Recording Selection Criteria

[jwinter]

 Quote from: annie on Today at 11:32:59 AM

Do you tend to give priority to musicians with cultural heritage advantages when trying a new piece? for instance, would you prefer trying a russian pianist you respect well, say gilels or richter, first, for a new, say tchaikovksy, piano piece?

 
If I'm giving it serious thought, I'll probably check for recommendations here first, as well as see if there are any consensus "great" recordings (ie poke around an old Penguin Guide, Grammophone, Classics Today's web reviews, etc.).  If several of the above agree that one recording is at the top of the list, it's usually a safe bet, at least for an initial listening.  If I really like a piece, I'll invariably want at least a couple of versions -- if I only have one version of something on the shelf, it's a sure sign that I either don't care for it, or haven't give it a serious enough listen to form an opinion.

If I were in a hypothetical alternate universe where physical CD stores with a decent classical selection still existed, and I was standing in such a store and just wanted to try a recording of a new work... for piano I'd probably look for a familiar name first, someone I've already enjoyed in Chopin or Beethoven or whatever, and see if they seemed sympathetic to the piece based on whatever preconceived notions I had about it.  For example, if I liked a pianist's Chopin Nocturnes, it would weigh favorably towards getting their recording of a new piece by Faure or Debussy, while having less weight for a piece by Boulez or Ligeti, to take extreme examples.  I'm assuming that I have at least a vague idea of what the piece is like, otherwise I wouldn't be shopping for it.

Assuming that there were multiple familiar names on the shelf (or none at all), I'd certainly give some weight to the cultural factors you speak of (a Russian pianist for Russian music, for example).  But I'd also look at the label & recording date (I'd want a good modern recording for a 1st impression, rather than a historical one, unless it were a really special case, such as being performed by the composer).  I'd look at couplings, if applicable, and of course the price.

Alas, it's not as scientific as one might hope.  A lot of it depends on random luck -- which titles a store has in stock, in what order the search results fall on Amazon (am I really going to go through 7 pages of results, when there are 3 likely recordings on the 1st page?), etc.

I hope that helps, or was at least of mild interest... 

[annie]

Quote from: annie on Today at 11:32:59 AM

Do you tend to give priority to musicians with cultural heritage advantages when trying a new piece? for instance, would you prefer trying a russian pianist you respect well, say gilels or richter, first, for a new, say tchaikovksy, piano piece?

 
If I'm giving it serious thought, I'll probably check for recommendations here first, as well as see if there are any consensus "great" recordings (ie poke around an old Penguin Guide, Grammophone, Classics Today's web reviews, etc.).  If several of the above agree that one recording is at the top of the list, it's usually a safe bet, at least for an initial listening.  If I really like a piece, I'll invariably want at least a couple of versions -- if I only have one version of something on the shelf, it's a sure sign that I either don't care for it, or haven't give it a serious enough listen to form an opinion.

If I were in a hypothetical alternate universe where physical CD stores with a decent classical selection still existed, and I was standing in such a store and just wanted to try a recording of a new work... for piano I'd probably look for a familiar name first, someone I've already enjoyed in Chopin or Beethoven or whatever, and see if they seemed sympathetic to the piece based on whatever preconceived notions I had about it.  For example, if I liked a pianist's Chopin Nocturnes, it would weigh favorably towards getting their recording of a new piece by Faure or Debussy, while having less weight for a piece by Boulez or Ligeti, to take extreme examples.  I'm assuming that I have at least a vague idea of what the piece is like, otherwise I wouldn't be shopping for it.

Assuming that there were multiple familiar names on the shelf (or none at all), I'd certainly give some weight to the cultural factors you speak of (a Russian pianist for Russian music, for example).  But I'd also look at the label & recording date (I'd want a good modern recording for a 1st impression, rather than a historical one, unless it were a really special case, such as being performed by the composer).  I'd look at couplings, if applicable, and of course the price.

Alas, it's not as scientific as one might hope.  A lot of it depends on random luck -- which titles a store has in stock, in what order the search results fall on Amazon (am I really going to go through 7 pages of results, when there are 3 likely recordings on the 1st page?), etc.

I hope that helps, or was at least of mild interest... 

oh it helps a great deal. i appreciate it.

one more question though, about the "consensus" you mention; could you describe your position in a few words about how do you react when musical parameters differ? what i mean is, take modality for instance, let's say you like music with a home base but sometimes you listen to atonal music too. and you have a respect for a recommender who doesn't like tonal music at all but has a vast knowledge on schoenberg and berg. how would you take or weigh his recommendation, initially, for a beethoven recording? or when he talks about a romantic piece's texture, like comments on a characterization of conflict, or fullness. I know it's not a black or white thing but i hope you can understand what i ask

[Marc]

[....]
what i mean is, take modality for instance, let's say you like music with a home base but sometimes you listen to atonal music too. and you have a respect for a recommender who doesn't like tonal music at all but has a vast knowledge on schoenberg and berg. how would you take or weigh his recommendation, initially, for a beethoven recording? or when he talks about a romantic piece's texture, like comments on a characterization of conflict, or fullness. I know it's not a black or white thing but i hope you can understand what i ask

In general, I take 'atonal lovers' rather seriously when they recommend a recording of a tonal romantic piece. In most cases, they don't 'blabber' about all the emotional stuff and feelings, but try to stick to the musical texture. I prefer that, because emotions are very subjective.

In fact, this also goes for romantic recommendations by the 'ancient music lovers' (medieval, renaissance, baroque).

But, as I began this reply with, it's all 'in general' and there are (too?) many exceptions.

[jwinter]

 Quote from: annie on Today at 02:26:28 PM

oh it helps a great deal. i appreciate it.

one more question though, about the "consensus" you mention; could you describe your position in a few words about how do you react when musical parameters differ? what i mean is, take modality for instance, let's say you like music with a home base but sometimes you listen to atonal music too. and you have a respect for a recommender who doesn't like tonal music at all but has a vast knowledge on schoenberg and berg. how would you take or weigh his recommendation, initially, for a beethoven recording? or when he talks about a romantic piece's texture, like comments on a characterization of conflict, or fullness. I know it's not a black or white thing but i hope you can understand what i ask

 
That's a great question.  There are many folks here who could provide a more detailed answer than I, but I'll take a crack at it.

"...let's say you like music with a home base but sometimes you listen to atonal music too..." 

Yep, that's me, though it's more like "rarely/occasionally" than "sometimes" -- maybe 5% of my CDs are of atonal music, if I had to guess.  If a respected atonal specialist reviewed a Beethoven recording, I'd read it with interest, but would I make a purchase based on the review?  Well, not to dodge the question, but it would depend on what he or she said about the Beethoven.  If they hated it, and panned it because it was romantic and overdone, I probably wouldn't pay a lot of attention to that -- it's a matter of taste, and they possibly just lack an affinity for the style of the given performer.  If, on the other hand, they find the recording revelatory, that might pique my interest -- since I like atonality in small doses, they might well be focusing on technical qualities that I wouldn't grasp on first (or fifth) listen.  I wouldn't necessarily trust how they characterize the passion of a piece, but I'd certainly pay attention if they commented on the clarity of technique in a fugue, a performer's sense of rhythm and flow, etc.

To sum up, I wouldn't follow their guidance for a new work without a 2nd opinion, but if I were interested in hearing a different take on a favorite that I've got dozens of versions of already, I might check it out.

[annie]

no, jwinter, i needed exactly your answer as the owner of the prior answer and it's excellent for me. many many thanks again.

[annie]

In general, I take 'atonal lovers' rather seriously when they recommend a recording of a tonal romantic piece. In most cases, they don't 'blabber' about all the emotional stuff and feelings, but try to stick to the musical texture. I prefer that, because emotions are very subjective.

In fact, this also goes for romantic recommendations by the 'ancient music lovers' (medieval, renaissance, baroque).

But, as I began this reply with, it's all 'in general' and there are (too?) many exceptions.

Thanks Marc but i wouldn't ask such a question only by itself. i asked it to jwinter in his answer's context...

[Marc]

Thanks Marc but i wouldn't ask such a question only by itself. i asked it to jwinter in his answer's context...

That's OK.

To put them in a context: my considerations were part of my own behaviour to get some information beforehand from various classical music boards. And with what perspective I tend to read recommendations by atonal and other music lovers.

Maybe now my reply can be more valuable to you.

[annie]

Quote from: annie on Today at 11:32:59 AM

Do you tend to give priority to musicians with cultural heritage advantages when trying a new piece? for instance, would you prefer trying a russian pianist you respect well, say gilels or richter, first, for a new, say tchaikovksy, piano piece?

 
If I'm giving it serious thought, I'll probably check for recommendations here first, as well as see if there are any consensus "great" recordings (ie poke around an old Penguin Guide, Grammophone, Classics Today's web reviews, etc.).  If several of the above agree that one recording is at the top of the list, it's usually a safe bet, at least for an initial listening.  If I really like a piece, I'll invariably want at least a couple of versions -- if I only have one version of something on the shelf, it's a sure sign that I either don't care for it, or haven't give it a serious enough listen to form an opinion.

Do you care about, or do you think you are capable of, consciously or subconsciously, acknowledging "ideality", the performer's identifying and conveying the composition's ideas and contents? let's consider this one in a narrow repertoire, say, for your most favorite 5 pieces.

[Xenophanes]

Hi, I need some help for my research. Could you just relay me the criteria you use choosing a recording of a particular piece, for instance, say Bach's Concerto for 2 Violins or Schubert's Unfinished Symphony?

Such as,
soloist - you might say i prefer hahn to fischer even before listening to a particular piece, or i prefer hahn if it's bach...if it's baroque, if it's a double concerto

instrument - i prefer a period instrument for bach, or a stradivarius, or it doesn't matter...

tempo- i prefer as loyal to the original tempo as possible, or i prefer that piece as fast as possible....

or other criteria such as label, sound quality, monoaural/stereo, etc.

so that at the end you could say the best existing recording of bach's concerto for 2 violins should be ... for me.

i'd appreciate different criteria instead of the same ones...

Actually, I have found that if I like the cover art, I will usually like the recording.

Basically, I have looked for repertoire more than multiple recordings of works, though with some such as the Beethoven symphonies, I have several.

As a child I liked certain pieces, even certain recordings. That was a start. I also may hear different pieces in concerts or on the radio, and now on the internet. So if I hear something I like, including performers I like, that's a start.

Then of course, seeing what friends, reviewers, and music historians think are important works.

Once I have decided I want a recording of some work, other people's opinions are of interest, whether friends, reviewers, or internet posters. But if possible, I like to hear the recording first.

I have always found Decca/London reissues to be good. I have had good luck with Philips, Denon, DG, Chesky, Nimbus, and for lesser known works, Naxos.

Except for voices, I generally prefer stereo recordings. If one wants some early recordings, the will be in mono, of course.

I do have some favorite conductors and performers. If Ansermet recorded something I am interested in, that's a plus, but there are a number of others. My favorite violinist is Francescatti, my favorite pianist is Horowitz, and there are a number of singers I like, too many to mention.

For Bach's Double Violin Concerto, a long time ago, I got Francescatti with Baumgartner and the Lucerne Festival Strings on LP, and later got a CD reissue.

For Schubert's Unfinished, I early got a Denon recording with Suitner, which I still like. That was good luck, mostly, because I could get Denon recordings easily at the time.

[jwinter]

Do you care about, or do you think you are capable of, consciously or subconsciously, acknowledging "ideality", the performer's identifying and conveying the composition's ideas and contents? let's consider this one in a narrow repertoire, say, for your most favorite 5 pieces.

I'm not a big believer in anybody being able to read Beethoven's mind, so I don't look at any performance as "ideal" in the sense of grasping the composer's intent.  That said, there are some performers who can make a certain work sound effortless, and/or can bring out the structure or line of a piece, in a way that makes it sound more "natural" than many others, ie that seems to capture the real essence of the piece.  But that's completely subjective -- I've seen performances that had such an effect on me dismissed by others here as superficial or mannered, so it's all a manner of taste -- and more than taste, it's often even a matter of mood.  There's no one right way to perform the Moonlight sonata -- that's why I enjoy so many different versions of it, some more than others on any given day.  I'm not searching for the perfect or "ideal" recording:  arguing Richter vs Gilels is like arguing Bach vs Beethoven, which is not that far off from arguing Superman vs Batman or similar playground disputes.  Each one has it's virtues, no?