Originally posted by Dave2002
View Post
Beethoven Symphony Cycles
Collapse
X
-
-
-
Originally posted by HighlandDougie View PostGlad that the cycle is being enjoyed!
I know others gave up on Immerseel in favour of Krivine, but I'm thinking that was a big mistake. Critical reviews of Immerseel's set are all over the place - in the sense of vastly diverging opinions - and opinions about each individual symphony - look for them. One wonders in some cases whether the critics bothered to listen at all, or perhaps sampled just a few discs. Incidentally - what's the big deal about A-440? OK - not "traditional" HIPP pitch, but just happens to be standard concert pitch I think still.
Comment
-
-
Originally posted by Dave2002 View PostIt's a brilliant set - but the Pastoral still sounded a bit odd today. The seventh and ninth are stunning - as perhaps are most of the others.
I know others gave up on Immerseel in favour of Krivine, but I'm thinking that was a big mistake. Critical reviews of Immerseel's set are all over the place - in the sense of vastly diverging opinions - and opinions about each individual symphony - look for them. One wonders in some cases whether the critics bothered to listen at all, or perhaps sampled just a few discs. Incidentally - what's the big deal about A-440? OK - not "traditional" HIPP pitch, but just happens to be standard concert pitch I think still.
Comment
-
-
Originally posted by Barbirollians View PostI was rather put off this set by Immerseel's Symphony Fantastique which I found a big disappointment .
Comment
-
-
Originally posted by HighlandDougie View PostAlthough you are right in that it is the UK concert standard, JvI makes the point that A-440 is quite high for a period instrument band (more normally 415) ....
Possibly there were wider disparities in pitches between cities which were far apart, with relatively little interaction between them and little exchange of musical performers.
I am not sure that even musicians with absolute pitch can detect a difference down to a few Hz accurately.
After 1711, with the invention of the tuning fork by John Shore, pitches might have tended to become much more standard - https://en.wikipedia.org/wiki/Tuning_fork - and it seems plausible that this would have happened by 1720-1730.
Comment
-
-
Has anyone heard the new Blomstedt cycle with the Leipzig Gewandhaus? It has gotten good reviews. I really like his previous cycle with Dresden, which can be had inexpensively from Brilliant Classics. That cycle is 40 years old, and as my respect for Blomstedt has steadily increased over the years I am wondering how his views may have changed....if at all. The new one is a bit more expensive so unless Santa sees fit to add yet another Beethoven cycle to my shelves I may have to pass...
Comment
-
-
Beethoven symphony cycle.
Out of curiosity, what opinion do my (much more esteemed than me) fellow forumers have on the idea of complete Beethoven Symphony cycle recordings. Does the totality of the journey from 1 to 9 just make it impossible for one conductor and orchestra to compile a truly complete set of fulfilling interpretations in one defined project? Are there any examples of complete cycles that truly hit the mark in every work?
Comment
-
-
I'd say not - but that's because "the mark" (my inner conception of the nine works) shapeshifts every time I reread the scores.
But thanks for the opportunity to let me enthuse again about the Krivine set - still my go-to set. (And even here, I find the finale of the First a bit too fast - and the recorded sound quality does depend on which system I play it on. But these remain astonishing readings of the scores; lithe, impudent, and lyrical, without losing the power the works require - still completely revelatory for me, with the emphasis on the "revel".)[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
Comment
-
-
Originally posted by ferneyhoughgeliebte View PostI'd say not - but that's because "the mark" (my inner conception of the nine works) shapeshifts every time I reread the scores.
But thanks for the opportunity to let me enthuse again about the Krivine set - still my go-to set. (And even here, I find the finale of the First a bit too fast - and the recorded sound quality does depend on which system I play it on. But these remain astonishing readings of the scores; lithe, impudent, and lyrical, without losing the power the works require - still completely revelatory for me, with the emphasis on the "revel".)
Comment
-
-
Originally posted by Andy2112 View PostDoes the totality of the journey from 1 to 9 just make it impossible for one conductor and orchestra to compile a truly complete set of fulfilling interpretations in one defined project?
Comment
-
-
Originally posted by jayne lee wilson View PostHey, give us a break! It's all about Schumann this week!
Oh, alright then: NBC/Toscanini, live New York October-December 1939. (But only in the Music & Arts 2013 transfer).
You see? I'm not fixated on chamber orchestras and HIPPs and hi-res all the time...
Comment
-
Comment