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Just adding my opinion that the move to cardboard is an unwelcome one and I responded online to that effect. As others have said one needs a jewel case in order to be able to locate the CD on one's shelves. I downloaded and printed the inlay but it's a bit of a fag to cut it accurately and fit it into a spare case.
It's perfectly possible to produce card cases with a front cover that opens (like a book) & a spine (I'm not suggesting it as a DIY option ). The Dunedin Consort's Acis & Galatea & Messiah are in such a case (admittedly with plastic holders for the CDs, but that's not neccessary). That would answer environmental concerns, & also (what I suspect is the main reason for the BBCMM) reduce postage costs.
Remarkable interpretation IMO, with a repeat in 1st mvt and some audible details which normally are more disguised in the orchestral colours. Personally I find mvts 2 and 4 too fast, and especially mvt 2 lacking atmosphere, too earthy, with the colours of the wind not really blending, something a good Brahms IMO requires.
In the first mvt there is a difference between the way the exposition is played (or recorded?) and its repeat. E.g. some of the woodwind accents are audible in the exp, but less so in the repeat (and IMO the repeat is the way to do it), or is Noseda doing the Bruno Walter "trick" not to repeat the exposition literally (but changing balance or perhaps tempo?)
There is some beautifully articulated phrasing to admired too, again especially in the winds.
But the way mvt 3 ends is IMO not too well balanced: the "mist" of the horns is brutally cut by the winds - and I do think that hasn't got much to do with the interpretation but more with the recording.
And why hasn't the unnecessary applaus not been cut? I know it's a live recording, but the applause destroys the atmosphere after the final chords of this Brahms 3.
It's perfectly possible to produce card cases with a front cover that opens (like a book) & a spine (I'm not suggesting it as a DIY option ). The Dunedin Consort's Acis & Galatea & Messiah are in such a case (admittedly with plastic holders for the CDs, but that's not neccessary). That would answer environmental concerns, & also (what I suspect is the main reason for the BBCMM) reduce postage costs.
Agreed! I included a suggestion to that effect in my response to their question.
Remarkable interpretation IMO, with a repeat in 1st mvt and some audible details which normally are more disguised in the orchestral colours. Personally I find mvts 2 and 4 too fast, and especially mvt 2 lacking atmosphere, too earthy, with the colours of the wind not really blending, something a good Brahms IMO requires.
In the first mvt there is a difference between the way the exposition is played (or recorded?) and its repeat. E.g. some of the woodwind accents are audible in the exp, but less so in the repeat (and IMO the repeat is the way to do it), or is Noseda doing the Bruno Walter "trick" not to repeat the exposition literally (but changing balance or perhaps tempo?)
There is some beautifully articulated phrasing to admired too, again especially in the winds.
But the way mvt 3 ends is IMO not too well balanced: the "mist" of the horns is brutally cut by the winds - and I do think that hasn't got much to do with the interpretation but more with the recording.
And why hasn't the unnecessary applaus not been cut? I know it's a live recording, but the applause destroys the atmosphere after the final chords of this Brahms 3.
Thanks dear friend. Suddenly an essential purchase !
I thought it might be worth bumping this thread, as cloughie yesterday pointed out an Excel version (as indeed had Bryn, indirectly, previously, which I'd not picked up on), available here:
I thought it might be worth bumping this thread, as cloughie yesterday pointed out an Excel version (as indeed had Bryn, indirectly, previously, which I'd not picked up on), available here:
Thanks. Potentially very useful. I have a large collection of BBCMM CDs, mostly still unwrapped. One of my retirement projects (so far unrealised) was to listen to them all.
The list has been updated today, with some corrections made and some inconsistencies resolved, making it even more useful.
The person who maintains the list was very gracious in his reply to the comments I made, and he said that constructive feedback (to music@knowledgewise.co.uk) is always welcome.
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