100 Greatest Classical Music Works

[struts001]

Many thanks @jacobacci! Delighted to find that the Tomaskirche recording is available on Qobuz!

My Qobuz account is still anchored in the UK (I became a subscriber before it was available here in Sweden) and I can see and play the Eterna (search on “Biggs Bach Eterna” @PAR), but not the Brilliant Classics. It comes up if I click on Rudi’s link:

…but then I am not logged in so I can’t play it, however once logged in it goes up in smoke and I have been completely unable to find it.

A search on “Bach Biggs Berlin Classics” however brings up this:

…which appears to be the same album with different cover art. The credits are no help at all (artist is specified as “Various Interprets”) but the track timing is identical to the Eterna so I am pretty sure this is the Tomaskirche recording.

[struts001]

Thanks for posting Rudi. That article provides fascinating background.

[struts001]

Week 16 Nos. 21-25

Sorry chaps, falling a bit behind here. Just too much going on in the run up to summer. I’ll do my best to get back on track. Promise!

21. Piano Concerto No. 2 in B-flat Major, Op. 83

519 Johannes Brahms Piano Concerto 1881 Play

Gilels or Richter? Almost impossible to choose, but I will go with Richter’s warmth and elegance.

For a more recent alternative try Nicholas Angelich’s absolutely compelling reading with Paavo Järvi where they fuse in a completely natural partnership of understated intensity.

Richter, Chicago SO, Leinsdorf “Brahms: Concerto No.2, Op.83; Beethoven: Sonata No.23, Op.57” 1960, 16/44.1

Angelich, Frankfurt Radio Symphony Orchestra, Järvi “Brahms: Piano Concerto No.2, Op.83 & Klavierstücke, Op.76” 2010, 16/44.1

22. Piano Concerto in A Minor, Op. 54

26 Robert Schumann Piano Concerto 1845 Play

Leif Ove Andsnes makes an easy first choice here. Spontaneous but elegant in equal measure with the BPO (as always) at the top of their game under Mariss Janssons. Contrast with the classic pairing of Stephen Bishop Kovacevich with the BBC Symphony under Sir Colin Davis, simply beautiful and fully deserving of its inclusion in Philips’ “50 Great Recordings” series.

Andsnes, BPO, Janssons “Grieg & Schumann: Concertos for Piano” 1991, 16/44.1

Kovecevich, BBC SO, Davis “Grieg & Schumann: Piano Concertos” 1971, 16/44.1

23. String Quintet in C Major (Cello Quintet), posth. 163

417 Franz Schubert String Quintet 1828 Play

Some people regard this as the finest chamber music ever written so needless to say there is a huge field to choose from. The version I was hoping to find is the classic 1951 recording by the Hollywood Quartet with Kurt Reher (this quintet is scored for two cellos so almost always performed by a string quartet with an “extra” cellist), however as best I can tell that recording doesn’t appear to have made it onto either Qobuz or Tidal. Rudi, I’ll be over the moon if you prove me wrong!

Luckily however we are spoilt for choice with more recent reference recordings. The Belcea Qt + Valentin Erben from 2009, the Haas + Danjulo Ishizaka from 2013 and the Ebènes with Gaultier Capuçon from 2016 are all superb in different ways. I’ll probably plump for the Haas, but it’s your call.

Hollywood Qt, Reher, 1951, (not available - help!)

Belcea, Erben “Schubert: String Quintet, String Quartets Nos.15 & 14 ‘Death and the Maiden’” 2009, 16/44.1

Haas Qt, Ishizaka “Schubert: String Quartet No.14 ‘Death and the Maiden’, String Quintet” 2013, 16/44.1

Ebène, Capuçon “Schubert: String Quintet, Lieder” 2016, 16/44.1

24. Aida

404 Giuseppe Verdi Opera 1871 Play

Two pretty easy choices here. Firstly, Muti’s 1974 reading with Montserrat Caballé as Aida (generally considered her finest performance) and Placido Domingo in his prime as Radames.

And that would be that if Antonio Pappano had not come along nearly 20 years later and trumped it. Anja Harteros and Jonas Kaufmann combining perfectly against the sonic backdrop of the superb Santa Cecilia orchestra.

Caballé, Domingo, New Philh O, Muti “Verdi: Aida” 1974

Harteros, Kaufmann, Orchestra e Coro Dell’Accademia Nazionale di Santa Cecilia, Pappano “Verdi: Aida” 2015

25. Piano Concerto No. 5 in E-flat Major (Emperor Concerto), Op. 73

816 Ludwig van Beethoven Piano Concerto 1811 Play

As with the 4th (100 Greatest Classical Music Works - #19 by struts001) I will fall back on the incomparable Hans Richter-Haaser here. Such a delight that these fine performances are now available again after almost disappearing in the CD era.

I would be more than happy to listen to that recording on my desert island, however I do have a Scandinavian soft-spot for Leif Ove Andsnes. Don’t miss his latest recording leading the Mahler Chamber Orchestra, pure genius!

Richter-Haaser, Philharmonia O, Kertész “Beethoven: Piano Concerto No.5, Op.73 ‘Emperor’ & Rondo, Op.51 No.1” 2020, 16/44.1

Andsnes, Mahler Chamber Orchestra “The Beethoven Journey - Piano Concertos Nos.1-5” 2014, 16/44.1

[struts001]

Week 17 Nos. 16-20

Top 20 time! (and this was easier than last week’s so I am catching up )

16. Symphony No. 41 in C Major (Jupiter Symphony), K. 551

817 Wolfgang Amadeus Mozart Symphony 1788 Play

I’ve stated my preferences for these late symphonies before (Bernstein/VPO and Mackerras/SCO for modern and HIP respectively) but since I know you prefer HIP I’ll throw in another and recommend Gardiner’s superb reading with his EBS.

Vienna Philharmonic Orchestra, Bernstein “Mozart: Symphonies Nos.35 ‘Haffner’ & 41 ‘Jupiter’” 1985, 16/44.1

Scottish Chamber Orchestra, Mackerras “Mozart: Symphonies Nos.38-41” 2008, 24/88.2

English Baroque Soloists, Gardiner “Mozart: Symphonies 39 & 41” 2011, 16/44.1

17. Piano Concerto No. 20 in D Minor, K. 466

579 Wolfgang Amadeus Mozart Piano Concerto 1785 Play

For the Mozart piano concertos Murray Perahia will always be my primary go-to, but for HIP try Malcolm Bilson again with the incomparable EBS under Gardiner.

Perahia, European Chamber Orchestra “Perahia Plays and Conducts Mozart: Piano Concertos Nos.11 & 20” 2013, 16/44.1

Bilson, English Baroque Soloists, Gardiner “Mozart: The Piano Concertos” 1990, 16/44.1

18. The Well-Tempered Clavier, BWV 846–893

948 Johann Sebastian Bach Piano Sonata 1742 Play

This is a big one Ben. For me this is some of the most beautiful (and important) music ever written, worth reading up a bit beforehand (https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier).

András Schiff is my primary go to for most of Bach’s keyboard works and as good as his first cycle for Decca is I definitely prefer his second outing for ECM. Likewise Angela Hewitt, a very safe pair of Bachian hands and here again I prefer her second recorded cycle, interestingly on a Fazioli piano instead of a Steinway.

Schiff “Bach: The Well Tempered Clavier Books 1 & 2” 2012, 24/44.1

Hewitt “Bach: The Well Tempered Clavier Books 1 & 2” 2009, 24/44.1

19. Symphony No. 9 (From the New World), Op. 95, B. 178

1253 Antonín Dvořák Symphony 1893 Play

My go to here has always been the BPO under Rafael Kubelik, but I recently discovered Jakub Hrůša’s “insightful and inspirational interpretation” which I love.

Berlin Philharmonic Orchestra, Kubelik “Dvořák: Symphonies Nos.8 & 9 'From the New World” 1973, 16/44.1

Bamberger Symphoniker, Hrůša “Brahms: Symphony No.4; Dvořák: Symphony No.9 ‘From The New World’” 2018, 16/44.1

20. Winterreise, D. 911

23 Franz Schubert Lieder / Song 1827 Play

I’ll start with an absolute classic, Dietrich Fischer-Dieskau, one of the finest baritones of his generation and a safe bet for any of Schubert’s lieder. This is the last of his three recordings of this piece and IMO is his finest, superbly accompanied by Jörg Demus.

But I almost feel he is upstaged by Johan Kaufmann whose superbly clear and tonally beautiful performance forms my new reference. He is perfectly matched in colour and texture by Helmut Deutsch.

Dieskau, Demus “Schubert: Winterreise” 1965, 16/44.1

Kaufmann, Deutsch “Schubert: Winterreise” 2014, 24/96

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

70 (Beethoven Symphonies Nos.7 & 8, Abbado, and also Orchestre Révolutionnaire et Romantique, Gardiner) The Abbado version was alright. Again, the period one for me, please. By a mile. I’d love to work out why the period versions tickle me more.

69 (Grieg: Chasing the Butterfly, Slåttebrekk) Apparently I do have a lower limit for recording quality. The versions that Grieg himself played were unlistenable for me. The rest was ok, but not write-home-to-ma wonderful. The concerto at the end was lovely, though. I’ll give it all another go one day. But I’ll keep Grieg’s version away from my tweeters.

68 (Debussy: Complete Piano Works, Giesking) This was ok. Nothing I’d seek out again. Tinkle tinkle yawn, mostly. (Is that sacrilege?! ) Maybe I’d like it in smaller doses. Tried again, just in case. Second time around was on headphones — the Shangri-La on the T2 — and my feelings were…similar. I thought it was fine, but no more. (The SGL and T2 are a nice pairing though.)

67 (Bach: Complete Sonatas & Partitas (Vols 1 & 2), Faust) I don’t know why I enjoyed this one so much. The repetition up and down sections made it sound like someone doing their scales. But really, really, really well. (The T2 & Shangri-La on this sounded incredible.)

66 (Strauss: Also Sprach Zarathustra & Ein Heldenleben) Liked this a lot. Need to give it another listen for more useful thoughts, though. Second listen was good too — the mixtures of scale really appealed.

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

And once again, @struts001 — thank you

[struts001]

@all2ofme

69 (Grieg: Chasing the Butterfly, Slåttebrekk) Apparently I do have a lower limit for recording quality. The versions that Grieg himself played were unlistenable for me. The rest was ok, but not write-home-to-ma wonderful. The concerto at the end was lovely, though. I’ll give it all another go one day. But I’ll keep Grieg’s version away from my tweeters.

Ben raises an important point here. So for the benefit of anyone else reading this thread my recommendations only apply to the work in question (in this case the “lovely” concerto “at the end”), in some cases I haven’t even listened to the rest of the disc.

In this case I didn’t listen to the Lyric Pieces or the Piano Sonata so I had no idea that they had also included Grieg’s own 1903 performances (second generation recordings of a phonograph) as a point of reference. The Concerto was presumably included as a sweetener on what would otherwise have been a pretty niche and commercially unappetizing disc.

In other cases labels will couple different recordings of different pieces, sometimes by the same artists and sometimes by completely different ones to make the most of the 74-minute capacity of a disc. This is particularly common with reissue labels. I am listing the title and picture of the recording I am recommending to help people locate the correct one but in many cases I have only listened to the actual piece in question for reasons of time. And in a few cases I haven’t even done that as I have the CD and know it inside out. Sometimes the couplings will be great and sometimes not.

I have (and will) occasionally recommend historical performances because of their legendary status. Usually no earlier than the 1950s and usually with surprisingly good analog sound. But when I do I will not only make it clear but also try to provide a modern digital alternative. I tend to ignore performances from before the LP-era for this very reason.

Apologies to @all2ofme for the confusion!

[struts001]

Week 18 Nos. 11-15

So. Much. Choice. I think I have broken some kind of record for the number of recommendations here with three per piece, but there are just so many great recordings to choose from. And I expect it will only get harder over the last couple of weeks. So, apologies Ben, I hope my brief notes will help you navigate to the ones that are right for you.

11. Symphony No. 3 in E-flat Major (Heroic Symphony), Op. 55

741 Ludwig van Beethoven Symphony 1804 Play

Of the many Eroicas I grew up with Pierre Monteux’s 1957 reading with the VPO and Otto Klemperer’s 1959 Abbey Road recording with the Philharmonia remain my favourites. For a great HIP version give Roger Norrington and his London Classical Players a spin.

VPO, Monteux “Beethoven: Symphony No.3 in E-Flat Major, Op. 55 ‘Eroica’; Schubert: Rosamunde, Op.26 D.797 (Excerpts)” 2021, 16/44.1

Philharmonia Orchestra, Klemperer “Beethoven: Symphony No.3 ‘Eroica’, Overtures: ‘Leonore’ Nos.1 & 2” 2005, 24/192

London Classical Players, Norrington “Beethoven: Symphonies & Concertos” 2011, 16/44.1

12. Symphony No. 6 in B Minor (Pathétique), Op. 74

825 Pyotr Ilyich Tchaikovsky Symphony 1893 Play

The stand-out from my childhood was Karajan’s first account (of six!) with the BPO from 1964 and this is the reference against I will judge all comers. Looking at more recent performances I have been a fan of the Pletnev/RNO recording since its release (see also here), but when researching this post I came across this 2017 recording by Kirill Petrenko with the BPO which I also love. Fascinating to compare with the same orchestra under Karajan from 50 years earlier.

Berliner Philharmoniker, Karajan “Tchaikovsky: Symphonies Nos.4, 5 & 6” 1997, 16/44.1

Russian National Orchestra, Pletnev “Tchaikovsky: Symphony No.6 ‘Pathétique’ - Marche Slave - The Seasons, Op.21 - The Sleeping Beauty” 1991, 16/44.1

Berliner Philharmoniker, Petrenko “Tchaikovsky: Symphony No.6 ‘Pathétique’ (Multi-Channel Version)” 2019, 24/96

13. Otello

300 Giuseppe Verdi Opera 1885 Play

My long-term reference is Tullio Serafin’s recording with the Rome Opera from 1960. Listening again now I can hear that the RCA Living Stereo recording is not the last word in SQ (even after the 2022 remastering) but the principals, Jon Vickers as Otello and Leonie Rysanek as Desdemona are absolutely excellent. No such problem with Myung-Whun Chung’s 1993 studio recording with the Opera Bastille, and Placido Domingo and Cheryl Studer are every bit as excellent as you would expect.

Rome Opera, Serafin “Verdi: Otello by Tullio Serafin (Remastered 2022)” 2022, 24/96

L’Opéra Bastille, Chung “Verdi: Otello” 1994, 16/44.1

14. Piano Sonata No. 23 in F Minor (Appassionata), Op. 57

977 Ludwig van Beethoven Piano Sonata 1805 Play

Beethoven’s Piano Sonatas are absolute cornerstones of the classical repertory and have been tackled by just about every pianist of note from the last 200 years. A special mention has to go to Artur Schnabel’s landmark mono set (recorded between 1932-1938) which can probably be considered as “definitive” as any recording of anything. For a classic stereo set my vote goes for Stephen Bishop Kovacevich with, as Gramphone’s reveiwer put it “playing that teeters on the edge of sanity, roars with ferocious power and frequently moves the listener to tears”. For a HIP performance on pianoforte I also love Paul Lewis’s set, beautiful playing throughout.

Schnabel “Beethoven: Complete Piano Sonatas (2016 Remaster)” 2016, 16/44.1

Kovacevich “Beethoven: Complete Piano Sonatas” 2003, 16/44.1

Lewis “Beethoven: Piano Sonatas, Vol.3” 2007, 16/44.1

15. The Marriage of Figaro (Le nozze di Figaro), K. 492

851 Wolfgang Amadeus Mozart Opera 1786 Play

Erich Kleiber (1955) and Karl Böhm (1968) are my long-term favourites here. But that all changed when I discovered HIP. Now I find these are the only ones I reach for, my favourites being John Eliot Gardiner and René Jacobs.

VPO, Erich Kleiber “Mozart: Le nozze di Figaro” 1955, 24/96

Berlin Deutsche Oper Orchestra, Böhm “Mozart: Le nozze di Figaro” 1996, 24/192

English Baroque Soloists, Gardiner “Mozart: Le nozze di Figaro” 1994, 16/44.1

Concerto Köln, Jacobs “Mozart: Le Nozze di Figaro” 16/44.1

[struts001]

Week 19 Nos. 6-10

Nearly there! A particularly strong field of outstanding music this week with lots of singing: two operas and an oratorio, plus a ballet and a string quartet. There’s a good few hours of sublime listening here!

6. Tristan und Isolde (Tristan and Isolde), WWV 90

510 Richard Wagner Opera 1859 Play

Kicking off with Wagner’s timeless masterpiece and I would normally start with my long term reference of Karajan’s 1972 spine tingling recording with the BPO, featuring Jon Vickers as Tristan and Helga Dernesch as Isolde. Unfortunatley this appears to have sunk without trace in the streaming era and I am unable to find it on either Qobuz or Tidal (which only list his 1952 recording from Bayreuth). I can hardly believe it!

However, don’t despair, just enjoy Antonio Pappano’s version from Covent Garden with the incomparable Placido Domingo as Tristan (maybe the crowning achievement of his career) and Nina Stemme as Isolde.

Domingo, Stemme, The Royal Opera Chorus, Orchestra of the Royal Opera House, Covent Garden, Pappano “Wagner: Tristan und Isolde” 2005, 16/44.1

7. Don Giovanni, K. 527

554 Wolfgang Amadeus Mozart Opera 1787 Play

My touchstone for this great comic opera has always been Carlo Maria Giulini’s classic 1959 set, which for many has yet to be bettered. Eberhard Wächter is a fine Giovanni and Elizabeth Schwartzkopf a ravishing if neurotic Elvira. For HIP try the ever reliable Gardiner with his usual forces with on ths occasion Rodney Gilfrey and Charlotte Margiono singing the leading roles.

Wächter, Schwartzkopf, Philharmonia Orchestra & Chorus, Giulini “Mozart: Don Giovanni (2016 Remastered)” 1992, 24/96

Gilfrey, Margiono, The Monteverdi Choir, The English Baroque Soloists, Gardiner “Mozart: Don Giovanni” 1995 16/44.1

8. String Quartet No. 14 in C-sharp Minor, Op. 131

502 Ludwig van Beethoven String Quartet 1826 Play

Another one of those pieces where there is an elephant in the room that just cannot be ignored. The Busch Quartet’s mono recordings of the late quartets from the late 1930s are generally regarded as the towering classics in a similar way to Schnabel’s Sonatas. Start here and you will know where the bar is set. For a more modern recording try the Takács’ Gramophone Award-winning outing.

Busch Quartet “Beethoven: The Late String Quartets” 2008, 16/44.1

Takács Quartet “Beethoven: The Complete String Quartets” 2017, 24/48

9. Messiah, HWV 56

793 George Frideric Handel Choral orchestral 1741 Play

I have always loved the Messiah and my long-term favourite is Pinnock’s HIP version with his English Consort and Players. I could also be tempted by Stephen Layton’s outing with Polyphony and the Britten Sinfonia, actually played on modern instruments but in a style that follows historically informed practice so faithfully that it’s almost difficult to tell.

But at the end of the day John Butt and the Dunedin Consort (from Edinburgh Ben, not your Dunedin) who sweep the board with a version based on the score from the Dublin première of 1742 rather than the 1750 version revised for use at the Lenten concerts in Covent Garden. A historical curiosity, at the time women were not allowed to sing in church in England but were in Ireland, so the solos were either performed by sopranos or castrato altos depending on the location. With skeletal forces (just 13 vocalists and 17 instrumentalists) this is the clearest, freshest, most vital of Messiahs on record.

The English Consort & Players, Pinnock “Handel: Messiah” 1988, 16/44.1

Polyphony, Britten Sinfonia, Layton “Handel: Messiah” 2009, 16/44.1

Dunedin Consort & Players, Butt “Handel: Messiah” 2006, 24/88.2

10. The Rite of Spring (Le Sacre du printemps)

1087 Igor Stravinsky Unsorted Orchestral 1913 Play

Two great choices for Stravinsky’s great primal ballet. Firstly Sir Simon Rattle’s vital reading with the City of Birmingham Symphony Orchestra. However, I recently discovered this 2005 recording by the Junge Deutsche Philharmonie under Péter Eötvös. Raw earthy energy that never spills over into vulgarity. Superb!

City of Birmingham Symphony Orchestra, Rattle “Stravinsky: The Rite of Spring” 2018, 16/44.1

Junge Deutsche Philharmonie, Eötvös “Stravinsky: The Rite of Spring” 2005, 16/44.1

[jacobacci (Rudi)]

@struts001 Thanks for the latest installment of a great series.
Andrew Rose of Pristine remastered the Busch / Beethoven Quartets. Some people (I among them) love Andrew’s Work, others find his remasters a sacrilege. YMMV. There are listening samples on the Pristine Website.
BUSCH QUARTET Beethoven: The Late Quartets (1933-42) - PACM093 – Pristine Classical

[struts001]

Thanks Rudi. It has been a fun project and I’m delighted that others have found something of interest there.

I was really surprised to find that the Busch Qt Late Beethoven Quartets weren’t available in hi res, and you solved the mystery for me. Thanks!

Will listen to these with interest (although to my ears the 2008 std res remasters sound pretty good too).

[struts001]

Week 20 Nos. 1-5

We’ve arrived! We’ve reached the summit of Everest. Two Bach, two Beethoven and a Wagner. Perfect!

However at this altitude care is needed. 3.5/5 of these pieces (one mass, one opera cycle and a passion, plus one symphony with a choral movement) are vocal works Ben, and I know that’s not exactly your sweet spot. Also, there is a lot of music here, the Ring cycle alone is about 15 hours of music, take it easy!

Some recommendations:

• Do some background reading. As always, it helps to understand a little bit what you are listening to.
• Listen at your own pace. I would for instance listen to the four Ring operas one act at a time first time through to avoid overload. Try to follow the plot line, the ring is an epic drama: like the Hobbit!
• Mix it up a bit by all means (with non-classical and classical pieces from earlier on the list that you know you like)
• But please give it a chance. Even if individual tastes differ this is certainly representative of the finest classical music ever written, but as always you have to be prepared to invest to get maximum return. Hopefully the preceding weeks’ listening will have prepared you well!

1. Mass in B Minor

769 Johann Sebastian Bach Mass / Requiem 1749 Play

As with pretty much all of Bach’s vocal œvre my preference is very firmly in the HIP camp (although as before this is purely a subjective preference rather than any objective judgment on actual historical authenticity). My long term reference here has been Gardiner’s 1985 recording for DG Archiv. That was subsequently usurped by John Butt with the Dunedin Consort, as usual with reduced forces lending a fantastic clarity and vitality, and that in its turn by Gardiner’s second recording from 30 years later with similarly reduced forces on his own SDG label.

However, the crowning achievement for my money is this recording by Jos van Veldhoven and his Netherlands Bach Society. Note this is not the Chandos version available on Qobuz and Tidal, but a 2016 recording with younger forces as part of his series “All of Bach”, currently only available on Youtube. We can only hope the audio will be released in hi res one day soon!

Monteverdi Choir, English Baroque Soloists, Gardiner “Bach: Mass in B minor, BWV 232” 1985, 24/96

Dunedin Consort and Choir, Butt “Bach: Mass in B minor (Breitkopf & Härtel Edition, edited by J Rfikin, 2006)” 2010, 24/88.2

Monteverdi Choir, English Baroque Soloists, Gardiner “Bach: Mass in B minor, BWV 232” 2015, 24/96

Netherlands Bach Society, van Veldhoven “Bach: Mass in B minor” 2016, Youtube:

Bach - Mass in B minor BWV 232 - Van Veldhoven | Netherlands Bach Society

2. Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86

582 Richard Wagner Opera 1874 Play

Well this is easy. Solti’s Ring cycle towers above all others as one of the crowning achievements of the gramophone. My father (and @PAR) have the “Deluxe Edition” 1970 22-LP boxed set. Hard to believe this will ever be surpassed. You might like to check out this documentary about the recording of this series on Youtube:

The Golden Ring - The Making of Solti's "Ring" (Wagner Ring Cycle)

Nilsson, Windgassen, Flagstad, Fischer-Dieskau, Hotter, London, Ludwig, et al, VPO, Solti “Der Ring das Niebelungen” 1967, 24/44.1

3. Symphony No. 9 in D Minor, Op. 125

2409 Ludwig van Beethoven Symphony 1824 Play

I will start with a new favourite studio recording discovered while researching the latest Beethoven releases, Osmo Vänskä’s 2006 outing with the Minnesota Orchestra. Vänskä seems to be rapidly making a name for himself as a Beethoven interpreter of rank and the Minnesotans don’t put a foot wrong.

However a very special version for me will always be Bernstein’s live recording (https://leonardbernstein.com/about/conductor/historic-concerts/berlin-wall-concert-1989) from the Schauspielhaus on the morning of Christmas Day 1989, made to celebrate the fall of the Berlin Wall and the reunification of the city and of Europe. With an “all star” orchestra drawn from East and West Germany (plus the Kirov Theatre Orchestra, the Orchestre de paris, the NYPO and the LSO) and a choir drawn from East and West this was a truly historic performance that I had the great privilege to see live. Having relatives in East Berlin whom I had been unable to visit all my life made this trip an intensely personal experience for me. The substitution of ‘freiheit’ (freedom) för ‘freude’ (joy) in Schiller’s final Ode had most of the audience in euphoric tears.

For HIP this is one case where Gardiner doesn’t rule the roost. Here Harnoncourt and the COE get the nod.

Juntunen, Karnéus, Norman, Davies, Minnesota Chorale & Orchestra, Vänskä “Beethoven: Symphony No.9 ‘Choral’” 2000, 24/44.1

Anderson, Walker, König, Rootering, Bav RSO, Dresden State O etc., Bernstein “Beethoven: Symphony No.9 (Ode to Freedom)” 1990, 16/44.1

Chamber Orchestra of Europe, Harnoncourt “Beethoven: Symphony No.9 ’Choral’” 1992, 16/44.1

4. Symphony No. 5 in C Minor, Op. 67

1511 Ludwig van Beethoven Symphony 1808 Play

Kleiber’s 1974 recording of the 5th with the VPO, part of the soundtrack of my upbringing has now achieved legendary status (although his 7th still divides opinion). My father had both the ’56 Klemperer and the ’63 Karajan accounts (as well as many others) but these took a back seat once the Kleiber was released. Now remastered in full hi res glory.

For a more recent recording on modern instruments I would recommend you check out my new favourite Osmo Vänskä (see above)

For a HIP, as usual you’ll be hard pressed to better Sir John Eliot Gardinder’s superb 2012 coupling with the ORR.

Vienna Philharmonic Orchestra, Kleiber “Beethoven: Symphonies Nos.5 & 7” 1995, 24/96

Minnesota Orchestra, Vänskä “Beethoven: Symphony Nos.4 & 5” 2004, 24/44.1

Orchestre Révolutionnaire et Romantique, Gardiner “Beethoven: Symphonies Nos.5 & 7” 2012, 24/44.1

5. St Matthew Passion (Matthäus-Passion), BWV 244

671 Johann Sebastian Bach Choral orchestral 1727 Play

See above. Gardiner (first) , Butt, Gardiner (second, live) and van Veldhoven. Exactly the same order and similar reasoning.

Along with his Johannes-Passion (Bach - St John Passion BWV 245 - Van Veldhoven | Netherlands Bach Society) van Veldhoven’s Matthäus-Passion is among the most beautiful, moving music I’ve ever heard. Truly sublime.

Monteverdi Choir, English Baroque Soloists, Gardiner “Bach: Matthäus-Passion” 1989, 16/44.1

Dunedin Consort and Choir, Butt “Bach: St. Matthew Passion (Final performing version, c. 1742)” 2008, 24/88.2

Monteverdi Choir, Trinity Boys Choir, English Baroque Soloists, Gardiner “Bach: Matthäus-Passion” 2016, 24/96

Netherlands Bach Society, van Veldhoven, 2014 Youtube:

Bach - St Matthew Passion BWV 244 - Van Veldhoven | Netherlands Bach Society

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

Yes, fair

I’ve listened a few times since and feel much the same, though. It’s not as if it tickles my funny bone or has me giggling uncontrollably, but I stand by my description. Perhaps that’s the “subject to belief” bit. Either way, lovely music!

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

65 (Beethoven: String Quartets Op.130 & Op.133, Lindsays) Took me forever to find this (bloody licensing!), but once I had it I was happy.

64 (Schubert: Piano Quintet in A Major (Trout Quintet), D. 667) Loved this. Such an uplifting listen on a chilly Friday morning. Another one that reminds me that I used to listen to this sort of thing too quietly. The last week has had much trouting.

63 (Brahms: Violin Concerto in D Major, Op. 77, Bell) I’ve just been cranking this one with the dog at my side. Sitting nearfield (he likes me on the floor at his level) was a treat. Reminds me that laying out a dedicated listening room will be a complicated hoot. In the meantime, though — and back to the Brahms — an enjoyable piece indeed!

62 (Handel: Water Music, HWV 348-350, English Concert) Meh. Time dragged on this one. I couldn’t make it through the whole thing. Sounded like a soundtrack to a fox-hunting period drama where the brief for the music was not to distract too much from the plot. Yawn. (I’m encouraged again that I’m not enjoying everything.)

61 (Chopin: 24 preludes, Op. 28, Argerich) Absolutely beautiful. Not sure quite why I liked this so much, but

60 (Debussy: La mer, L.109, Karajan) Really enjoyed the way this winds up. Lovely and grand.

59 (Rachmaninov: Piano concerto No.2 in C Minor, Op 18, Richter) Listened to this a few times, and enjoyed it more each go. Will keep coming back to this.

58 (Schubert: String Quartet No. 14 in D Minor (Death and the Maiden), D. 810, Takács) This was a wild ride. Liked it a lot.

57 (Puccini: Madama Butterfly, Freni, Pavarotti) I wasn’t expecting to like this (opera hasn’t normally fared as well with me in this list), but this was ok. Would listen again. (But only when Meg’s out. Otherwise…errr…problems.)

56 (Gabriel Fauré, Requiem in D Minor, Op. 48, Corydon Singers) Beautiful. Not up there with the Palestrina at #93 for me, but very nice nonetheless.

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

55 (Sibelius: Symphony No. 2 in D Major, Op. 43, Beecham) Not bad, but wouldn’t write home and tell ma about this one. “Yet,” perhaps. Will try a different recording at some stage. Perhaps the Gothenburg SO under Santtu-Matias Rouval you suggested will tickle me more. If it does I’ll revisit the Beecham version.

54 (Mahler: Symphony #5, Abbado, BPO) Enjoyed this in places. Warrants a second go, since the other Mahler from earlier was so good. (Such joyous, happy, frivolous fun that was…hi Pete!)

53 (Beethoven: Piano Sonata No. 14 in C-sharp Minor (Moonlight Sonata), Op. 27, Rubinstein) So lovely. (Was some of this used on Succession? Seems so familiar, just not set to footage of people being nasty to each other in humorous fashion.)

52 (Verdi: Requiem, Swedish Radio Chorus, BPO) Wasn’t expecting to like this, based on my multiple goes at opera, but did. A lot.

51 (Beethoven: Missa Solemnis in D Major, Op. 123, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Eliot Gardiner) The whole thing was good, but I particularly liked the Agnus Dei.

50 (Schubert: Symphony No. 8 in B Minor (Unfinished Symphony), D. 759, Norrington) Great stuff. Especially liked the Allegro. (My new-to-me Spirit Torino Valkyria headphones do an incredible job on this sort of thing. Apparently they’ll sound terrible on some genres, but it seems my homework is light on those genres.)

49 (Strauss: Don Juan, Op 28, Szell) Not bad, but not the outright hit recent others have been. I’ll give it another go, but for now it feels a bit nothingy.

48 (Schubert: Piano Sonata No. 21 in B-flat Major, D. 960, Kovacevich 2004) Liked this a lot. Wonderful driving music. Music to drive to, I mean — not that the music was propulsive. Listened many times through.

47 (Tchaikovsky: Piano Concerto No. 1 in B-flat Minor, Op. 23) Yes please. Exciting stuff. I’m starting to get the impression that many of Tchaikovsky’s pieces really appeal to me. Full on, but when I’m in that kind of mood…

46 (Tchaikovsky: Swan Lake, Op 20, Jurowski) Ok, so my note above about Tchaikovsky might be half-right. This was another one that really appealed, but was nowhere near as much of a barrage as the others. Loved this. Might be an every-Saturday-morning thang, this one. So good.

[struts001]

@all2ofme

53 (Beethoven: Piano Sonata No. 14 in C-sharp Minor (Moonlight Sonata), Op. 27, Rubinstein) So lovely. (Was some of this used on Succession? Seems so familiar, just not set to footage of people being nasty to each other in humorous fashion.)

Haha, yes, well spotted. Not from the Moonlight sonata which is the subject of the posting (afaik at least, I haven’t seen the whole series) but the theme tune quotes a couple of bars of the Pathétique, which is the first work on the disc.

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

45 (Vivaldi, Four Seasons, Loveday) Yeah yeah yeah…heard it before. Very hard to get past this. I’ve liked the Max Richter versions before, but these more traditional ones are just way too familiar. I’ll have to keep trying.

44 (Dvorak, Cello Concerto in B Minor, 104, B. 191, Rostropovich) Didn’t stop at keyboard layouts, and I’m so glad they didn’t! This was up there for me

43 (Liszt, Sonata in B Minor, S. 178, Pletnev) Great too. Those fingers worked overtime. Lovely stuff.

42 (Puccini, La bohème, Pappano) Pleasant enough in parts, but I’m still not gelling with sitting down to listen to a story. This is all in Italian and I could go and find an English pdf to read, but that’s just not how I listen. I’m reminded of the “The thick of it” fax scene when Jamie complains that the music in the office is “…just bloody vowels!” I think I prefer gargled vowels to storytelling.

41 (Beethoven, Violin Concerto in D Major, Op. 61, Campoli) Great stuff. Not sure why this was ok, but the Mozart clarinet quintet at 36 wasn’t, though.

40 (Stravinsky, Petrushka, Abbado) This didn’t move me first time through, but the second time was much better. Quite a barrage of tunes!

39 (Brahms, Clarinet Quintet in B Minor, Op. 115, Fröst) Liked this much more second time through. Who (narrator: not Ben’s dad) would think that I’d be excited to see how much familiarity would increase how much I’m enjoying myself here?!

38 (Berlioz, Symphonie fantastique, H 48, Beecham) This was fun! First and second run-throughs gave me something different, and I’ll come back to this again

37 (Debussy, Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun), L. 86, Dutoit) Initially thought this was pleasant, but a bit frilly and lightweight. Picked up as it went on, though…and then I realized the Qobuz release was likely another of those coupling examples that throw me as a dyed-in-the-wool album listener. The piece I was supposed to listen to (rather than “La mer”, “Jeux” and “Le martyre”…) was fine, but not much more. These happier-sounding items don’t appeal in the way the minor key ones seem to. Will try again though.

36 (Mozart, Clarinet Quintet in A Major, K. 581, Hacker) This was not my cup of tea at all. Too jolly. The closest to holding me was the Allegretto con Variazioni, but even that got on my nerves. Nice recording though.

35 (Mussorgsky: Pictures at an Exhibition, Pletnev) When this started I had real concerns for the next 35 mins of my life. I’m glad I persevered. Some of this was deliciously delicate and contemplative. Particularly liked Part 4.

34 (Schubert, Symphony No. 9 in C Major (The Great C major), D. 944, Wand) Feels like this might get better and better each time. Already good fun.

33 (Mendelssohn: Violin Concerto in E-minor, Op 64, Chen) Liked the first half of this, but then my mind wandered. Will try again. Time passes…and I return here after the insufferable jollity of the clarinet quintet (36). What a relief! And this time around I enjoyed the lot.

32 (Mendelssohn, A Midsummer Night’s Dream Overture, Op. 21, Previn) Loved this. (What a start!) Particularly liked “What hempen homespuns”…whatever that is when it’s at home. Couldn’t stomach Wedding March, though. Shudder. (Yes, I know — get over yourself, Ben.)

31 (Bach, Goldberg Variations, BWV 988, Gould, 1955) Hmm. Very, very impressive playing, but I’m not sure I’d put this on for fun. Wanted to try the other version…and it wasn’t even close for me. The Dershavina sounded like an altogether different piece. Gorgeous and expressive, and full of feeling. The Gould feels like a robot’s rendition in comparison. (For me.)

[all2ofme (Ben (www.tasmanbayaudio.co.nz))]

Not far off the top ten! Wheeeeeee

30 (Brahms, Symphony No. 4 in E-minor, Kleiber) This was so, so pretty. Wonderful stuff.

29 (Mozart Symphony No. 40 in G-minor, K-550, Mackerras) Well if it isn’t me ol’ mucker the Mackerras again! Just as good this visit as it was for the No. 39.

28 (Bach, Passacaglia and Fugue in C-minor, BVW582, Biggs) I’m very glad I’ve spent the time I did on this room. The bass here is glorious — effortless and even. So easy to visualize the room this was recorded in. Not sure if I’d put this on all that often, but it was impressive.

27 (Beethoven, Pastoral, No. 6, Böhm) Another piece that was just a bit too joyous for me. Call me a grump if you must, but this provoked a similar (though milder) reaction to the Mozart, Clarinet Quintet in A Major at #36. Tried it twice. Nope. Third time would have been an ordeal.

26 (Tchaikovsky, Nutcracker, Op. 71, Rostropovich) Great fun. Just the right degree of familiar. Enjoyed this a lot.

25 (Beethoven, Piano concerto no. 5, E-flat major, Haaser) The Adagio was nice, but the rest wasn’t for me.

24 (Verdi, Aida, Pappano) One of the better operas so far for me. Very pleasant way to endure some recent jet lag.

23 (Schubert: String Quintet, C-major, 956, Haas) Most of this was beautiful. Particularly the first two pieces. The first half of the Scherzo really wasn’t my thang, though.

22 (Schumann Piano Concerto, A-minor, op. 54, Andsnes) This was great. Didn’t think much of the recording, but I liked the music.

21 (Brahms, Piano Concerto No.2, B-flat major, Op.83, Richter) Decent on the first run through. Picked up a whole lot more from the second go through. Probably partly related to volume again — I cranked it. Get the feeling that volume cures many things.

20 (Schubert, Winterreise, D. 911, Kaufmann) Tried this on another long flight, and it was a lot more palatable than a lot of the operas before. Second time through was good too.

19 (Dvorak, Symphony No. 9, Op. 95, B. 178, Kubelik) Despite what @struts001 said, I really didn’t think listening on planes(/transport) was going to be so nice! Particularly enjoyed the Adagio. The only piece I didn’t like was the “Molto vivace”.

18 (Bach, The Well Tempered Clavier Books 1 & 2, Schiff) Gorgeous. Hypnotic. Really, really special. Maybe the biggest hit of the list so far. Over and over again.

17 (Mozart, Piano concerto No. 20 in D Minor K. 466, Perahia) Listened to this on a plane into a rainy Bangkok. Pleasant enough, but a bit trilly and white bread-like on first pass. After the Bach at #18 this feels like a whole lot more effort to much less effect.

16 (Mozart, Symphony No. 41 in C Major (Jupiter Symphony), K. 551, Gardiner) Better than expected given “Mozart” and “Major”, which don’t seem to portend much success for my ears. Perhaps I wouldn’t play this often. But the others I’d play never.

[struts001]

Good stuff @all2ofme! I’m really pleased you liked the WTC. You haven’t listened to the Angela Hewitt yet?

[Omni]

Ben,

Which version of Schiff WTC, the '80’s one or the more recent ECM New Series from 2012?