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In Reply to: RE: The only trouble with that Mehta/LAPO recording. . . posted by ecl876 on January 07, 2023 at 12:49:56
Indeed that is true - and the success of the Mehta/LAPO recording over the years is testament to the number of listeners who like highlighting of instruments by spot microphones or unusually prominent bass. "Different strokes for different folks", as Muhammed Ali originally proclaimed in 1966 (although Ali's meaning of the phrase was a bit different from what its accepted meaning eventually became)! ;-)
Follow Ups:
But the performances are outstanding.
The blissful counterstroke-a considerable new message.
. . . on Decca/London were pretty excellent for their time.
Not the best from the old analog Decca catalog--those performances were recorded in Kingsway Hall by Kenneth Wilkinson and later mastered by Ted Burkett--but they're still very good.
IMO, the best classical recordings for sound quality are nearly all digital. Telarc, Chandos, a couple all-digital Angels--not the Angel digital remasters, which are really shrill--Reference Recordings, digital Londons and Deccas
The blissful counterstroke-a considerable new message.
Karajan's Decca recordings with the Vienna Philharmonic were done in the Sofiensaal in Vienna, Decca's preferred venue there.
Performances are first rate, even of the stuff I don't care for like Tchaikovsky's Romeo and Juliet .
The blissful counterstroke-a considerable new message.
I've heard THE PLANETS many times but a wouldn't know a good performance if It hit me in the head! Or maybe the ear. I'd probably have to listen hundreds of times to be able to offer an opinion about a performance when comparing top orchestras. I do think I'd be able to tell the difference between say, a professional orchestra and a high school orchestra.
I play keyboards (badly), trumpet (even worse), and guitar (a bit; only a bit) so I know what a lousy performance sounds like. Like Taylor Swift would say, "It's me. I'm the one."
All kidding aside, it's totally subjective. Example: I've never cared for Eugene Ormandy and the Philadelphia Orchestra. A friend of mine who majored in music education loved Ormandy because of the precision. He could hear and would point out mistakes by other orchestras, particularly Bernstein and the NYP. I preferred Bernstein because his interpretations sounded much livelier than anything by Ormandy, particularly after Ormandy left Columbia and signed on with RCA. And really, I like George Szell better than either Bernstein or Ormandy.
Another example: Beethoven's 9th. IMO, too many conductors use too slow of a tempo for the adagio . Szell uses a faster tempo, but my favorite (what I consider best) performance of the 9th is by Christoph von Dohnányi and the Cleveland Orchestra on Telarc CD.
Maybe this is all just blather. Hell, it IS all blather. But it's what I mean by good performance/great performance, etc.
The blissful counterstroke-a considerable new message.
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