Harpsichord a shit edition.
Post superior piano performances of Bach, Scarlatti, Handel, etc,
Getting these out of the way:
Do his organ concertos count?
Pleb confession time: at first I didn't realise Karl Richter and Sviatoslav Richter were two different people and I thought it was neat that one guy could be so great at piano and organ
Well yeah, he wrote better oratoria than any composer who ever lived. It's obvious why his vocal music overshadows his instrumental music except for a few pieces.
I went ahead and just googled "Handel piano" and this was the first result. Pretty excellent, actually.
Really digging this at the moment: https://www.youtube.com/watch?v=AnQdP03iYIo
>Harpsichord a shit
I don't exactly go that into classical and whatnot, just listen to the classical radio in the car, but if its a fucking harpsichord I fucking turn it off. I hate hate hate the fucking harpsichord
ok blog post out of the way, I "discovered" Ketelby's bells across the meadows recently, anyone wanna rec something like that?
I just know the keyboard suites as recorded by Keith Jarrett. They're nice.
Well harpsichord works great in an ensemble.
It's shit as solo instrument though.
get out of here with your meme shit
why is boulez so good for mahler
Here it is:
It would be nice if this was added to the list in OPs from now on.
Not all of these are from tape, some are CD and the "Trondheim" one was sourced from either HDtracks.com or a blu ray/SACD package...now it's in mp3
Thank you for this, I really liked their intensity on the video so I'll check out their other CDs.
And while I'm at it, could you guys also recommend me some sorrowful stuff?
It doesn't have to be slow, just melancholic.
I'd agree on the whole, but his Mahler 1 is pretty great. His 2 is almost unforgivable though, because the playing is so excellent, it sounds really good, but he delivers many important parts completely straight with no feeling whatsoever.
>on modern piano
So much is lost when you play Scarlatti sonatas on piano. The whole character of the pieces changes. Its like listening to a violin sonata on clean electric guitar. Loses all the texture and ornamentation that is was supposed to have. Ornamentation in particular sounds totally different on a piano.
Bach's English and French suites are some of the only baroque pieces that work on modern piano. Even art of fugue sounds cold and lifeless on piano. Its a piece that demands sustain: all those pedal notes for example. It should either be on organ, or with strings (like how Mozart and Haydn studied Bach fugues, having them played by string quartet so they could clearly hear the character of each line, and the interactions between them) Piano is just too homogeneous for baroque music.
Can someone recommend me a really terrible recording of a famous piece? I want to learn about the finer details about different performers' interpretations and I think if I hear something really bad I'll appreciate the better ones more, because I've only been listening to famous recommended recordings so far.
>not knowing /mu/ has poor taste
isn't it obvious with all the kpop threads and waifufaggotry?
This is a place where autistic people spout their opinions. Very few actual music connoisseurs here.
i only like his older bbc recordings and anything thats not on dg, really
i really loathe the x-ray miking-up-the-ass fake sound that dg has, it makes me puke.
sure, some things are lost when you play stuff on modern instruments. but sometimes you add a whole new dimension to the piece that couldn't be attained on the original instrument. sounding "cold and lifeless" could actually be a good thing for some pieces.
The OP or Nikolayeva for the AoF.
Suzuki in the Cantatas and B minor mass.
Queyras or Casals in the cello suites.
Feinberg, Nikolayeva, or live Richter for the WTC.
Pinnock for the Brandenburgs.
Thanks a lot. Do you have links to the specific editions (discogs, what, rym even, etc)? I've had massive issues finding anything specific when it comes to classical music, which is largely the reason I haven't pursued it too much.
Have you even heard a harpsichord anon?
The strings are much warmer sounding, and there is a greater difference in timbre at the registral extremes.
Try having a piano play basso continuo parts in a baroque opera, and you'll see what I mean. It just sounds wrong.
Both great instruments, but one is more correct fro baroque music.
Yep those are my favorite recordings of each work. Some would disagree but as we've established from >>60166385, there's a lot of shitty taste in these threads. Herreweghe is based for Bach.
>Try having a piano play basso continuo parts in a baroque opera, and you'll see what I mean. It just sounds wrong.
It sounds great actually.
not really. you cant even hear the piano in the basso continuo parts (in the first 3 minutes at least) The whole point is the continuo player should blend with the low strings. Another reason harpsichord is best for this: the high jangling of the strings can be heard (just) over the rest of the ensemble. piano just gets lost.
And when I could actually hear the piano, pic related was my reaction
>Some would disagree but as we've established from >>60166385, there's a lot of shitty taste in these threads.
>Herreweghe is based for Bach.
I liked it better when you weren't posting Poly.
How do you guys tag your classical music? I'm only interested in the track title field, I don't want to make it too long but I also don't want to miss out anything and It's becoming a nightmare.
[Title of the piece]: [Movement title]
>Symphony No.5 In C Minor, Op.67: I. Allegro con brio
Sometimes there are variations in whatever I download but I really don't care.
Also symphony No. 3 is based.
So based on the back cover from discogs did I do alright?
yes it is. kegel's choir had far better universal clarity of diction than any other chorus i've ever heard, and it had the unparalleled uniformity of dynamics as well, their sensitive and nuanced sense of volume is something that i've yet to hear matched by any chorus. this is evident in all of kegel's recordings with that chorus, not only did they rehearse tirelessly (to the point where I've heard SDF jokingly make statements about how it would be illegal for such crazy practice standards to take place in any democratic society), but he built it up over 30 years. i also prefer his soloists and find his senstiive interpretation more persuasive than gardiner.
the biggest thing about gardiner that i like in brahms is his flowing tempi, but i feel he is lacking in some areas. his choppy staccato especially.
That's how it's supposed to be played. It's reflective both of the instrumentation Brahms wrote for and of the Baroque music which the Requiem used as its models.
i don't know if i find that very persuasive considering that Brahms wrote that music with the performance practices of his time in mind, back in those days basically all orchestras utilized uniformal portamenti in their string playing, their string section was one that had an emphasis on fingering--not bowing.
Edwin Fischer's WTC and Mozart recordings.
Maria Yudina's Mozart and Beethoven recordings.
Fritz Busch's Schubert 5 and Mozart Don Giovanni
Anything with Adolf Busch.
Pablo Casals' Bach cello suites.
Josef Hofmann's Chopin concertos.
Mengelberg's Tchaikovsky 6 and Mahler 4
Alfred Cortet's Liszt B minor sonata and various chamber music recordings.
Probably a ton more that I'm sure other memers will fill in.
ikr. classical is what the plebs call it. Western art music should be the name of the thread. It will piss the plebs off even more so I dont understand why people stick with /classical/. old habits I guess
>for some reasons sustains "classical" as the title of these threads
why use the pleb label? Western Art Music is more correct. I blame whoever started these threads under the title "classical"
have you ever conducted an orchestra? have you ever been to a rehearsal? have you ever studied a score that no one gives a shit about, thought it would be awesome to perform, then put it together with an orchestra and put on a performance that blew everyone away?
of course not, that's why you dont understand. The conductor has a large amount of creative license when interpreting a piece. He gives directions to the orchestra that makes them play in different ways, he is the final word of balance, like a producer at the mixing desk, but with pencil dynamic marks on the players scores instead of moving a fader. He never even touches their scores, just tells them "bar 25, woodwind, lets bring it down to mezzo piano for the next bar, then back up to mezzo forte for 27" and the players write the changes in themselves.
The conductor not only makes sure the music is excellent, and in keeping with the composers original vision, but has to gain the trust of the orchestra: they must trust him/her to make them sound good, balance them correctly, cue in their parts so no one misses an entry.
Orchestras cant balance themselves, because none of them are sitting out in front, hearing the entire entity. Someone has to take responsibility, know the score inside out and make the creative choices. Tempo and timbre rely heavily on the conductor. If he tells an orchestra to play more aggressively, they will, if he tenderly gives the "piano" signal with his left hand and seems to melt onto the podium, the orchestra will respond immediately.
Boulez is not just a great conductor, he introduced the world to a large amount of 20th century composers through his concerts. Composers like Bartok and Webern that wouldn't be well known names if it weren't for Boulez.
>that no one gives a shit about
this is the problem with classical music, the players are very unconnected to the music and that is what mostly affects it overall all.
We need the COMPOSERS to perform more often. Is there such thing as group compositions, or a composer team/ group create music togther? That would spin more ideas around, and have that group play would be great
Anyone else hate reading about composers, cuz they're all fucking autists that make me hate them? Is that the price they pay for musical talent?
I hate knowing that some beautiful music I'm listening to was made by some retard who has less social skills than me(which is saying something,as you can see).
I read them either from the scanned booklets or use lyrics show panel v3 if I really need it, it gets a separate little window when I click on it.
I'm not even sure where that is, but it takes literally 1 minute to change the colors of your windows, that's basically all I did, and the custom tags.
>Composers like Bartok and Webern that wouldn't be well known names if it weren't for Boulez.
he certainly aided webern a great deal in his promotion (though i don't know if you could go so far as to say that he deserves the entirety of the credit regarding his well-known status, as Horenstein, Kolisch, Leibowitz, Rosbaud, Dorati, Stokowski, and other intimates of the SVS performed his music quite regularly and some like Leibowitz, Kolisch, and Rosbaud wrote various texts on Webern and the SVS in general, and Leibowitz and Rosbaud in particular were responsible for teaching Boulez a lot) but Bartok in particular was very well known even before his death, not only did he have a plethora of other famous composers who he was friends with, but he had a great many top tier virtuoso performers at his disposal as well to premiere his music. we even have the premiere performance of Bartok's Second Violin concerto (with Mengelberg/Székely) that was recorded, with the audience absolutely loving it (no boos and whistles, just applause. they even clap after the first movement.). Bartok's renown was basically guarenteed on the fact that he was a great composer, and he had vast connections to many of the great and notorious performers of the 20th century that could spread his music. not to mention that unlike Webern, he wasn't as polarizing.
>the players are very unconnected to the music and that is what mostly affects it overall all.
that's not really the case all the time though, many youth orchestras do not have this issue, and if the conductor is charismatic and visionary enough, he can get a great deal out of the players of an orchestra. the players for the Berliner Philharmoniker/Concertgebouw have had this kind of personal connection with their conductors, who made them feel more than what they usually did with the music (and that's just an off hand example).
i should also note that it can go the other way too. for example, the wiener philharmoniker didn't like playing Mahler's music for awhile (or so I'm told) with some of the performers being very vocally against it. and the orchestra's during Bruckner's time apparently loathed performing his music, saying that it was impossible to properly play and so on.
so yes, the players can be very connected to the music, in a negative way, and in a positive way. i don't think such a sweeping generalization in regards to their apathy is really accurate. i'm sure some of the more older orchestras with very old members probably have some problems in regards to this, but i doubt it's as extreme as being completely "unconnected". we have conductors with different visions about the music for that.
one sad thing about the evolution of orchestras over time though is how they've slowly lost their very unique timbre qualities over time, and have become more and more homogeneous. not completely though, but the differences between orchestras in term of the "raw" sound they produce have become harder and harder to hear.
you go back and listen to orchestras like the "Orchestre de la Société des Concerts du Conservatoire" and you can immediately hear the timbral difference between the old French style and how it sounds today (it all but started to disappear in the late 50s into the early 60s). there are also extremely unique timbral qualities in old recordings of the Wiener Symphoniker, Philharmoniker, Stokowski's Philadelphia Orchestra (amazingly he resurrected that sound everytime he re-appeared in Philadelphia from the 60s and onwards), Mengelberg's Concertgebouw, Furt's Berliner Philharmoniker, the Orchestre Lamoureux, the Staatskapelle Dresden (who still manages to actually sound fairly unique, albeit pretty differently than it did in the past), etc. etc.
does the Czech Philharmonic still produce those unique droll winds that are present on 60s and 70s recordings? i haven't heard anything recent from them.
cool, I also found this guy..? I don't know if he's a composer or not, google says he is a scholar but watev, this sounds great (only on left ear)
Can anyone recommend be some good documentaries on clasical music?
I've seen Howard Goodall's The story of music, and it was pretty plebby.
I really like this one about Beethoven. The animation is very nice:
>Reiner is quite good.
a bit more than quite good. fritz reiner's recording of the concerto for orchestra is absolutely brilliant.
rafael kubelik has also made great recordings of music for strings, percussion & celesta (1951 mercury living presence) & concerto for orchestra (1974 deutsche grammophon).
also be sure to check out iván fischer's "mspc". great stuff (plus the piano concertos with kocsis).
>Cesare Siepi's "Vous qui faites l'endormie" from Gounod's Faust
>"Se congié prens" by Desprez (mostly just the Dominique Vellard/Ensemble Gilles Binchois recording)
>"Fantasia on a Theme by Tallis" by Vaughan Williams
>"Ein Mädchen oder Weibchen" from Die Zauberfloete
>"Die Loreley" by Friedrich Silcher
1. The reintroduction of the opening theme of the 'Credo' in Beethoven's Missa Solemnis (as we reach 'Et in Spiritum Sanctum) after the gorgeous section from 'Et resurrexit'
2. The moment in the coda of the final movement of Beethoven 8 where the key modulates from F# minor back to B major.
3. 'I am the enemy you killed my friend' to 'Let us sleep now' in Britten's War Requiem
4. The first 'Herr' in the opening chorus of the St John Passion
5. The climax of the first movement of Dvorak 7, just before it begins to die away.
Honourable mentions: Most of Liszt's first concerto, I couldn't pick a specific moment; start of the Gloria of Striggio's Missa sopra Ecco si beato giorno; Brass section just before the entrance of voices in Verdi's Tuba Mirum and the fugue in the Libera Me; Ending of Mahler 4's final movement; Re-entry of the theme of the 2nd movement in the final movement of Schubert's Piano Trio no. 2.
You're literally more autistic than Gould.
>poly still shills Goebel's AoF even after being BTFO by SDF and various anons
How jestless a clown do you have to be?
>tfw you will never be as popular as Stravinsky
I need to make some more smug edits desu
The Britten conducted one is always a safe bet
The anniversary performance by the CBSO conducted by Nelsons (2012) was very good too.
I've also got a recording of Nelsons and the CBSO conducting it at the proms last year which was really quite good too.
The LSO recording conducted by Noseda seems to be regarded quite well too, but it's never done it for me.