What are you listening to now?

[(poco) Sforzando]

Yup. The only thing I dislike about the Foghorn Classics label in general is that on certain early CDs, they tacked on an actual foghorn sound at the end.

Now, it's a matter of taste. The ASQ is what I might call a "hedonist" quartet - the ensemble sound is luxurious, achingly beautiful, and they understand that strength. That does not mean they stint on excitement, nor does it mean they trade in Celibidachian self-indulgence. But at times the recordings (of Brahms, Schumann, Beethoven, whomever) can seem like a rebuttal against, say, the Alban Berg or Hagen Quartets.

Well, I thought I'd take the plunge with the Alexander's Beethoven set, and though it wasn't cheap, it wasn't out of bounds either. A lot of it is really good, with outstanding sound, fine notes and packaging, and many performances that are very satisfying. At this point I've heard it all except for 131, and the best way I can sum up the group's strengths and weaknesses it to say the 59/1 and 132 are as good as any I've heard, while the Fugue falls quite a bit short. Tempos are generally spot on, with the important exceptions of the coda to 127, which I'd call quite a bit slower than Beethoven's Allegro con moto, and the slower sections of the fugue, which to my ears are more Andante than Meno mosso e moderato. In fact the Fugue sounds altogether too careful and polished, without the go-for-broke intensity you'll hear from the Smetana group or the Yale (the latter of which is my favorite set for the Lates). If I put my mind to it, I could check the metronome settings in the Fugue for the Alexander vs. the Yales to see why, in the latter group, the tempo relationships between the fast and slow sections seem better related, but suffice to say I think they are.

Another point I don't much like is the Alex's tendency to slow down greatly near the ends of some movements; you can hear examples in the coda to the first movement of 18/2 and the ending to the alternate finale to 130. We know Beethoven believed in some degree of tempo flexibility, but he also asked that it be imperceptible, and I think that in cases like these the group's fluctuations are excessive to the point of affectation (a bit of "Celibidachian self-indulgence," if you like). Not invariably, of course: in the first movement of their excellent 95, for instance, they relax the tempo at the lyrical second theme and press forward at the starts of the development section and coda, choices that feel fine to me. They also sustain the Heiliger Dankgesang superbly well, resisting the tendency to rush the long sustained chords in the coda that mars the Tokyo/RCA version, for example. I think this more mystical, introspective quartet is best suited to the Alexander's style. But they also capture both the "hedonistic" lyricism of the slow movement of 74 and the savagery of its scherzo quite well. So a qualified "yes" to the set, which is not about to displace the Juilliard, Takacs, Smetana or Yale from my collection, but there are many parts of it I'll want to return to again.

[Madiel]

DECCA can be excused here. Othello won't fit on the second cd whereas the Scherzo Capriccioso will.

I hadn't noticed that they'd stuffed the discs to the gills to that degree.

Nevertheless I don't know that they can be excused, personally, because the art of creating albums is not merely "how much does the medium enable us to pack on" but also whether the musical program makes sense. Musically it would have made more sense to select some other work or works (such as other overtures), rather than offering 2/3 of a triptych. It would even make more sense to offer just 1 of the 3.

But this album is hardly alone in suffering that problem. When I first looked to for an orchestral Dvorak collection, it was actually more common than not for one of the 3 works to be missing.

I bought this set:

[asin]B00021T5TO[/asin]

Not only because the performances seem to be highly regarded (particularly Harnoncourt in the late symphonies and symphonic poems) but also because the programming made sense. Nature, Life and Love is actually presented as such.

[The new erato]

The Yales are a very overlooked set of the late quartets. Amongst my favorites from the start of my listening career and available on both vinyl and CD in my collection.

[Karl Henning]

Elgar
Cockaigne Overture (In London Town), Op. 40
LSO
The composer conducting

[asin]B004MSRDK6[/asin]

[(poco) Sforzando]

Technically? Sharp rhythms, excellent clarity and separation of lines, tempi close to ideal, long lines, etc. But I think more to the point, it's fun. Dramatic, of course, but nothing heaven-storming and ponderous, and played throughout with freshness and evident joy. My evaluation went down slightly over the course of the piece fwiw, but (of recordings I've heard recently) it's certainly better than Bernstein and Norrington, probably better than Gardiner and Honeck, and I will have to test it against Kleiber.

Re: Grimal LvB 5.

Probably the last thing I need is another Beethoven 5th, but this one sounded interesting, and the good news is that in many respects it lived up to amw's recommendation. The first and third movements are especially successful – forward-driving in the first, ironic and well-balanced in the third, and even though Grimal takes the ABABA repeat in the scherzo that I don't think works, I could edit the audio file if I chose and pare the movement down to the concise ABA structure I think preferable (and which seems was Beethoven's final decision). He is even scrupulous near the start of the third movement to observe the "poco rit." called for in the score; it is not a "molto rit." but a true "poco," cause for a momentary thumbs-up in itself.

Less successful are the second and fourth movements, here because the conductor doesn't get much transparency in the larger tuttis. I cannot hear the more active bass lines in the finale well, or the passage in the Andante where the bass instruments have the melody, or the woodwinds when they are in canon with the violins later on. Here Gunther Schuller, my favorite version, remains hors concours. But the CD is worth it if only for the first movement, and I much prefer this performance to Honeck's overly fussy one with the Pittsburgh (sorry, Brian). A good Prometheus overture is also included, as well as a DVD of the performance I haven't looked at yet. Still, 40 minutes total on the CD is pretty stingy.

[jlaurson]

Current listens...


F. Chopin, 20 Songs
Hana Blazikova & Katarina Drogosz
chopin institute
German link - UK link
Blazikova is magnificent here just as she is in Bach.



David Matthews ("Surprised By Beauty 2"),
Complete String Quartets v.4, Complete Beethoven Transcriptions
Kreutzer Quartet
toccata classics
German link - UK link
Wonderful transcriptions, sadly let down by the sloppy playing of the Kreutzer Quartet. Argh!

[PerfectWagnerite]

I hadn't noticed that they'd stuffed the discs to the gills to that degree.

Nevertheless I don't know that they can be excused, personally, because the art of creating albums is not merely "how much does the medium enable us to pack on" but also whether the musical program makes sense. Musically it would have made more sense to select some other work or works (such as other overtures), rather than offering 2/3 of a triptych. It would even make more sense to offer just 1 of the 3.

But this album is hardly alone in suffering that problem. When I first looked to for an orchestral Dvorak collection, it was actually more common than not for one of the 3 works to be missing.

I bought this set:

[asin]B00021T5TO[/asin]

Not only because the performances seem to be highly regarded (particularly Harnoncourt in the late symphonies and symphonic poems) but also because the programming made sense. Nature, Life and Love is actually presented as such.

I get what you are saying. But what would you like DECCA to do in this case? You got symphonies 4 and 5 on one disc that is OVER 80 minutes. The other disc you get #6 which is 45+ minutes, leaving you with a little under 35 minutes. You can't fit the 3 overtures in 35 minutes so DECCA managed to fit 2 and they threw in Scherzo as a bonus. They could very well have just left out Scherzo.

Both here:


and here:


the 3 overtures are spread over 2 cds instead of together on 1 disc.I just think that is what they had to do to get all the music to fit, not because they were lazy and didn't want to present you with the most logical program possible.

[aligreto]

Haydn: Symphony No. 47 [Goodman]....

[Que]

Love that recording. 

Q


Me too! Do you have his Brahms concerto? And if you do on which label?

The  combination of encountering the recording in the Tower Records Shibuya (though prohibitively expensive) and our little Bruch discussion , brought me to treat myself to a new - and in all probability improved - transfer of the Schumann concerto, which I just ordered...
Which gives me a chance to hear the Brahms for the 1st time as well!  I have a very high opinion of 78rpm transfers by Opus Kura. As has been confirmed during my stay in Japan, the Japanese strife for perfection in anything they do...nothing but the best is good enough. BTW, I bought the Teldec issue for the Schumann, but I think the Mendelssohn is pretty special as well.

Will report on the Brahms and quality of transfers....



Q

[Sergeant Rock]

Sæverud Symphonies Nos.4 and 7 "Psalm" ...Kitajenko conducting the Bergen Phil




Sarge

[Drasko]

Will report on the Brahms and quality of transfers....



Q

Looking forward to your impressions! I was leaning toward Dutton, as that way wouldn't be doubling the coupling, but their transfers can be hit and miss.

[aligreto]

Bruch: Violin Concerto No. 1 played by Vengerov....





I really like this; an assertive performance with a strong emotional content.

[Drasko]

[Brian]

Well, I thought I'd take the plunge with the Alexander's Beethoven set, and though it wasn't cheap, it wasn't out of bounds either. A lot of it is really good, with outstanding sound, fine notes and packaging, and many performances that are very satisfying. At this point I've heard it all except for 131, and the best way I can sum up the group's strengths and weaknesses it to say the 59/1 and 132 are as good as any I've heard, while the Fugue falls quite a bit short. Tempos are generally spot on, with the important exceptions of the coda to 127, which I'd call quite a bit slower than Beethoven's Allegro con moto, and the slower sections of the fugue, which to my ears are more Andante than Meno mosso e moderato. In fact the Fugue sounds altogether too careful and polished, without the go-for-broke intensity you'll hear from the Smetana group or the Yale (the latter of which is my favorite set for the Lates). If I put my mind to it, I could check the metronome settings in the Fugue for the Alexander vs. the Yales to see why, in the latter group, the tempo relationships between the fast and slow sections seem better related, but suffice to say I think they are.

Another point I don't much like is the Alex's tendency to slow down greatly near the ends of some movements; you can hear examples in the coda to the first movement of 18/2 and the ending to the alternate finale to 130. We know Beethoven believed in some degree of tempo flexibility, but he also asked that it be imperceptible, and I think that in cases like these the group's fluctuations are excessive to the point of affectation (a bit of "Celibidachian self-indulgence," if you like). Not invariably, of course: in the first movement of their excellent 95, for instance, they relax the tempo at the lyrical second theme and press forward at the starts of the development section and coda, choices that feel fine to me. They also sustain the Heiliger Dankgesang superbly well, resisting the tendency to rush the long sustained chords in the coda that mars the Tokyo/RCA version, for example. I think this more mystical, introspective quartet is best suited to the Alexander's style. But they also capture both the "hedonistic" lyricism of the slow movement of 74 and the savagery of its scherzo quite well. So a qualified "yes" to the set, which is not about to displace the Juilliard, Takacs, Smetana or Yale from my collection, but there are many parts of it I'll want to return to again.

This has inspired me to listen to two high points from the set again this afternoon - Opp. 59/1 and 74. My favorite thing about the set is how the quartet sounds - they have a "big", luxurious ensemble tone well-suited to slow movements and celebratory passages. (You did put the words "hedonistic" and "self-indulgence" in quotes...) I do value the sound quality pretty highly, so this sits on the top of my heap with the Prazak cycle. Never even heard of the Yale Quartet set until now - what label is it on?

[(poco) Sforzando]

This has inspired me to listen to two high points from the set again this afternoon - Opp. 59/1 and 74. My favorite thing about the set is how the quartet sounds - they have a "big", luxurious ensemble tone well-suited to slow movements and celebratory passages. (You did put the words "hedonistic" and "self-indulgence" in quotes...) I do value the sound quality pretty highly, so this sits on the top of my heap with the Prazak cycle. Never even heard of the Yale Quartet set until now - what label is it on?

I used those words as quotations from your original post. I have some Janacek and Dvorak by the Prazac and they're very good.

http://www.allmusic.com/album/beethoven-the-late-string-quartets-mw0001387109
Yale: easily available cheap on Amazon (15 5-star, 3 4-star reviews). Sound is adequate.

[Mirror Image]

Now:



Listening to Piano Concerto No. 3, SZ 119. Such an excellent work.

Previously:



Listening to the Capricorn Concerto, Op. 21. Barber in Stravinskian mode. Great stuff.

[Brian]

I used those words as quotations from your original post. I have some Janacek and Dvorak by the Prazac and they're very good.

http://www.allmusic.com/album/beethoven-the-late-string-quartets-mw0001387109
Yale: easily available cheap on Amazon (15 5-star, 3 4-star reviews). Sound is adequate.

Ahh, on Vanguard! Thanks - will dig that up soon.

[aligreto]

Lars-Erik Larsson: Pastoral Suite....





....what a wonderful work.

[Mirror Image]

Lars-Erik Larsson: Pastoral Suite....





....what a wonderful work.

Indeed. A lovely work. Check out Larsson's Lyric Fantasy and Winter's Tale as well (if you haven't already).

[The new erato]

This has inspired me to listen to two high points from the set again this afternoon - Opp. 59/1 and 74. My favorite thing about the set is how the quartet sounds - they have a "big", luxurious ensemble tone well-suited to slow movements and celebratory passages. (You did put the words "hedonistic" and "self-indulgence" in quotes...) I do value the sound quality pretty highly, so this sits on the top of my heap with the Prazak cycle. Never even heard of the Yale Quartet set until now - what label is it on?

The Yales are on Vanguard. Bought my CD set from amazon.com not that many years ago. They were extremly highly rated in the 70ies.