Originally posted by Mandryka
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Indispensable recordings 10.08.2024. Proms Composer 4: Beethoven
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Originally posted by Mandryka View Post
What big risks did Furtwangler take in Beethoven? I thought it was all meticulously planned and micromanaged with an iron hand in performance. And Schnabel - apart from the (foolhardy) first movement of op 106? I don't know if there were any Schnabel retakes, unpublished versions. I suppose the second recording of op 109 and op 111 are retakes stemming from dissatisfaction with the first published performances.
I'm pretty sure I could think of some modern real risk takers if I put my mind to it - have you heard Pletnev's op 110 for example - on youtube? And HJ Lim's complete sonatas? And Aimard's concertos with Harnoncourt?
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Here are today's picks, a rather personal selection by Marina Frolova-Walker rather than the 'best recordings'.
Coriolan Overture, Op.62
Die Deutsche Kammerphilharmonie Bremen, Daniel Harding
Beethoven: Overtures (Virgin/Warner Classics)
Piano Sonata No.17 in D minor, Op.31 No.2 'Tempest'
Sviatoslav Richter
Beethoven: Piano Sonatas Nos. 12, 17, 22, 13 (Alto/Musical Concepts)
String Quartet No.9 in C major, Op.59 No.3
Quatuor Ebene
Beethoven Around the World: The Complete String Quartets (Erato)
An die ferne Geliebte, Op.98
Julian Prégardien, Christoph Schnackertz
An die Geliebte (Myrios Classics)
Symphony No.9 in D Minor, Op.125
Gwyneth Jones, Hanna Schwarz, René Kollo, Kurt Moll, Vienna State Opera Choir, Vienna Philharmonic, Leonard Bernstein
Beethoven: 9 Symphonies (Deutsche Grammophon)
The Coriolan is a rather hard-edged performance ('sculptural' for Marina) from a recording that has been negatively reviewed elsewhere. Andrew sounded politely sceptical ('You do need tenderness as well though, don't you?').
Can't really argue with picking Richter; the Tempest is an EMI studio recording from 1961, the others on the remastered Alto disc are from RCA the previous year. Andrew found the recording quality of the Tempest 'a bit airless' compared to the Appassionata but was suitably impressed by the 'edge of the seat' experience of hearing Richter's interpretation, which also found 'the beauty and the mystery' of the sonata. Marina heard Richter play the Tempest live in Moscow in 1980, a life-changing concert that she recorded from the radio the next day and would have preferred to include if it had been readily available.
I like what I've heard of the Ebene live cycle, including the fugue from the third Razumovsky quartet played today. An die ferne Geliebte is far from mainstream Beethoven, but well-performed here. Lenny's VPO 9th is a 2017 remastering of his 1979 recording.Last edited by Retune; 10-08-24, 21:37.
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Originally posted by Pulcinella View Post
Maybe just 'indispensable to her'? In which case, fair enough, I say, as the general concept of one performance fits all is a bit ridiculous.
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Originally posted by silvestrione View Post
Eh? That's not what 'indispensable' means here surely? Have you no time for the idea of a classic recording, which is thought to have a centrality to, and to be perhaps the best of, a performing tradition? Which if you haven't heard, you may well be missing something essential (even if you have other personal favourites).
Perhaps she's gently undermining the whole ridiculous concept?
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Originally posted by Pulcinella View PostThanks, Retune.
Not only had I forgotten to update the thread, but your contribution is much better (in both content and layout!) than mine would have been.
I was figuring out exactly which recordings she had chosen, so I thought I might as well post them here (the RR programme page was incomplete at the time), with a few words about the most interesting discussion points.
Originally posted by Pulcinella View Post
Given that the suggestions on these threads are all our own personal indispensables, for whatever reason (and of course the idea of a classic that has withstood the test of time will feature for many), then I see nothing at all strange in this personal selection.
Perhaps she's gently undermining the whole ridiculous concept?
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Originally posted by silvestrione View Post
Have you no time for the idea of a classic recording, which is thought to have a centrality to, and to be perhaps the best of, a performing tradition? .
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Originally posted by ostuni View PostI started listening to, and buying records of, Beethoven in the 60s and 70s, but derive very little pleasure in revisiting recordings from that era: my tastes have changed, and I am now far more likely to seek out recordings from the last couple of decades, ranging from HIP-influenced to full-blown HIPP.
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Originally posted by silvestrione View Post
Eh? That's not what 'indispensable' means here surely? Have you no time for the idea of a classic recording, which is thought to have a centrality to, and to be perhaps the best of, a performing tradition? Which if you haven't heard, you may well be missing something essential (even if you have other personal favourites).
I've now realised that you highlighted some words in my post; they were indeed not ideal.
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