Great recordings of classical music

[Rednaxela]

I used to be crazy for Glenn Gould's Bach recordings. Something about the clarity and virtuosity drew me in. I even had a radio series on KPFA Berkeley, California, covering many of his recordings and compositions. But after a while I tired of his rigidity, his distortions and his humming. Eventually I found recordings of Bach on piano that I preferred. One of them was Murray Perahia's 2000 recording of the Goldberg Variations for Sony Classical. There's a lot more breathing room in Perahia's Goldbergs, not only because the tempos aren't as hectic, but also because there' plenty of repeats and the instrument is recorded from a more reasonable distance.

In 2016 Perahia switched record labels, moving from Sony (previously Columbia/Sony) to DGG. His first issue was of Bach's French Suites. The production team was the same as his Sony recordings, the recording was made in 2013. Going back to Glenn Gould, I used to own his recording of the French Suites but found it unsatisfying, with Gould's usual problems amplified for some reason, hardness of tone, mauling of rhythms, grunts, groans and chair squeaks. Perahia's recording of these works has excellent production work, really fine sound and fluid playing. I've been very lucky in finding piano recordings as of late, this is one of the best.

That’s lovely indeed. Thank you for sharing.

The French Suites recording that made me start to see Gould a bit more from a distance was this one.

 

[mSpot]

Also have Wispelway's marvelous Bach Cello Suites set:

That was Wispelway's second (of three) complete Bach Cello suites that he recorded during a span of over 20 years.

His third traversal (released in 2012) is notably unique, having great flexibility in rhythm and phrasing, and an unusually low tuning of A=392. There is a video about how he approached its performance.

 

[Robin L]

That was Wispelway's second (of three) complete Bach Cello suites that he recorded during a span of over 20 years.

His third traversal (released in 2012) is notably unique, having great flexibility in rhythm and phrasing, and an unusually low tuning of A=392. There is a video about how he approached its performance.

The version I've got is the 1998 recording. I will check out the 2012 recording on You Tube:

 

[Keith_W]

I used to be crazy for Glenn Gould's Bach recordings. Something about the clarity and virtuosity drew me in. I even had a radio series on KPFA Berkeley, California, covering many of his recordings and compositions. But after a while I tired of his rigidity, his distortions and his humming. Eventually I found recordings of Bach on piano that I preferred. One of them was Murray Perahia's 2000 recording of the Goldberg Variations for Sony Classical. There's a lot more breathing room in Perahia's Goldbergs, not only because the tempos aren't as hectic, but also because there's plenty of repeats and the instrument is recorded from a more reasonable distance.

You may be interested in listening to a Bach specialist like Angela Hewitt. She has a gorgeous tone and plays with precision, clarity, and great beauty.

 

[REK2575]

I used to be crazy for Glenn Gould's Bach recordings. Something about the clarity and virtuosity drew me in. I even had a radio series on KPFA Berkeley, California, covering many of his recordings and compositions. But after a while I tired of his rigidity, his distortions and his humming. Eventually I found recordings of Bach on piano that I preferred. One of them was Murray Perahia's 2000 recording of the Goldberg Variations for Sony Classical. There's a lot more breathing room in Perahia's Goldbergs, not only because the tempos aren't as hectic, but also because there's plenty of repeats and the instrument is recorded from a more reasonable distance.

In 2016 Perahia switched record labels, moving from Sony (previously Columbia/CBS) to DGG. His first issue was of Bach's French Suites. The production team was the same as his Sony recordings, the recording was made in 2013. Going back to Glenn Gould, I used to own his recording of the French Suites but found it unsatisfying, with Gould's usual problems amplified for some reason, hardness of tone, mauling of rhythms, grunts, groans and chair squeaks. Perahia's recording of these works has excellent production work, really fine sound and fluid playing. I've been very lucky in finding piano recordings as of late, this is one of the best.

My own experience has been very similar to yours. I was a Gould fanatic in my youth. I tried to get my hands on everything he recorded. Then, over time, I found myself listening to Gould less and less. Today, I never think to play a Gould cd anymore -- maybe the 1980 Goldberg Variations would be the exception.

I agree with you completely about Perahia's French and English Suites. These are absolutely mesmerizing recordings. Even in my days of being a Gould devotee, I never could listen for very long to his French/English Suites. They used to start to bore me pretty quickly. With Perahia, I find I can listen to these from start to finish. They are enthralling. The beauty and precision and subtlety of Perahia's touch and the intelligence of his interpretations is extraordinary.

There are many other pianists whose Bach recordings I will go to before Gould -- Andras Schiff, Angela Hewitt, Perahia of course. Igor Levit's recording of the Bach Partitas is superb as well.

 

[Robin L]

My own experience has been very similar to yours. I was a Gould fanatic in my youth. I tried to get my hands on everything he recorded. Then, over time, I found myself listening to Gould less and less. Today, I never think to play a Gould cd anymore -- maybe the 1980 Goldberg Variations would be the exception.

I agree with you completely about Perahia's French and English Suites. These are absolutely mesmerizing recordings. Even in my days of being a Gould devotee, I never could listen for very long to his French/English Suites. They used to start to bore me pretty quickly. With Perahia, I find I can listen to these from start to finish. They are enthralling. The beauty and precision and subtlety of Perahia's touch and the intelligence of his interpretations is extraordinary.

There are many other pianists whose Bach recordings I will go to before Gould -- Andras Schiff, Angela Hewitt, Perahia of course. Igor Levit's recording of the Bach Partitas is superb as well.

My touchstone among piano recordings of Bach is Sviatoslav Richter's Well Tempered Klavier. I never tire of it:

 

[Descartes]

 

[REK2575]

Not to divert from Bach, but I've been obsessed with this recording for weeks now. Alex Ross had a (typically illuminating) article on Herbert Blomstedt some time ago in the New Yorker, and it made me dig deeper into his discography. His recordings of the Brahms symphonies with the Gewandhaus are exceptional -- I will take these over many a more famous Brahms cycle from 'greater' luminaries -- but his Brahms 2nd in particular is intoxicating:

 

[Keith_W]

My touchstone among piano recordings of Bach is Sviatoslav Richter's Well Tempered Klavier. I never tire of it:

I honestly think that Sviatoslav Richter is the greatest pianist who left a recorded legacy. But having said that, his recording of Bach's WTK has wonderful insights, but also a few eccentricities which can be quite jarring. For example, the C Minor Prelude from Book 1. After his gorgeous C Major Fugue, which sounds like the morning sun, he launches into the C Minor Prelude with way too much speed and force as if he is attacking the piano. I have had this recording in my collection for 30 years and I still don't think it sounds right.

 

[Robin L]

I honestly think that Sviatoslav Richter is the greatest pianist who left a recorded legacy. But having said that, his recording of Bach's WTK has wonderful insights, but also a few eccentricities which can be quite jarring. For example, the C Minor Prelude from Book 1. After his gorgeous C Major Fugue, which sounds like the morning sun, he launches into the C Minor Prelude with way too much speed and force as if he is attacking the piano. I have had this recording in my collection for 30 years and I still don't think it sounds right.

Sounds like he's channeling Glenn Gould. Anyway, he makes up for it in the fugue.

 

[Sokel]

My touchstone among piano recordings of Bach is Sviatoslav Richter's Well Tempered Klavier. I never tire of it:

As the subject here are the recordings more than the performance,this one is of the rare ones who respect dimensions,both of the physical instrument and the scene at all planes.
It may not be as impressive as the ones that attack you with oversize perception constrained in two dimensions but it wins with its truth.
Amongst my favorites.

 

[Robin L]

As the subject here are the recordings more than the performance,this one is of the rare ones who respect dimensions,both of the physical instrument and the scene at all planes.
It may not be as impressive as the ones that attack you with oversize perception constrained in two dimensions but it wins with its truth.
Amongst my favorites.

Personally, I think performances outweigh recording quality. That said, this recording sounds closer to what one would encounter in performance than most recordings of piano. Most of the time the engineers seem to want to get the same perspective the performer would have.

 

[Sokel]

Personally, I think performances outweigh recording quality. That said, this recording sounds closer to what one would encounter in performance than most recordings of piano. Most of the time the engineers seem to want to get the same perspective the performer would have.

I agree 100%,even the best recording can not make a bad performance sound nicer.
It terms of the perception I know that most of the times is not an engineering decision,some very big egos involves with that too.

But after all it's music,can't be wrong by any means.

 

[Robin L]

I agree 100%,even the best recording can not make a bad performance sound nicer.
It terms of the perception I know that most of the times is not an engineering decision,some very big egos involves with that too.

But after all it's music,can't be wrong by any means.

I'm also a fan of early electric recordings, like Artur Schnabel's and those of the Busch Quartet. Sensitive remastering can make them more sonically palatable, but they can't make them sound contemporary.

 

[Elkerton]

My touchstone among piano recordings of Bach is Sviatoslav Richter's Well Tempered Klavier. I never tire of it:

Particularly the 24th prelude and Fugue from book 1 for me- a touchstone.

I have both the Melodiya LPs and the RCA CDs of these and once compared them to each other with a concert pianist. We both preferred the LPs, largely because, while there was surface noise and tape hiss, the ambience of the hall seemed to be preserved. That said, I usually listen to CDs- distortion free.

 

[Petrushka]

Particularly the 24th prelude and Fugue from book 1 for me- a touchstone.

I have both the Melodiya LPs and the RCA CDs of these and once compared them to each other with a concert pianist. We both preferred the LPs, largely because, while there was surface noise and tape hiss, the ambience of the hall seemed to be preserved. That said, I usually listen to CDs- distortion free.

When Gould was becoming famous, there was no streaming, and I had no money to buy records. So I acquired Spotify six months ago and am still sampling his recordings. I’ve always been a fan of Richter, but the same situation applies.

 

[Robin L]

In my most recent batch of Classical CDs I picked up another copy of Respighi's "Ancient Airs and Dances". I already have the famous Antal Dorati/Philharmona Hungarica recording on Mercury Living Presence and the Neville Marriner/Los Angeles Chamber Orchestra CD on EMI. The recording I got last Monday is a Telarc recording from 1992 featuring Jesus Lopez-Cobos directing the Orchestre de Chambre de Lausanne. The Dorati recording is one of those Living Presence recordings that belies its age (1958). There is a bit of the expected overload on climaxes, but the perspective is close and clear, and the playing is excellent. The Marriner/LACO recording is from 1976 and appears to be recorded from a more distant perspective. The acoustic is a bit foggier, though I'm not hearing any distortion during the climaxes, the overall sound has more density than the Dorati recording, suggesting a larger ensemble. The Jesus Lopez-Cobos recording (digital, 1992) seems to be the most rhythmically alert of the bunch with the best sounding recording. It's easier to listen into the textures with this one. While all three are good in their own way I rank Lopez-Cobos first, Dorati second and Marriner third, mostly on account of sound quality.

 

[Kal Rubinson]

For sound, try this one:

 

[zebra-f]

Even though I'm not a vivid choral listener, I think this is one of the best recordings. The reverb is somehow intimate, natural, yet ethereal.

Spotify link:

 

[jsilvela]

Just discovered the Karajan / Gundula Janowitz version of Strauss's Last Four songs.
There's a remastering from 2022.

Just phenomenal. I already had the Solti/Kanawa recording, but Janowitz's voice is far superior. Beautiful.

Strauss: Vier letzte Lieder, TrV 296, Capriccio, Op. 85, TrV 279

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R. STRAUSS Four Last Songs / Janowitz | Deutsche Grammophon

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