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In Reply to: RE: Kind of a general response. posted by Old Listener on January 08, 2017 at 10:54:57
. . . wow! Aside from the Mackerras recordings, aren't you the least bit curious as to what has been happening in recordings of this music since the 70's? Or do you simply dismiss stuff that's been recorded since the 70's? Not that there's anything wrong with the versions you mention (I certainly like most of the recordings on your list too - well, maybe except for the Monteux recording of the Seventh!), but music making just didn't stop in the 70's.
And BTW, perhaps I wasn't clear on this, but I don't necessarily want to be aware of a strong "point of view" in a recorded interpretation. What I was really talking about was something perhaps more intangible - a sense that the players are aware of how their individual parts fit in the total concept and overall context of the music. A conductor can impart that feeling among the players, and an audience can sense it, even if the interpretation is pretty middle of the road.
Follow Ups:
". . . wow! Aside from the Mackerras recordings, aren't you the least bit curious as to what has been happening in recordings of this music since the 70's? Or do you simply dismiss stuff that's been recorded since the 70's? Not that there's anything wrong with the versions you mention (I certainly like most of the recordings on your list too - well, maybe except for the Monteux recording of the Seventh!), but music making just didn't stop in the 70's."
I merely said that my criteria were different from yours and listed recordings that I come back to often. You know nothing about what other recordings I own or have heard.
You may feel that affirmative action for musicians requires that I give equal attention to and equal affection for recent recordings by currently active musicians.
I'll go right on making my own decisions about what to buy and what to return to regularly. A recording can be a fresh discovery for me whether it was recorded this year, 10 years ago or 30 or fifty.
For the record, vinyl isn't a factor for me now.
How about making a positive contribution to this thread by listing and describing some recent recordings of note of the Dvorak symphonies?
my blog: http://carsmusicandnature.blogspot.com/
I did mention other sets in one of my other posts on this thread, but, if you want specifics, here are just a few:
I have one caveat with this recording and that is the edition of the E-flat symphony (No. 3) which Macal uses, which, amazingly, does not correspond to ANY version of the symphony that Dvorak actually knew in his own lifetime. I don't know of any other recording of this symphony that uses this edition (a Simrock edition, which came out after Dvorak had already died). Despite its weaknesses (near the end of the first movement especially), it's still interesting to hear.
Also, Pesek's set was just reissued last year:
Pesek divides the works between the RLPO and the CzPO - I had some of the individual discs when they were first issued. I believe that Pesek had his own jazz band before he started getting into classical conducting (perhaps a bit like Andre Previn I guess, and a few others), and I find he often brings a fresh viewpoint to many of his interpretations. As a matter of fact, I just ordered this set myself - some of the Amazon resellers have it at an extremely low price.
BTW, I totally agree with your statement, "A recording can be a fresh discovery for me whether it was recorded this year, 10 years ago or 30 or fifty." The same is true for me too. Nevertheless, your list did appear a bit confined to me (with regard to release dates) - but, hey, each to his own! ;-)
Chris, thanks for the info on more recent recordings.
I had not been aware of the Macal recordings with the CzPO on Exton. IThe Macal/Miulwaukee Symphony recordings on Koss were hard to find back when I was looking and not cheap. I saw good reviews but I never managed to buy one of the CDs.
I was aware of the Pesek recordings on eVrgin. I have the 4th and 5th symphonies; neither performance convinced me that the 4th or 5th were something I wanted to listen to very often. The CDs also included the Czech Suite. Not a successful performance.
my blog: http://carsmusicandnature.blogspot.com/
Those Macal/Milwaukee performances (the couple that I heard anyway) seemed bogged down by what I heard as unattractively dry and damped sound on the recordings. His cycle with the CzPO (at least the two albums I show) has all the reverberation one would need - possibly even too much, I'm sure, for some listeners, but I like it a lot.
Regarding the Pesek recordings, I had those two CD's that you mention too. I really liked them, but I was already a fan of those symphonies from the older 50's and 60's recordings by Neumann and the Prague SO (for No. 4) and Sejna and the CzPO (for No. 5). In any case, I'll soon be getting a chance to re-evaluate the Pesek recordings! ;-)
Good info about the two sets of Macal recordings. I usually prefer recordings with a fairly close perspective and less reverb. as opposed to more. I might not find a Goldilocks recording in either set.
I've loved Dvorak's 8th and 9th symphonies from the first time I heard them. Later, the 6th was easy to like. I want to enjoy more of the symphonies and I try. I listen to #7 fairly often and get some pleasure from it. Listening to 1-5 is a duty with little reward. Fortunately for me, there is a lot of other Dvorak that I thoroughly enjoy.
my blog: http://carsmusicandnature.blogspot.com/
I should mention another recommendable MCH high-res. cycle of the Dvorak symphonies, now underway. Marcus Bosch and the Nürnberg Staatsphilharmonie SACD on Coviello Classics. Very nicely done in SOTA surround sound --and very much worth a listen!
John Proffitt
Even at 44.1/16 streaming on QOBUZ.
Great to see these regional European orchestras and young conductors getting the chance to produce great recordings.
Thanks and keep the tips coming!
I actually treasure an earlier recording by Marcus Bosch (Mendelssohn's Lobgesang Symphony) on a Nishimura DVD-Audio. I believe that Tatsuo Nishimura recorded the proceedings in a very similar way to the method you use: five omnidirectional microphones (one for each channel).
Yeah, but decent vinyl did.
We vinyl guys kinda ran into a dead end what with the oil crises, crappy recycled noisy vinyl (melted down records with the labels still attached) and then CD's... :-(
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