>rd >> is in via his marvelous contribution to Schiff's set of the concertos - >> fantastic playing by the orchestra (Dresden) and very good recorded sound >> (Teldec). =A0His Fidelio, also Dresden, is quite well conducted too. =A0I= >t's a >> shame he didn't record the symphonies with *them*....)
>> Simon
>He might have, if he hadn't stormed out on the orchestra enraged by >the management's decision to hire Luisi. I don't think we are missing >all too much though. In the absence of a Haitink cycle with the SD, >there is one with Davis from the 90s with a similarly "non- >interventionist" approach by Davis (slightly "heavier" and "plusher" >than Haitink's later LSO cycle though) but the same kind of highly >refined traditional sound and playing style by the orchestra that you >enjoy in the concertos and Fidelio. Very nicely recorded by Philips, >too, BTW. I like to call this a "guilty pleasure".
I'm afraid it did nothing for me; I much prefer the sounds conjured up by Teldec's engineers (and, perhaps, by Haitink). Not to mention Blomstedt....
Lombard <thorsteinnos...@vermontel.net> wrote: > Taree Dawg wrote: > > O wrote: > >> In article > >> <d59d6dc1-ece3-42b7-9f55-efa0d1c96...@v25g2000yqk.googlegroups.com>, > >> Ludwig <fromgoogle.1.ludwig...@spamgourmet.com> wrote:
> >>> On Nov 6, 9:51 pm, "J.Martin" <mistalu...@yahoo.com> wrote: > >>>>>> The are MP3 files, my dear fellow, MP3 files, not CDs, > >>>>>> EM > >>>>> Wasn't it you who has written different times that the time of the > >>>>> CDs is > >>>>> over? > >>>> I've certainly said things to that effect several times, yes. And > >>>> this sort of bargain rather supports the point, don't you think? > >>>> Given the choice between getting the entire set as mp3s for $17.98 and > >>>> paying $178.98 for the CD box, how many people will buy the CDs? The > >>>> market for music in physical media grows smaller by the day. I'm not > >>>> entirely happy about it, btw: I'm rather attached to my old habits of > >>>> bringing home piles of discs from an actual brick and mortar stores. > >>>> But it's pretty clear that era is coming to an end.
> >>>> And by the way, it appears that the mp3 set is now priced at $67.99, > >>>> so it seems the earlier price was an error that they have corrected.
> >>>> JM > >>> Still at the lower price at Amazon UK. Perhaps it's an introductory > >>> offer for just the first x (e.g. 100) sets sold in each territory.
> >> I bought it and my initial impression is that it is very well played, > >> somewhat drawn out, highly articulated, excellent sound, but somewhat > >> lean. This isn't the crash and bang Mahler, this is a gentle, > >> sumptuous Mahler. (Reactions from hearing 1 and most of 2).
> >> -Owen
> > As I kind of expected. Mahler for lounge lizards.
> > Ray Hall, Taree
> Highly articulated, lean, gentle, sumptuous? I can't get around all > those adjectives in one description.
You forgot drawn out. That's what puts them together. Lots of detail, very lyrical, no crashes from the Klezmer band in the 1st symphony.
> In article <a5b019df-5194-47a0-80b2-fc1471b04...@v36g2000yqv.googlegroups.com>, > M forever says...
> >On Nov 6, 4:17=A0pm, Simon Roberts <s...@comcast.net> wrote:
> (The best Haitink Beethoven I've hea=
> >rd > >> is in via his marvelous contribution to Schiff's set of the concertos - > >> fantastic playing by the orchestra (Dresden) and very good recorded sound > >> (Teldec). =A0His Fidelio, also Dresden, is quite well conducted too. =A0I= > >t's a > >> shame he didn't record the symphonies with *them*....)
> >> Simon
> >He might have, if he hadn't stormed out on the orchestra enraged by > >the management's decision to hire Luisi. I don't think we are missing > >all too much though. In the absence of a Haitink cycle with the SD, > >there is one with Davis from the 90s with a similarly "non- > >interventionist" approach by Davis (slightly "heavier" and "plusher" > >than Haitink's later LSO cycle though) but the same kind of highly > >refined traditional sound and playing style by the orchestra that you > >enjoy in the concertos and Fidelio. Very nicely recorded by Philips, > >too, BTW. I like to call this a "guilty pleasure".
> I'm afraid it did nothing for me; I much prefer the sounds conjured up by > Teldec's engineers (and, perhaps, by Haitink). Not to mention Blomstedt....
> Simon
That's a very odd commentary. I can understand that you aren't a big fan of the Davis recordings (as I said, I am somewhat ambivalent about it, too), but sonically, there isn't much of a difference at all between the Philips and the Teldec recordings. The Philips sound is maybe a tick "darker", but it's obviously the same orchestra in the same venue in the same period. Haitink's treatment of the orchestral sound doesn't strike me as significantly different from Davis' either, both kind of ride on the sound as it is.
>O wrote: >> In article >> <d59d6dc1-ece3-42b7-9f55-efa0d1c96...@v25g2000yqk.googlegroups.com>, >> Ludwig <fromgoogle.1.ludwig...@spamgourmet.com> wrote:
>>> On Nov 6, 9:51 pm, "J.Martin" <mistalu...@yahoo.com> wrote: >>>>>> The are MP3 files, my dear fellow, MP3 files, not CDs, >>>>>> EM >>>>> Wasn't it you who has written different times that the time of the CDs >>>>> is >>>>> over? >>>> I've certainly said things to that effect several times, yes. And >>>> this sort of bargain rather supports the point, don't you think? >>>> Given the choice between getting the entire set as mp3s for $17.98 and >>>> paying $178.98 for the CD box, how many people will buy the CDs? The >>>> market for music in physical media grows smaller by the day. I'm not >>>> entirely happy about it, btw: I'm rather attached to my old habits of >>>> bringing home piles of discs from an actual brick and mortar stores. >>>> But it's pretty clear that era is coming to an end.
>>>> And by the way, it appears that the mp3 set is now priced at $67.99, >>>> so it seems the earlier price was an error that they have corrected.
>>>> JM >>> Still at the lower price at Amazon UK. Perhaps it's an introductory >>> offer for just the first x (e.g. 100) sets sold in each territory.
>> I bought it and my initial impression is that it is very well played, >> somewhat drawn out, highly articulated, excellent sound, but somewhat >> lean. This isn't the crash and bang Mahler, this is a gentle, >> sumptuous Mahler. (Reactions from hearing 1 and most of 2).
>> -Owen
> As I kind of expected. Mahler for lounge lizards.
> Ray Hall, Taree
Why is that what you "expected"???? Are you familiar with Gielens work and is that why you expected it to sound like that??? Wagner fan
> Taree Dawg wrote: >> O wrote: >>> In article >>> <d59d6dc1-ece3-42b7-9f55-efa0d1c96...@v25g2000yqk.googlegroups.com>, >>> Ludwig <fromgoogle.1.ludwig...@spamgourmet.com> wrote:
>>>> On Nov 6, 9:51 pm, "J.Martin" <mistalu...@yahoo.com> wrote: >>>>>>> The are MP3 files, my dear fellow, MP3 files, not CDs, >>>>>>> EM >>>>>> Wasn't it you who has written different times that the time of the >>>>>> CDs is >>>>>> over? >>>>> I've certainly said things to that effect several times, yes. And >>>>> this sort of bargain rather supports the point, don't you think? >>>>> Given the choice between getting the entire set as mp3s for $17.98 and >>>>> paying $178.98 for the CD box, how many people will buy the CDs? The >>>>> market for music in physical media grows smaller by the day. I'm not >>>>> entirely happy about it, btw: I'm rather attached to my old habits of >>>>> bringing home piles of discs from an actual brick and mortar stores. >>>>> But it's pretty clear that era is coming to an end.
>>>>> And by the way, it appears that the mp3 set is now priced at $67.99, >>>>> so it seems the earlier price was an error that they have corrected.
>>>>> JM >>>> Still at the lower price at Amazon UK. Perhaps it's an introductory >>>> offer for just the first x (e.g. 100) sets sold in each territory.
>>> I bought it and my initial impression is that it is very well played, >>> somewhat drawn out, highly articulated, excellent sound, but somewhat >>> lean. This isn't the crash and bang Mahler, this is a gentle, >>> sumptuous Mahler. (Reactions from hearing 1 and most of 2).
>>> -Owen
>> As I kind of expected. Mahler for lounge lizards.
>> Ray Hall, Taree
> Highly articulated, lean, gentle, sumptuous? I can't get around all those > adjectives in one description.
> bl
I just heard 1 and 2 and I don't get that at all. They seem to me to be the opposite of the Bernstein emotional readings. Also I don't hear sumptuous either. They are leaner sounding with close microphone placement that allows Gielen to highlight orchstral details I hadn't heard before. Hard to explain - the readings are cooler, faster (but not over the top like Scherchen) but not clinical or cold (I know these adjectives are terrible). I find them fascinating so far in that they are different from the performances with which I'm familiar So far I'm glad I bought the set. Wagner fan
>On Nov 6, 10:06=A0pm, Simon Roberts <s...@comcast.net> wrote: >> In article <a5b019df-5194-47a0-80b2-fc1471b04...@v36g2000yqv.googlegroups= >.com>,
>> I'm afraid it did nothing for me; I much prefer the sounds conjured up by >> Teldec's engineers (and, perhaps, by Haitink). =A0Not to mention Blomsted= >t....
>> Simon
>That's a very odd commentary. I can understand that you aren't a big >fan of the Davis recordings (as I said, I am somewhat ambivalent about >it, too), but sonically, there isn't much of a difference at all >between the Philips and the Teldec recordings. The Philips sound is >maybe a tick "darker", but it's obviously the same orchestra in the >same venue in the same period. Haitink's treatment of the orchestral >sound doesn't strike me as significantly different from Davis' either, >both kind of ride on the sound as it is.
I was referring specifically to the sound on the Beethoven concerto set with Schiff, not to other Teldec Dresden recordings (I'm not sure I've heard any of those). Is that what you're comparing too?
Of course, you may be right and my memory wrong, but I've not kept either set and thus can't verify for myself....
> In article <d6cd2ce8-09ad-439a-8a13-a9b40ed7c...@g27g2000yqn.googlegroups.com>, > M forever says...
> >On Nov 6, 10:06=A0pm, Simon Roberts <s...@comcast.net> wrote: > >> In article <a5b019df-5194-47a0-80b2-fc1471b04...@v36g2000yqv.googlegroups= > >.com>,
> >> I'm afraid it did nothing for me; I much prefer the sounds conjured up by > >> Teldec's engineers (and, perhaps, by Haitink). =A0Not to mention Blomsted= > >t....
> >> Simon
> >That's a very odd commentary. I can understand that you aren't a big > >fan of the Davis recordings (as I said, I am somewhat ambivalent about > >it, too), but sonically, there isn't much of a difference at all > >between the Philips and the Teldec recordings. The Philips sound is > >maybe a tick "darker", but it's obviously the same orchestra in the > >same venue in the same period. Haitink's treatment of the orchestral > >sound doesn't strike me as significantly different from Davis' either, > >both kind of ride on the sound as it is.
> I was referring specifically to the sound on the Beethoven concerto set with > Schiff, not to other Teldec Dresden recordings (I'm not sure I've heard any of > those). Is that what you're comparing too?
Yes. I don't have any other recordings from Dresden by Teldec either (I think...) except for the two fabulous discs with Mozart serenades conducted by Harnoncourt which does sound quite different, obviously because of the conductor and the smaller orchestra.
> Of course, you may be right and my memory wrong, but I've not kept either set > and thus can't verify for myself....
I think you were confusing your memories of emotional reactions to the performances with the actual sound. Although I think the musical quality of both Davis' symphonies and Schiff's concertos is on about the same level as far as the conductors' contribution are concerned. Like I said, both basically let the orchestra play as they usually play and restrict themselves to organizing everything nicely.
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