Barenboim

[Verena]

Isn't it silly? Self-regarding? What does that even mean? But it's a frequent and annoying cliché in Gramophone reviews...usually written about musicians who take extra time or care over phrasing. That is exactly what I want and expect from great artists.

Yes, this characterization sounds like gramophone - which is accidentally a rather narcicisstic journal ("The world's best classical music reviews"). In fact, the reviewers sometimes display a style of writing for which the term "narcicisstic" seems far more appropriate than for a particular musical interpretation. Particularly annyoing, for example, is one reviewer who often cites poetry rather than talking about the quality of the interpretation in more concrete terms.

[Antoine Marchand]

... one reviewer who often cites poetry rather than talking about the quality of the interpretation in more concrete terms.

I hope that that was not a subtle irony regarding my quotation of Wilde. 

[George]

I hope that that was not a subtle irony regarding my quotation of Wilde. 

I thought the same thing. 

Seriously, Verena's good people, I am sure she meant no disrespect. 

[Verena]

I hope that that was not a subtle irony regarding my quotation of Wilde. 

Not at all, Antoine. I responded to Sarge's post before I read yours .. And I see no reason to be ironical anyway. The reference to Wild is certainly apt.
I was thinking especially of one reviewer (if I remember correctly, Bryce Morrison) who likes to cite great English poets to describe e.g., a pianist's interpretation of a Liszt work. This is what I found somewhat narcicisstic (giving the impression of showing off one's erudition), or at least exremely unhelpful (because when I read a review in a journal i) I want to learn something substantial about the pianist's tone, technique, etc. rather than vague suggestions, and b) especially Non-British readers are likely to be unfamiliar with the poems from which he cited a short excerpt (so it's not particularly helpful in any case).

[Antoine Marchand]

Not at all, Antoine. I responded to Sarge's post before I read yours .. And I see no reason to be ironical anyway. The reference to Wild is certainly apt.
I was thinking especially of one reviewer (if I remember correctly, Bryce Morrison) who likes to cite great English poets to describe e.g., a pianist's interpretation of a Liszt work. This is what I found somewhat narcicisstic (giving the impression of showing off one's erudition), or at least exremely unhelpful (because when I read a review in a journal i) I want to learn something substantial about the pianist's tone, technique, etc. rather than vague suggestions, and b) especially Non-British readers are likely to be unfamiliar with the poems from which he cited a short excerpt (so it's not particularly helpful in any case).

Understood, Verena. We are friends again! 

[Verena]

Understood, Verena. We are friends again! 

Good to hear 

[TheGSMoeller]

"Wait, Mr. Barenboim, why don't we just take another quick photo for the Brahms set and get that out of the way."

[Mirror Image]

What recordings should one get of his?

I've just recieved his acclaimed Beethoven symphony cycle and boy, it is great. I've always seemed to like Staatskapelle, but the recordings are brillient; big juicy and luschious, with an amazing sense of detail.

Barenboim has always reminded me of Furtwangler with his masterful control, attention to the detail (as well as capacity to understand the whole), and an ability to make the music have a message.

I am right now listening to Beethoven 7 and it really echos Furtwangler to me, but possibly better. Fantastic!

Is his Bruckner any good? What else?

I like Barenboim pretty darn good. I've been reassessing some of the his recordings that I own and much of them are quite good indeed. I'm particularly taken with his Liszt Faust Symphony recording with Domingo on vocals with the Berliners. I also like his Bruckner and Brahms recordings. I've heard good things about his Beethoven, if you enjoy Beethoven, this will probably be something you'll purchase at some point. Barenboim's Wagner recordings (the ones I've so far --- I own his Ring cycle) are also excellent from a performance point-of-view, but the audio quality in his Ring cycle isn't that great because of the loud stage noises.

[mc ukrneal]

"Wait, Mr. Barenboim, why don't we just take another quick photo for the Brahms set and get that out of the way."

And one more fro Mozart!
[asin]B0007PHAYM[/asin]

Or Beethoven!
[asin]B00076YOPY[/asin]

Or Liszt (to save money, we'll even use the same picture, cropped differently and airbrushed - no one will ever notice!):
[asin]B004RUF04A[/asin]

[TheGSMoeller]

And one more fro Mozart!
[asin]B0007PHAYM[/asin]

Or Beethoven!
[asin]B00076YOPY[/asin]

Or Liszt (to save money, we'll even use the same picture, cropped differently and airbrushed - no one will ever notice!):
[asin]B004RUF04A[/asin]

Haha!! They are like paprazzi photos taken on his way to the concert hall. Great way to save money, way to go production designer.

[mc ukrneal]

Haha!! They are like paprazzi photos taken on his way to the concert hall. Great way to save money, way to go production designer.

The last (Liszt) is only just being released, so it is possible there will be even more!

[Herman]

Not at all, Antoine. I responded to Sarge's post before I read yours .. And I see no reason to be ironical anyway. The reference to Wild is certainly apt.
I was thinking especially of one reviewer (if I remember correctly, Bryce Morrison) who likes to cite great English poets to describe e.g., a pianist's interpretation of a Liszt work. This is what I found somewhat narcicisstic (giving the impression of showing off one's erudition), or at least exremely unhelpful (because when I read a review in a journal i) I want to learn something substantial about the pianist's tone, technique, etc. rather than vague suggestions, and b) especially Non-British readers are likely to be unfamiliar with the poems from which he cited a short excerpt (so it's not particularly helpful in any case).

Oh, Bryce Morrison's stuff can be skipped immediately.

He was one of the main champions in the Hatto hoax, loving every thing "she" recorded, and waxing ever so poetic about the specifics of her style  -  which of course was nonexistent.

Morrison's purple prose is the sure sign he's to be avoided.

[George]

Found this in a used shop today, sealed and after reading a great review in MusicWeb. I decided to pick it up. I have only listened to the first CD, but so far I like what I hear. He plays this music with charm and beauty, and isn't afraid to flex his muscles when called for. The piano is captured beautifully. It was recorded in the old Teldec studios.

Anyone else have this set?

[Florestan]

Found this in a used shop today, sealed and after reading a great review in MusicWeb. I decided to pick it up. I have only listened to the first CD, but so far I like what I hear. He plays this music with charm and beauty, and isn't afraid to flex his muscles when called for. The piano is captured beautifully. It was recorded in the old Teldec studios.

Anyone else have this set?

I have it. Listening right now to CD1, I agree with your assessment.

[San Antone]

Found this in a used shop today, sealed and after reading a great review in MusicWeb. I decided to pick it up. I have only listened to the first CD, but so far I like what I hear. He plays this music with charm and beauty, and isn't afraid to flex his muscles when called for. The piano is captured beautifully. It was recorded in the old Teldec studios.

Anyone else have this set?

It is on Spotify and I listened to it.  Really good in all respects.

[George]

I have it. Listening right now to CD1, I agree with your assessment.

I'll be curious if your opinion changes as you listen to some of the later sonatas. I found the disc with D894 and D959 to be disappointing. His tempos in the fast movements are heavy and plodding.

[Florestan]

I'll be curious if your opinion changes as you listen to some of the later sonatas. I found the disc with D894 and D959 to be disappointing. His tempos in the fast movements are heavy and plodding.

I'm halfway through disc 2; so far so good.

[George]

I'm halfway through disc 2; so far so good.

Good news!

I had suspected that I enjoyed the first disc because it contained sonatas that I wasn't familiar with and therefore haven't imprinted on with another pianist. So, I was more open to his interpretation. I'm hoping the rest of the set impresses me more like the first disc did. 

[Florestan]

I've finished the first 2 CDs. His tempi are rather on the slow side but that's not a problem for me. The performance is poetic and the piano sound is warm. I like it very much.

[Florestan]

Cross post from WAYLT thread



Disc 4, D894 & D958

George said about this disc that the tempi in the outer movements are "heavy and plodding". While I agree they are on the slow side (but then again, the first mvt of D894 is marked Molto moderato e cantabile), it didn't seem to me that they detracted anything from my enjoyment. Barenboim lets the music breathe and take his time to smell all the roses in the garden. An approach which imho works better in this music than rushing headlong through it. I like it.