|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
71.104.22.215
In Reply to: Three B's and Two Sch's posted by tlyyra on May 3, 2007 at 02:01:18:
so it's not oxymoronic!
Follow Ups:
...right about that one. I just find them unable to fully leave behind that tonally and dynamically pretty narrowly defined lyrical matrix in which the solo instrument forces them (how to avoid sentimentalism and monotony?).But in fact, I get a tremendous kick out of this one, speaking of his (Rostro) workhorses:
I am just a bit old and old fashioned, details matter and I am still in the game of comparing one performance to another to get some depth and perspective about pieces.That doesn't rule out solo and chamber pieces.
I posted in one of the Rostropovich threads that I have about 6 or 7 different performances of the Dvorak cello, but not the SACD, maybe I have 10. And I am looking for more. I love it very much.
That's a good approach, no? I share it, too. Helps you really figure out what that music is about when you hear it done in so many different ways.I do honestly like the recording by Queyras: there is something very sharp about it (in more than one sense). Maybe his moonlighting life in contemporary music (he played a lot with Boulez' specialist ensemble in Paris) helps in getting a fresh approach. And Belohlavek and the Czechs' playing here is ah so vigorous, clear, and alert. An antithesis of mushiness. Admittedly I've only very inadequately listened to the Rostropovich recordings of this work, but that's b/c in principle I keep clear of anything done by Karajan... but that's another story. Did you say you have the one with Ozawa, too, on Erato?
As I've gained in age I, too, have become more enthused about big orchestral playing showcasing some out-of-scale late Romantic works. I wonder what it is about. Even ten years ago I couldn't have possibly imagined myself doing what I nowadays secretly engage in the eventide: blasting Bruckner, Dvorak, and even Tchaikovsky (god forbid) to the hilt.
Enjoyment is a complex thing.
I actually have reviewed the entire Rostropovich/HvK disc at home and work, not just sampled, but relistened to set myself first last night. There is a huge orchestral backdrop with gorgeous playing and I think it's still James Galway soloing along with Rostropovich at that time!The disappointment was the Mercury Starker and also Erato Rostropovich (digital 1985). The first raw and less musical (the sound? maybe I need to check the hybrid SACD), the latter too soft. Also, the Erato sound is simply weird, with highlighted instruments and distant but highlighted orchestra parts. When large tuttis come in, everything goes opaque? Strange. Marked contrast to Szell/BPO which was a disc written up for clarity in reproducing the orchestra, attributed to Szell by some.
some posted against Rostropovich, I took the time to review parts of my HvK pairing and then played much of the 1st movement of the Boston/Ozawa, having played parts of the 3rd movement the other night. The latter is definitely inferior and makes me want to sample my cassette 5.10.69 Cleveland/Szell live. I have good memories of it.Instead, I went to Fournier/Szell, my favorite studio older LP, and it was fraught with noise (snap, crackles, etc.). I decided to clean it up (Spray and Wash spritzes included) and let it dry.
I then played Starker/Dorati/LSO, but the sound (Mercury) just wasn't there (sorry), so I went to mono Starker/Susskind/Philharmonia. Ahhh. SStarker right on, less forced vs. his remake, sound good with lots of hall ambience and bass.
Then I returned to Fournier/Szell--now, clean and quiet and better clarity. 90% of noise gone! I had lived with noise on that LP for 20 years? Now it really is the best one with superior sound too (DGG German pressing, non tuliped), with the mono Starker also in the running.
| ||||||||||||
|
This post is made possible by the generous support of people like you and our sponsors: