Tír Na HiFi

fergus wrote:

Seán wrote:

Wolfgang Amadeus Mozart
Symphony No 29 & 35
Berlin Philharmonic Orchestra
Claudio Abbado - conducting.

Wrong thread for that one Seán??

Yes indeed, dopey Dunne.

Seán wrote:

He is also very good with R Strauss but I do not think that will enhance my recommendation of him for you in any way LOL!!

Ah that's me Fergus: slow to absorb Strauss. I should get the Kempe recordings and move on from there, there is so much music and so little time.

If one was to explore Strauss then Kempe would be a very good place to start Seán.

I wonder do I actually favour that slightly aloof style? I haven't heard enough Beethoven recordings to be sure, but it tallies with a lot of my experience in other musical areas. Hmmm...

I have now covered all of the versions on modern instrument that are in my collection and which have not been covered by other people. I think this provides quite a good list for the database on this work and was a very worthwhile project.

I know that Seán does not have a leaning for Beethoven played on period instruments so I will not bother him with my recommendations in that area other than for two very strong recommendations which in my humble opinon stand way above many of their modern instrument counterparts. These are....







This is one of the most powerful interpretations that I have. The first movement is played with great drive and energy; it is electric! There is not a shred of sentimentality in the slow movement yet it is still an emotionally powerful and well measured performance. The Scherzo and Final Movement are also both bold and assertive performances. Those who might fear the "period performance" tag need have no fear. This is are really bold, electrifying performances, full of energy and drive. The difference in the sound of the instruments lies mainly in the brass and percussion - the sound of hide covered drums being hit with sticks is wonderful. This is a very direct and assertive performance of the Eroica and is very polished and refined.








This is also another very powerful performance that is full of drive and energy. It is wonderfully played and the recording is also excellent. Once again the brass section stands out as a highlight in this performance. The mood change in the slow movement is quite dramatic and the tone here is appropriately quite sombre yet very powerful emotionally with very refined playing. The timpani sound wonderful here also. The Scherzo has great bite and the Final Movement is wonderfully conducted and is a very measured performance right up to the final climax.

Both come with very high recommendations irrespective of your liking for Period Performance or not as they both stand up to critical scrutiny.

fergus wrote:I have now covered all of the versions on modern instrument that are in my collection and which have not been covered by other people. I think this provides quite a good list for the database on this work and was a very worthwhile project.

I know that Seán does not have a leaning for Beethoven played on period instruments so I will not bother him with my recommendations in that area other than for two very strong recommendations which in my humble opinon stand way above many of their modern instrument counterparts. These are....



This is one of the most powerful interpretations that I have. The first movement is played with great drive and energy; it is electric! There is not a shred of sentimentality in the slow movement yet it is still an emotionally powerful and well measured performance. The Scherzo and Final Movement are also both bold and assertive performances. Those who might fear the "period performance" tag need have no fear. This is are really bold, electrifying performances, full of energy and drive. The difference in the sound of the instruments lies mainly in the brass and percussion - the sound of hide covered drums being hit with sticks is wonderful. This is a very direct and assertive performance of the Eroica and is very polished and refined.

I have that set Fergus. the performances of the First and Second are disappointing. I agree, the Eroica is very, very good. I see that I neglected to include Gardiner's set earlier in the presentation of the recordings in my collection. Incidentally, the 5th is my favourite performance of that glorious work, it is a brilliantly, electrifying, stunning performance, it alone, is worth the price of the set.

This is also another very powerful performance that is full of drive and energy. It is wonderfully played and the recording is also excellent. Once again the brass section stands out as a highlight in this performance. The mood change in the slow movement is quite dramatic and the tone here is appropriately quite sombre yet very powerful emotionally with very refined playing. The timpani sound wonderful here also. The Scherzo has great bite and the Final Movement is wonderfully conducted and is a very measured performance right up to the final climax.

Both come with very high recommendations irrespective of your liking for Period Performance or not as they both stand up to critical scrutiny.

thanks, might pass on that though. I am intrigued by the Furwangler, Walter and Kletzki sets.

Lovely contributions, thanks Fergus.

Period performance shouldn´t be seen as "competition" for modern orchestras, it´s rather something that shades new light and takes the cobwebs off after hundreds of years of performance traditions, where for good or bad external hands have left their fingerprints on the scores.
There´s something absolutely unique about natural horns that modern ones can´t duplicate, the raw, uneven sound is actually part of the music, and the sheer difficulty in playing them gives and edge to the performance. The same is true of the blunt, calf timpani.

Besides Fergus´great recommendations which I of course endorse, I have to add the Eroicas of Jordi Savall, Giovanni Antonini and most definitely both of Brüggen´s versions, which for better or worse combine a post-Furtwanglerian vision with gut strings.

Seán wrote: I am intrigued by the Furwangler, Walter and Kletzki sets.

You cannot go wrong with either or indeed all of those sets Seán....they would make for some wonderful Christmas listening!!

Jose Echenique wrote: There´s something absolutely unique about natural horns that modern ones can´t duplicate, the raw, uneven sound is actually part of the music, and the sheer difficulty in playing them gives and edge to the performance. The same is true of the blunt, calf timpani.

And they sound absolutely wonderful on both sets that I have highlighted above.

http://www.youtube.com/watch?v=bKoGREpyYag

Here is on video Brüggen´s first Eroica recorded almost 30 years ago. Lucy van Dael was still concertino of the Orchestra of the XVIII Century.