Julia Varady as Vitellia in Clemenza di Tito, that is quite simply, to die for. The Cosí fan Tutte is fine, with a young and ardent cast, but Cherubino and Sarastro are much too important in their operas to ignore them.

So, if the price is right, go for the Gardiner, but the Hogwood symphonies are definitely NOT recommended.

[Seán]

Dear Pepe, thank you for your thoughtful response.

Well Seán, this is what yours truly thinks:

Stay away of the Hogwood cycle, it´s rather boring. No less than Nicholas McGegan, who played the flute in that cycle, told me that Hogwood underrehearsed everything, that he had no clear ideas about the scores (he just went along without saying much to the orchestra), and he plainly described the recordings as a joke. I think that is a little too hard, but quite frankly Brüggen, Gardiner and others outclass him big time. If you want the early symphonies Harnoncourt has recorded them with the Concentus Musicus, for the middle and late symphonies you can´t go wrong with Brüggen.

I was considering getting the Karl Böhm, BPO cycle but I would prefer to listen to smaller forces particularly in the earlier symphonies. I do like Harnoncourt, his Haydn recordings with Concentus Musicus are marvellous. I considered getting the Harnoncourt recordings of symphonies 1 to 25, but I want a full cycle so perhaps I should consider getting this set and Harnoncourt's recordings of the later symphonies with the RCO?

As for the Mozart Gardiner cycle, there are unfortunately ups and downs. The Idomeneo, Abduction, Clemenza di Tito and Don Giovanni are glorious, among the finest Mozart opera recordings ever which is saying quite something. But unfortunately the Marriage of Figaro is ruined by a dull Cherubino who is made (by Gardiner!!!!) to do some unmusical things that are ever harder to take with repeated listenings. The Susanna and Countess are rather pale too, a great pity, because it could have been a great recording, but even more infuriating is Gardiner´s choice for Sarastro in The Magic Flute, he hired a hideous singer (Harry Peeters) to sing what George Bernard Shaw described as the only music fit to be put in the mouth of God. The Pamina, infuriatingly because she deserved to be in a far better recording, is exquisite.
On the other hand he has the finest Konstanze ever for Abduction (Luba Orgonasova), and a Callas-like performance from Julia Varady as Vitellia in Clemenza di Tito, that is quite simply, to die for. The Cosí fan Tutte is fine, with a young and ardent cast, but Cherubino and Sarastro are much too important in their operas to ignore them.

Lovely summary Pepe, thank you.

So, if the price is right, go for the Gardiner, but the Hogwood symphonies are definitely NOT recommended.

Thanks.

[Jose Echenique]

If you have to have a complete cycle of the symphonies, perhaps you should investigate the Mozart Akademie/Jaap Ter Linden in Brilliant. As you know Jaap Ter Linden is an excellent baroque cellist who has made many records for Harmonia Mundi and other labels, but these are his only recordings as a conductor. I thought the cycle quite competent, with fine Dutch musicians and good sound. Of course in the late symphonies he can´t really compete with the likes of Gardiner, but overall I liked it much better than the Hogwood.

[Seán]

If you have to have a complete cycle of the symphonies, perhaps you should investigate the Mozart Akademie/Jaap Ter Linden in Brilliant. As you know Jaap Ter Linden is an excellent baroque cellist who has made many records for Harmonia Mundi and other labels, but these are his only recordings as a conductor. I thought the cycle quite competent, with fine Dutch musicians and good sound. Of course in the late symphonies he can´t really compete with the likes of Gardiner, but overall I liked it much better than the Hogwood.

I have two complete cycles: Jaap Ter Linden with the Mozart Akademie and Charles Mackerras with the Prague Chamber Orchestra, I also have several individual recordings of different symphonies on cd and vinyl. I love the Mackerras set but I do not like Ter Linden's I find it cold and uninvolving, I find it severely lacking I'm afraid.

Pepe, are you familiar with Pinnock's cycle on Archiv with The English Concert, if you are, what do you make of it?

[Jose Echenique]

If you didn´t like the Linden then the Hogwood is not going to be of great help. Rather invest in individual outstanding recordings, like Brüggen´s awesome Prague Symphony or Gardiner´s Jupiter. Minkowski also has a fine recording of symphonies 40 & 41 on Archiv.

Yes, I have everything Pinnock recorded, but it´s not a complete cycle. It is much better than the Hogwood, but not as good as the Gardiner or the Brüggen.

[Seán]

Pinnock, Böhm, Gardiner, Bruggen or perhaps I should forget about a complete cycle and get these three instead:

[Jose Echenique]

Some thoughts on the Abbado recordings. They have tremendous historical importance because they are the first recordings by a major, major non-specialist conductor (not to put down wonderful Sir Charles Mackerras who also recorded often with the OAE) with period instruments, and they are very fine, lyrical, warm, Italianate, but....the playing though fine in general, is not in the class of the Orchestra of the XVIII Century or the English Baroque Soloists. Abbado does conduct in period fashion, and it´s fascinating to compare these with the earlier recordings he made with the LSO, you almost feel his admitting that THIS is the way to do it!
So, I love them, and find immensely moving that even near the end of his life, Abbado had the courage to accept what well all know: that it´s not possible to play XVIII Century music with 20th Century instruments and manners, it takes an extremely intelligent 80 years old man to do that.

[Seán]

Some thoughts on the Abbado recordings. They have tremendous historical importance because they are the first recordings by a major, major non-specialist conductor (not to put down wonderful Sir Charles Mackerras who also recorded often with the OAE) with period instruments, and they are very fine, lyrical, warm, Italianate, but....the playing though fine in general, is not in the class of the Orchestra of the XVIII Century or the English Baroque Soloists. Abbado does conduct in period fashion, and it´s fascinating to compare these with the earlier recordings he made with the LSO, you almost feel his admitting that THIS is the way to do it!
So, I love them, and find immensely moving that even near the end of his life, Abbado had the courage to accept what well all know: that it´s not possible to play XVIII Century music with 20th Century instruments and manners, it takes an extremely intelligent 80 years old man to do that.

Lovely Pepe, thank you.