I refuse to put too much effort into this Symphony until I have ploughed all the available fields (whaaat?), and studying this piece can be a bit wearying. And considering the forces involved (2 vocalists, strings, and odd percussion), the recordings available have a host of problems to deal with that others musics don't.
First off there is the matter of the singers. So many times, the pairings are off, and usually it is the Soprano who is at fault, squawking her way through an immensely difficult part. I would believe that Janson's Soprano falls into this category. Even the histrionic Mrs. Rostropovich fares much much better than some of the plucky lasses who have been wrestled to the ground by this part. Besides her, Haitink's (Decca), Slovak's (Naxos), and Currentzis(?;Alpha?) samples revealed singers with something a bit more than the ordinary. The Basses have struck me all as at least fairly competent, with Lieferkuss(?) and Aleksashian(?) being two singers who have extensively travelled through the terrain (Lieferkuss having 3 or 4 recordings under his belt).
I have been finding the strings a particular problem, with many way too distant to make for clear listening. I imagine that Bernstein's recording would not have this problem, but some seem to have gone for extreme dynamic range, and then play the music as a whisper, which only causes emotions to roil once the obligatory shock volume burst threatens to blow your speakers. The Lazarev on Virgin, touted by some as a model recording, I found to have 'The Classical Problem' to the point of dismissal, fine as it may be otherwise. I refuse to have an auditorium styled recording forced on me, the home listener, where the conductor then, purposely, plays things too quiet and too loud just because one is overtaken with some non-musical consideration (the opposite of DDG's '80s DDD practice of making their recordings sound good on ANY playback?... but, another Thread). Frankly, I would be suspicious off the bat with an SACD of this Symphony.
The percussion, too, can be a problem, what with that monstrous xylophone that can certainly do damage if it isn't positioned properly. And with some, the drums themselves sound wimpy and very un-death like. Listen tor Rostropovich to hear what rattling bones really sound like! I am not sure who has the most imaginative percussion ensemble.
Interpretively, I'd say that this might be in the "the quicker the better" category of Shosty music, and most do tend to not linger. One of the most important tests is the 2nd movement, 'Malaguena', which, in Rosty's 2:28 is white hot, but in Lazarev's 3:09 just doesn't ignite. The 'Cossak's Answer'. also, needs to be around the 2 minute mark, or less, to have that incisive thrust. It would seem that there's not much a Conductor could do to mess with this music, but some do seem to pull things this way or that.
I forgot the List I had in the other Thread, but here are the main contenders we have for the 14th:
Barshai1 (Premiere)
Barshai2 (2nd Premiere) - I forget which one it is, but one of these might as well be Definitive
[b]Rostropovich[/b] - Top3
Britten- pending
Bernstein - unbearable soprano
Ormandy- surely three have bested him?
Rozhdestvensky - anyone? DarkHorse?
***Haitink*** (Decca) - acceptable BUT: love Soprano; F-D..take/leave - almost great :( (but it does have maybe the best ensemble; but BH not Lenny)EDIT: Haitink most certainly has the most world class ensemble able to produce The Sounds, and a recording to back it up.
Ashkenazy (Decca-Japanese)
Turovsky (Chandos)
Jarvi (DG)- good, but not inspired;VG+Singing
Inbal (Denon)- Perfect Sound,VG++Singing
?? ?? ?? Jansons vs Rattle?? ?? ??
Barshai (Brilliant)- perhaps not competitive against the next four?
Petrenko (Naxos) The Contender's Op.135; 2nd-to-last instalment; Ray's Pick
Slovak (Naxos) - actually pretty good; check it out on YT
Caetani (Arts)- very very good in all departments SACD
Kofman (MDG)- maybe the best of his Cycle? very very good in all departments SACD
Currentzis - for many this is the current TopCoice, because of sublime singing and a HIP approach to the music
***Swensen (Ondine) - Gramophone Pick
**Wigglesworth (BIS) - some say he hits a home run with this one (is it still distantly recorded?)
***Chung (Koch) - no word on this tantalizing, and extremely expensive OOP
Lazarev (Virgin) - this is what I'm comparing now, and - well, I'd cut it due to ensembleEDIT: I'd give it just a little more credit after a few listens, but the ensemble is still a bit weak and the conductor isn't obviously pushing his forces to higher highs. It remains a good compare.VG+Singing
So, how do you come to grips with this music? Should you only listen at night?... in winter? How do you feel about it? Many claim it as his masterpiece; my personal listening enjoyment runs to about 50/50. mm? eh?
Quote from: snyprrr on July 08, 2014, 07:34:48 AM
One of the most important tests is the 2nd movement, 'Malaguena',
Petrenko (Naxos)
My favourite movement in Op. 135, and the Petrenko/RLPO/Gal James is particularly kick ass. Scintillating, demonic strings!! :)
Damn it, you make me want to listen to this again! :D
Quote from: ChamberNut on July 08, 2014, 08:05:54 AM
My favourite movement in Op. 135, and the Petrenko/RLPO/Gal James is particularly kick ass. Scintillating, demonic strings!! :)
Damn it, you make me want to listen to this again! :D
Snyprrr, if you only ever buy one Petrenko/RLPO Shosty recording,
make it the 14th. :)
Quote from: snyprrr on July 08, 2014, 07:34:48 AM
Barshai1 (Premiere)
Barshai2 (2nd Premiere) - I forget which one it is, but one of these might as well be Definitive
Leningrad premiere was on 29.09.1969 and the singers were Margarita Miroshnikova and Evgeni Vladimirov.
(http://img.hmv.co.jp/image/jacket/400/36/0/3/481.jpg)
currently available on Venezia label, from Japan (http://www.hmv.co.jp/en/artist_Shostakovich-1906-1975_000000000021314/item_Sym-14-Barshai-Moscow-Co-Mroshnikova-Vladimiro-1970_3603481)
Moscow premiere was week later 06.10.1969 and the singers were Vishnevskaya and Mark Reshetin.
(http://s30.postimg.org/b1h0p6imp/047.jpg)
Again on Venezia (also on Russian Disc) but currently unavailable.
Vishnevskaya/Reshetin is live recording of actual event, while Miroshnikova/Vladimirov sounds like studio recording to me (probably recorded shortly after the premiere).
Miroshkina/Vladimirov is my preference of the two (and my favorite recording of the piece overall), Vishnevskaya tends to set my teeth on edge.
Barshai has one more live recording out there, from mid 70s from Japan on TokyoFM label, with Evgeni Nesterenko and soprano whose name escapes me at the moment. Haven't heard that one.
Quote from: ChamberNut on July 08, 2014, 08:08:12 AM
Snyprrr, if you only ever buy one
Ha! Too late for THAT! :laugh:
Still, I think the short list is pretty well hewn out, and I'm sure Petrenko is on it! This seems to be very much the Conductor's music to make it come alive.
Quote from: Drasko on July 08, 2014, 08:08:42 AM
Leningrad premiere was on 29.09.1969 and the singers were Margarita Miroshnikova and Evgeni Vladimirov.
(http://img.hmv.co.jp/image/jacket/400/36/0/3/481.jpg)
currently available on Venezia label, from Japan (http://www.hmv.co.jp/en/artist_Shostakovich-1906-1975_000000000021314/item_Sym-14-Barshai-Moscow-Co-Mroshnikova-Vladimiro-1970_3603481)
Moscow premiere was week later 06.10.1969 and the singers were Vishnevskaya and Mark Reshetin.
(http://s30.postimg.org/b1h0p6imp/047.jpg)
Again on Venezia (also on Russian Disc) but currently unavailable.
Vishnevskaya/Reshetin is live recording of actual event, while Miroshnikova/Vladimirov sounds like studio recording to me (probably recorded shortly after the premiere).
Miroshkina/Vladimirov is my preference of the two (and my favorite recording of the piece overall), Vishnevskaya tends to set my teeth on edge.
Barshai has one more live recording out there, from mid 70s from Japan on TokyoFM label, with Evgeni Nesterenko and soprano whose name escapes me at the moment. Haven't heard that one.
Impressive!
Can you tell me which of those is the one currently on High Rotation on YT? I don't think they're supplying particulars. The one thing is that as soon as the Bass comes into the 1stmvmt.- he has quite a wonderful 'halo' around the voice- very present- yet very intimate. It's hard to tell if it's 'live' or not.
But yea, this music needs a '70s sound for the creep factor. You can't polish it too much.
Have to take a cold shower! :P
My first recording of this was Kondrashin in the Aulos box, which blew me away. But the nature of the work is such that I very rarely play it.
Quote from: snyprrr on July 08, 2014, 07:34:48 AM
Haitink (Decca) - acceptable BUT: love Soprano; F-D..take/leave - almost great :(
It's certainly a conflicting experience . . .
F-D's is a rich voice, of course.
Quote from: karlhenning on July 08, 2014, 11:42:07 AM
It's certainly a conflicting experience . . . F-D's is a rich voice, of course.
I'm actually quite curious about Rozh here- some say his Bass is awesome and his Soprano is "almost as good as Vishy" (I know, I know!! haha) They also say the sound quality is one of Melodiya's best, and that Rozh is mos def in charge. eh??
Quote from: snyprrr on July 08, 2014, 09:30:54 AM
Impressive!
Can you tell me which of those is the one currently on High Rotation on YT? I don't think they're supplying particulars. The one thing is that as soon as the Bass comes into the 1stmvmt.- he has quite a wonderful 'halo' around the voice- very present- yet very intimate. It's hard to tell if it's 'live' or not.
But yea, this music needs a '70s sound for the creep factor. You can't polish it too much.
Have to take a cold shower! :P
Both are on youtube:
Miroshnikova/Vladimirov (LP rip, though)
http://www.youtube.com/watch?v=zooakKFzTjs
Vishnevskaya/Reshetin
http://www.youtube.com/watch?v=_-l-INpuzf8
Quote from: snyprrr on July 08, 2014, 02:26:22 PM
I'm actually quite curious about Rozh here- some say his Bass is awesome and his Soprano is "almost as good as Vishy" (I know, I know!! haha) They also say the sound quality is one of Melodiya's best, and that Rozh is mos def in charge. eh??
Rozh's 14th is very good and yes, it probably has the best sound of his cycle: the voices are nicely balanced against the strings, the percussion
very present. Kasrashvili's voice
is more attractive than Vishy's. If you buy the twofer you'll also get one of the best Fifteenths and four great song cycles: 6 Romances to Texts by British Poets op.62a, 6 Romances to Texts by Japaenese Poets op.21, 4 Romances after Pushkin op.46, and 8 English and American Folk Songs.
Edit: Re-reading your original post I notice you fault recordings with an extreme dynamic range. No problem with Rozh. It's neither overwhelmingly loud nor so quiet the strings lack presence. I didn't have to fiddle with the volume even once while listening to it this afternoon.
(http://photos.imageevent.com/sgtrock/jan11/shos1415rozh.jpg)
Sarge
Psst! snypsss!
You're welcome ;)
Quote from: Sergeant Rock on July 09, 2014, 03:55:47 AM
Rozh's 14th is very good and yes, it probably has the best sound of his cycle: the voices are nicely balanced against the strings, the percussion very present. Kasrashvili's voice is more attractive than Vishy's. If you buy the twofer you'll also get one of the best Fifteenths and four great song cycles: 6 Romances to Texts by British Poets op.62a, 6 Romances to Texts by Japaenese Poets op.21, 4 Romances after Pushkin op.46, and 8 English and American Folk Songs.
Edit: Re-reading your original post I notice you fault recordings with an extreme dynamic range. No problem with Rozh. It's neither overwhelmingly loud nor so quiet the strings lack presence. I didn't have to fiddle with the volume even once while listening to it this afternoon.
(http://photos.imageevent.com/sgtrock/jan11/shos1415rozh.jpg)
Sarge
Huh- wait a minute- Kasrashvili is the same soprano on my Lazarev/Virgin! Huh!
ok
I think I was unduly harsh on the Lazarev. I did some controlled listening and it's really fine. Sure, it's not daemonically charged, but the pristine recording does actually count for something here. Well well.... hmm... Rozh will go to the head of the list
Quote from: karlhenning on July 09, 2014, 04:31:23 AM
Psst! snypsss!
You're welcome ;)
Sure? In my initial sampling, this one (had high hopes) didn't register too much- I think there was something I didn't like, but I will go back and check those samples. I mean, yea, that's a nice coupling and I would expect ECM to deliver a sublime version-
do you have it or just going on the samples?
What's the first thing that pops into your mind when I say Brigitte Fassbaender for 14?
How am I ever going to get laid now? :(
Quote from: snyprrr on July 09, 2014, 07:06:56 AM
Sure? In my initial sampling, this one (had high hopes) didn't register too much- I think there was something I didn't like, but I will go back and check those samples. I mean, yea, that's a nice coupling and I would expect ECM to deliver a sublime version-
do you have it or just going on the samples?
I've got it in the player even as we speak. It's fabulously good.
Listening to this, again!
[asin]B00I3KAWQQ[/asin]
I wonder if Snypss is looking for the recording for the best 'sneeze'. :laugh:
In the 6th movement "Madam, Look!". Before I read the text, I thought the woman was sneezing. khokhochu, khokhochu (which sounds more like ach-ach-choo, ach-ach-choo!) :-X
Quote from: Drasko on July 08, 2014, 02:50:49 PM
Both are on youtube:
...Vishnevskaya/Reshetin
http://www.youtube.com/watch?v=_-l-INpuzf8
Just listened to some of this, from the beginning through Loreleya, and then the ending. Ferocious! My only reservation is to wish for the slow sections to be a little slower; Rostropovich excels in this while maintaining ferocity in the fast parts. Yet I think I'd rather not hear too much "prettiness" from the singers in this. Reshetin and Vishnevskaya really define this symphony's vocals for me. ;D
The first Barshai account with the MOscow Phil on Melodya was my baptism of fire and brimstone for that work, and still the benchmark by which I judge all others. It is a searing experience.
The only one that approaches this is the Currentzis version. Warmly recommended to those for which a 45 year old recording in glassy sound might be too much of an aural hardship.
Quote from: André on July 11, 2014, 04:20:08 PM
The first Barshai account with the MOscow Phil on Melodya was my baptism of fire and brimstone for that work, and still the benchmark by which I judge all others. It is a searing experience.
The only one that approaches this is the Currentzis version. Warmly recommended to those for which a 45 year old recording in glassy sound might be too much of an aural hardship.
That's the one with Reshitin?
Quote from: jochanaan on July 11, 2014, 08:41:30 AM
Just listened to some of this, from the beginning through Loreleya, and then the ending. Ferocious! My only reservation is to wish for the slow sections to be a little slower; Rostropovich excels in this while maintaining ferocity in the fast parts. Yet I think I'd rather not hear too much "prettiness" from the singers in this. Reshetin and Vishnevskaya really define this symphony's vocals for me. ;D
So far, the Rostropovich has vanquished all in terms of 'ferociousness' and such good things. The recording isn't too 'dynamic'- so you can actually hear the accompaniment. The singing is... fine. The percussion sounds like the Band of the Dead. Only an extra, super special aura is missing. (which- aye aye- I'm trying to find- maybe it would be best NOT to find the best version of this (don't tempt God, haha))
Quote from: ChamberNut on July 10, 2014, 05:46:32 AM
I wonder if Snypss is looking for the recording for the best 'sneeze'. :laugh:
In the 6th movement "Madam, Look!". Before I read the text, I thought the woman was sneezing. khokhochu, khokhochu (which sounds more like ach-ach-choo, ach-ach-choo!) :-X
THAT'S funny! :laugh:
"Pich-a-chu" "Pich-a-chu"
wtf?? ???
haha!! :laugh:
Actually, I used 'On Watch' as a test, since it has a lot of different sounds in a short (sample) time. Interesting results.
So, may I share my current research?
Well, I DID take a chance, and... drumroll please... Jarvi went IMMEDIATELY into the Sell Pile. Yes, I was brutal, expecting miracles, and, to just be nice and get it over with, Jarvi just isn't as incisive as others, or even as himself. I was expecting much quicker timings- 'Malaguena' is typical, and far far from Rostropovich's searing account (which is actually a bit fast, but, who cares?).
The percussion is the BIG story here: Jarvi takes a page from Barshai's drum adding, and makes for a BigBassDrum sound (like in the 'Conclusion'). Personally, I like a slightly better thought out instrument- here it's just kind of big and boomy.
Lieferkus is the male, and yet he makes much less of an impression than a lot of the bargain and boutique label singers (Kofman and Caetani come to mind, Slovak), and, as I thought Brigitte Fassbaender was the female, I was quite disappointed with Ljuba Kazarovskaya- she just had a certain tone, different from the norm, that I instantly said No! to. (now I'm suspicious of his 13th)
Some sections were superior, but in no way redeem this Hurwitz touted recording. This should have been TheOne, Transcendent, but I found it quite middlin'. Even the DDG sound wasn't anything out of the ordinary special- I mean, it's great DDG sound, but,... I want moreMoreMORE!! I compared directly with Rostropovich, who handily won every movement, and Lazarev, who, though he has moments, has a string ensemble that just isn't competitive (and a ;demonstration' recording that seems somewhat low wattage).
With my library Rostropovich due, and various copies of his performance either OOP or $$$, and the fact that both Jarvi and Lazarev are in TheSellPile, I am left without a 14th.
And yes, surely I am considering Petrenko here. BUT- I do want to point out that Slovak's 14th IS of a special quality, and may be the jewel in the crown of his Cycle (along with his 4th?). AND, I must report that I was REALLY IMPRESSED with samples of Caetani and Kofman, in all departments. AND, if we stockpile Petrenko, Slovak, Kofman, and Caetani, I think it's safe to say that they all beat out the newer Barshai. Fair?
Petrenko, Slovak, Kofman ,Caetani
So, JARVI DISMISSED. Rozhdestvensky (good recording) Inbal (???)
Currentzis
Kremer
So, I just want to point out that the Slovak is very good and should be given some consideration.
Inbal is the last of the BigName Conductors on my list. I have dismissed Jarvi, Jansons, Rattle... Bernstein and Britten... I'm even dismissing Rozhdestvensky because, though his is as fine as any of the (less well recorded) others, the sound quality (though very good for Melodiya) can't compete with even Rostropovich's 1973 Russian sound.
So, I took all factors into consideration, and noticed that Inbal has a lot going for himself in the 14th (whatever one may say about the rest of his Cycle). Soloists? Check. Good Great Denon Sound? Check. Interpretation? Check. The fact is, a lot of others' string ensemble is either too big or too small, or just not caught properly, and it seems as though this is one thing that Denon got right. And the percussion seemed just about right, too.
So, anyhow, take another look at the list. if my calculations are correct, Inbal may be the actual best, all around, for a strictly 'Western' take on this Symphony. The Amazon Reviewer makes a case for this being DSCH's most '2nd Viennese School' work, and, apparently, Inbal brings out the Bergian qualities here. Well, I can't wait!
Quote from: snyprrr on July 14, 2014, 06:17:31 AM
Inbal is the last of the BigName Conductors on my list. I have dismissed Jarvi, Jansons, Rattle... Bernstein and Britten...
Not sure I've heard
Jansons here. Why have you dismissed it?
Quote from: karlhenning on July 14, 2014, 06:44:31 AM
Not sure I've heard Jansons here. Why have you dismissed it?
IIRC,
snyps didn't care for the singers (Larissa Gogolewskaya, Sergei Aleksashkin).
I have no quarrel with them, or Jansons & BRSO, in the recording..
I certainly have enjoyed anything I've heard Aleksashkin sing.
Quote from: karlhenning on July 14, 2014, 07:34:19 AM
I certainly have enjoyed anything I've heard Aleksashkin sing.
No, it was the soprano. (I think Inbal uses Aleksashkin too?) Most all of the men have been at least ok, but, ugh, these women- mm mm mm- what are we going to do with them? Vishy seems as good as just about anyone- I mean, what BigName soprano sang the 14th? Maybe the Currentzis and Slovak singers are a little more death-friendly in their delivery, but so many of these sopranos are just too much for me- why not Bryn-Julson?
SERIOUSLY- Slovak's singers are pretty right up there-
And you should really try some samples of the Caetani, but especially the Kofman- that particular MDG recording (maybe it was the strings-percussion-voices dilemma) is frightenly transparent- it sounds like the strings are around the singers (like it should be)- I mean, the recording is chilling, and Kofman's choices here (and the singers) are a bit special. So, for 13-14 take a listen to Caetani and Kofman- you may have a new digital 14. I mean, they WILL give Petrenko a run for his money...
I have listen to waaay to much 14th lately- geeeh, such miserable atheist requiem- poor Shosty- could he possibly have know of Our Lord's Saving Grace? Oh, the sincerely earthbound, what a shame. He could have written SUCH Music!!
Quote from: snyprrr on July 15, 2014, 07:27:14 AMI mean, what BigName soprano sang the 14th?
Is Karita Mattila big enough for you?
Quote from: North Star on July 15, 2014, 08:54:00 AM
Is Karita Mattila big enough for you?
??? ???Is that the Ondine???
Quote from: snyprrr on July 15, 2014, 01:36:47 PM
??? ???Is that the Ondine???
Dude, I would have thought you knew this one..
[asin]B000EQ449I[/asin]
Slovak (Naxos)
I just drove 40 miles to get this Slovak from the UsedCD Store. This is a slightly morose performance, though not Sanderling so, and the singers are both very controlled and somewhat darker sounding than others (haven't heard any shrieking yet!). The recording sounds like your typical MarcoPolo, which is better than Melodiya!- and the Naxos sound really fits the interpretation very well. Maybe we're missing some 20kHz, but we can hear the percussion fine.
I actually enjoyed listening to this, whereas I felt as though I HAD to listen to Lazarev and Jarvi. No, here, Slovak strips whatever it was that those two lacked. Slovak's may not be the last word in incisive string ensemble, but he's much better than Lazarev- actually having some bite. And he's not as puffed up as Jarvi.
No, this is a very 'slav' feeling recording, totally appropriate. Go ahead, it's only $2!
Quote from: North Star on July 15, 2014, 01:43:33 PM
Dude, I would have thought you knew this one..
[asin]B000EQ449I[/asin]
One of the few I haven't heard any samples from. :-[ ::) ehhh... ahhhh... I guess i totally dismissed it 'cause I didn't want Fishlips singing bass. :-[ mm...
How does he compare to FisherD? (please, stop throwing tomatoes at me!!)
Quote from: snyprrr on July 08, 2014, 07:34:48 AM
I refuse to put too much effort into this Symphony until I have ploughed all the available fields (whaaat?), and studying this piece can be a bit wearying. And considering the forces involved (2 vocalists, strings, and odd percussion), the recordings available have a host of problems to deal with that others musics don't.
First off there is the matter of the singers. So many times, the pairings are off, and usually it is the Soprano who is at fault, squawking her way through an immensely difficult part. I would believe that Janson's Soprano falls into this category. Even the histrionic Mrs. Rostropovich fares much much better than some of the plucky lasses who have been wrestled to the ground by this part. Besides her, Haitink's (Decca), Slovak's (Naxos), and Currentzis(?;Alpha?) samples revealed singers with something a bit more than the ordinary. The Basses have struck me all as at least fairly competent, with Lieferkuss(?) and Aleksashian(?) being two singers who have extensively travelled through the terrain (Lieferkuss having 3 or 4 recordings under his belt).
I have been finding the strings a particular problem, with many way too distant to make for clear listening. I imagine that Bernstein's recording would not have this problem, but some seem to have gone for extreme dynamic range, and then play the music as a whisper, which only causes emotions to roil once the obligatory shock volume burst threatens to blow your speakers. The Lazarev on Virgin, touted by some as a model recording, I found to have 'The Classical Problem' to the point of dismissal, fine as it may be otherwise. I refuse to have an auditorium styled recording forced on me, the home listener, where the conductor then, purposely, plays things too quiet and too loud just because one is overtaken with some non-musical consideration (the opposite of DDG's '80s DDD practice of making their recordings sound good on ANY playback?... but, another Thread). Frankly, I would be suspicious off the bat with an SACD of this Symphony.
The percussion, too, can be a problem, what with that monstrous xylophone that can certainly do damage if it isn't positioned properly. And with some, the drums themselves sound wimpy and very un-death like. Listen tor Rostropovich to hear what rattling bones really sound like! I am not sure who has the most imaginative percussion ensemble.
Interpretively, I'd say that this might be in the "the quicker the better" category of Shosty music, and most do tend to not linger. One of the most important tests is the 2nd movement, 'Malaguena', which, in Rosty's 2:28 is white hot, but in Lazarev's 3:09 just doesn't ignite. The 'Cossak's Answer'. also, needs to be around the 2 minute mark, or less, to have that incisive thrust. It would seem that there's not much a Conductor could do to mess with this music, but some do seem to pull things this way or that.
I forgot the List I had in the other Thread, but here are the main contenders we have for the 14th:
Barshai1 (Premiere)
Barshai2 (2nd Premiere) - I forget which one it is, but one of these might as well be Definitive
[b]Rostropovich[/b] - Top3
Britten
Bernstein - unbearable soprano
Ormandy
Rozhdestvensky - anyone? DarkHorse?
***Haitink*** (Decca) - acceptable BUT: love Soprano; F-D..take/leave - almost great :( (but it does have maybe the best ensemble; but BH not Lenny)
Ashkenazy (Decca-Japanese)
Turovsky (Chandos)
Jarvi (DG)
Inbal (Denon)
Jansons (EMI) - Jansons's Soprano... sorry
Rattle (EMI) - wasn't too keen on Quasthoff, for one thing
Barshai (Brilliant)- perhaps not competitive against the next four?
Petrenko (Naxos) The Contender's Op.135; 2nd-to-last instalment; Ray's Pick
Slovak (Naxos) - actually pretty good; check it out on YT
Caetani (Arts)- very very good in all departments SACD
Kofman (MDG)- maybe the best of his Cycle? very very good in all departments SACD
Currentzis - for many this is the current TopCoice, because of sublime singing and a HIP approach to the music
***Swensen (Ondine) - Grammophone Pick
**Wigglesworth (BIS) - some say he hits a home run with this one
***Chung (Koch) - no word on this tantalizing, and extremely expensive OOP
Lazarev (Virgin) - this is what I'm comparing now, and - well, I'd cut it due to ensemble
So, how do you come to grips with this music? Should you only listen at night?... in winter? How do you feel about it? Many claim it as his masterpiece; my personal listening enjoyment runs to about 50/50. mm? eh?
Why is the Britten crossed out. I'll upload it for you if you want, this one
(http://cps-static.rovicorp.com/3/JPG_400/MI0001/034/MI0001034486.jpg)
Quote from: Mandryka on July 17, 2014, 01:00:27 PM
Why is the Britten crossed out. I'll upload it for you if you want, this one
(http://cps-static.rovicorp.com/3/JPG_400/MI0001/034/MI0001034486.jpg)
Does "upload" mean I'll be able to just push the button on your next Post and it turns on? :) 0:)
Yes, i've been a little hasty in my dismissing. :-[ I mean, if it's the same singers, how bad can it be- unless the sound leaves something to be desired?
Rostropovich1973
Inbal (Denon)
Slovak (Naxos)
Jarvi (DG)
Lazarev (Virgin)
Just added Inbal to the rotation, and so far he wins the award for Engineering, as one might expect. He has Aleksashkin; Jarvi has Llieferkus. I'd call it somewhat of a draw; Lieferkus is slightly lighter and recorded slightly back more- Aleksashkin has tremendous presence.
As per before, the Naxos singers are quite sublime- as a team they deliver quite a unique rendition, the soprano especially has a... gulp (will snyprrr really say it?... will he??)... a pretty beautiful voice,... I know, it's shocking, but she's quite demur. The ensemble is one of the more incisive, which doesn't say much for Jarvi, Inbal, and any other major conductor who doesn't dig in quite like Rostropovich does.
I guess everyone else is trying to be Professional with the piece, but Rosty just wrecks it up real good like. Of course, someone like Haitink with the Concertgebouw is going to get those incisive strings in 'Malaguena', and not even Rosty can compete with that kind of Professionalism. But, I'm not really discussing Rosty here- we know where he stands, let's just concentrate on the newer stuff.
The Lazarev has the lowest wattage 'audiophile' recording, that, though very nice actually with nicely captured percussion, suffers from ensemble and somewhat lax conducting. In all the most vicious bits, Lazarev is consistently the most tepid, and it doesn't seem his band can produce world class string ensemble sounds. Still, i'm giving it more points than I did initially.
And Jarvi isn't as bad as I initially felt,... maybe! He, too, misses a lot of the horror music, just not digging in in the 'Malaguena', but, throughout, he is afforded sumptuous DDG sound, and has some cool percussion choices including the BigBassDrum! Jarvi certainly trumps Lazarev, but the honors are slightly evenly divided. Out of Inbal, Jarvi, and Lazarev, I'd have to cut the Lazarev, but I'd be sad. :( It's a good compare,... they all are,... fuuu... now I've done it! ::)
Again, Slovak's singers act much differently than a lot of the Big Names, and he's quite competitive in the extremely problematic Symphony.
Inbal/Aleksashkin's 'Delvig' may be the best so far. (this may be Inbal's very best Shostakovich?)
Inbal's very high up on the list in many many departments. It's a 2nd Viennese School performance, as the reviewer said. But, it could be more incisive and angry, but I'm wondering if aaanyone's going to beat Rosty in the unbridled dept.
I'll send you the music files, you just press a button and it will download to your hard drive. Here's a review of the CD
http://dschjournal.com/reviews/cd_reviews/rvs13op135a.htm
Have you heard Barshai's first performance? Wild.
It's good to find someone else who's interested in this "symphony" I'm not a great lover of most of Shostakovich's music, but for some reason this one is quite special for me, haunting.
By the way, the Britten Nocturne on the CD is outstanding.
Quote from: Mandryka on July 21, 2014, 09:46:22 AM
I'll send you the music files, you just press a button and it will download to your hard drive. Here's a review of the CD
http://dschjournal.com/reviews/cd_reviews/rvs13op135a.htm
Have you heard Barshai's first performance? Wild.
It's good to find someone else who's interested in this "symphony" I'm not a great lover of most of Shostakovich's music, but for some reason this one is quite special for me, haunting.
By the way, the Britten Nocturne on the CD is outstanding.
mm... computy's having problems playing your file... I'll see if Mr.Expert can do something...
I've been listening to a LOT of 14 lately, going back and forth between Lazarev, Jarvi, Inbal, Rostropovich, and Slovak- SO many factors,... the sopranos are consistently the weakest link (except I actually DO like Vishy, huh?!?!), though, they all have their moments. Inbal and Slovak have what appears to be the least histrionic singing, with some really nice, subdued singing in parts.
So, Vishy is in Barshai2, Rosty, and Britten,... three? (that review of the Britten doesn't seem like it will displace either of the other two)
Am I wrong, or do we need Dawn Upshaw here? (puts on rain gear in case of flame out!)
Quote from: snyprrr on July 24, 2014, 08:58:17 AM
...(except I actually DO like Vishy, huh?!?!)...So, Vishy is in Barshai2, Rosty, and Britten,... three? (that review of the Britten doesn't seem like it will displace either of the other two)
Well, Mme. Vishnevskaya was Rostropovich's wife and a good friend of both DSCH and Benjamin Britten (by her own account). And though her style is a little foreign to us Westerners, she really is a great artist. ;D
Quote from: snyprrr on July 24, 2014, 08:58:17 AM
Am I wrong, or do we need Dawn Upshaw here? (puts on rain gear in case of flame out!)
She's a great artist too, and would do the 14th very well.
More good performances are always The Good Thing.
Quote from: karlhenning on July 25, 2014, 04:18:00 AM
More good performances are always The Good Thing.
I mean... soandso said Jansons's soprano was 'famous'... but why haven't the Kenny Rogers and Barbara Streisand of Classical Music (whomever they be) come together for a skip through the 14th? Hampson and Upshaw- haha- oy vey, maybe not!! But I usually like the men- why do the sopranos have to be so... so...
Who would you like?
You know, snypsss, you're not always on your game, but the Kenny Rogers of Classical Music . . . inspired.
Quote from: snyprrr on July 25, 2014, 09:03:05 AM
Who would you like?
I'll bet I
know a singer who would do a great job. Let me look at the score and see just where the range lies . . . .
Quote from: karlhenning on July 25, 2014, 09:25:46 AM
I'll bet I know a singer who would do a great job. Let me look at the score and see just where the range lies . . . .
Can you assemble 25 virtuoso string players, two percussionists and a bass singer? ;D
The instrumentalists must be discoverable here in the environs of Boston. Just the right bass, now . . . .
Quote from: karlhenning on July 28, 2014, 03:16:07 AM
The instrumentalists must be discoverable here in the environs of Boston. Just the right bass, now . . . .
Perhaps you could make a call to the Boston Pops. >:D ;D
I heard the samples from Barshai's WDR 14, and hey!, they're much better than almost all of the MajorLabel accounts. Sure wish it was a stand alone. The bass has a reeeally nice voice (that doesn't sound like Aleksashkin), and the soprano had an... interesting voice- different- tolerable in a generous way- better than I'm leading on. The strings were incisive- percussion sounded good.
Anyone?
I'm holding out hope that the Chung on Koch might be the missing link, but it's mighty expensive.