Your Favorite Classical Music Recordings (AKA Another Boring Classical Music Thread)

[Jilal 569]

Browsing through Spotify's never-ending catalog of classical recordings the last couple of days, I had a bit of an epiphany:

 

There are a lot of classical recordings that sound like shit. 

 

Either because they were engineered ages ago, with equipment that nowadays resembles archaeological Stone Age finds at best, because they were recorded in a hall that's actually not quite apt for recording or perhaps because they're the poorly engineered live recordings that tend to plague the contemporary market.

 

In order to help some of the more nitpicky, critical and demanding classical music aficionados on board, post some of your favorite classical recordings here. Favorite not in terms of performance or direction, but in terms of recording quality, reverb, miking, et cetera.

 

I'll begin with this one:

 

 

This recording (performed by the LSO, no less) has that rare "hall-ish sound" (excusez les mots) without being ridden with all too much reverb.

[Dixon Hill 4,232]

I'll think of some specific examples as well, but generally labels like Telarc, Chandos, Hyperion, and (more variably) EMI have the most natural and beautiful sound to me.  The bigger ones like Decca, Sony, and DG are too eggheaded in their approach, usually, with far too many mics all over the place, and inconsistent balance of direct sound and room sound.  There are exceptions of course.  There are some old "Stone Age" recordings, say, from RCA Victor, that sound better than some modern ones thanks to some contemporary tendencies towards overengineering.  I have to admit that this is a subject that often kills a portion of my enjoyment of symphonic film scores.  When I put Zimmer on, I expect and want to hear the work of a producer.  When I put Williams or whoever else on, I don't, but I hear it anyway.  Enough with the damn spot mics, enough!

[Jilal 569]

17 minutes ago, TheWhiteRider said:

There are some old "Stone Age" recordings, say, from RCA Victor, that sound better than some modern ones thanks to some contemporary tendencies towards overengineering.

 

Of course. Ultimately it depends on the engineer using the equipment, so there are the usual exceptions.

 

17 minutes ago, TheWhiteRider said:

The bigger ones like Decca, Sony, and DG are too eggheaded in their approach, usually, with far too many mics all over the place, and inconsistent balance of direct sound and room sound.

 

They generally get the best conductors and orchestras, though. 

 

17 minutes ago, TheWhiteRider said:

I have to admit that this is a subject that often kills a portion of my enjoyment of symphonic film scores.  When I put Zimmer on, I expect and want to hear the work of a producer.  When I put Williams or whoever else on, I don't, but I hear it anyway.  Enough with the damn spot mics, enough!

 

I'm quite fond of spot miking when done right. Revenge of the Sith is a fine example, I'd say, but I know you're not really appreciative of Shawn Murphy's efforts. Simon Rhodes is another fine example, e.g. Newman's Skyfall, although that's film music territory. 

[Dixon Hill 4,232]

I like Murphy's overall sound, usually, but not the precision mic stuff he does.  Then you have what Botnick did for Jerry towards the end, and that's the other extreme....You know, Decca/Sony/DG get big names, true.  But don't pass up other labels based on that.  Some of my favorite performances have come from the less expected places like that.  An example of this is Sir Charles Groves and the RPO's recording of The Planets, from the 80s.  It was done by some label I don't think I've ever heard of elsewhere, but it's one of my favorite recordings and familiarity with it while young means it influenced my taste for this stuff.  Done in the wonderful Watford Hall (famous here for being the primary location for Shore's LOTR), totally natural without any artificial boosting, and a dynamic range that's just about unrivaled.

[Dixon Hill 4,232]

Some further recommendations from myself and a few others who are even more particular about this kind of thing than I am:

 

 

 

 

 

 

 

 

 

 

 

(Sony)

 

 

 

 

 

 

(Nonesuch)

 

 

 

 

Obviously you sparked quite a discussion.

 

[Sharkissimo 1,973]

My preference depends entirely on the material. For something like Ligeti's Atmosphères or Xenakis's Terretektorh I'll always go for a wetter recording with a large hall and an ambient bias, as in both cases the composer's intention was to subsume individual voices into greater whole. For Le Sacre, it's different. I'm a sucker for gnarly, earthy, rugged recordings as I think it captures the spirit of the score. The example Jilal posted is nice, but it's too smooth, too "spherical", too lacking in bite. From the recordings available on Spotify I prefer Stravinsky's own from 1960 and Thierry Fischer's 2011 performance with the BBC National Orchestra of Wales.

 

 

 

 

[Jilal 569]

3 minutes ago, Sharkus Malarkus said:

Thierry Fischer's 2011 performance with the BBC National Orchestra of Wales.

 

That's an excellent one as well. Thanks!

[karelm 2,901]

I very much like the Reference Recordings label for their sound and audiophile tendencies.

http://referencerecordings.blogspot.com/

 

But I believe you need HDCD (high definition CD) decoder to hear it in full glory.  I recall the spaciousness was so fantastic and the detail so realistic it felt like being in a concert hall. 

 

I also greatly admire the sound of these:

https://www.amazon.com/Mahler-Symphony-Minor-Christa-Ludwig/dp/B00160X4UG/ref=sr_1_3?ie=UTF8&qid=1469749534&sr=8-3&keywords=deutsche+grammophon+mahler+3

 

But interestingly not this:

I find it curious that I greatly like the Mahler 3 but not Mahler 2 which is with the same orchestral forces, the same conductor, the same venue, and the same engineer but sounds quite inferior to No. 3.  Note: the Mahler 2 performance is great just the recording is not up to the same standards as No. 3.

 

Also examples of sonic excellence:

 

 

 

I tend to prefer modern Chandos sound the 1980's sound but it depends on the repertoire.  For example, opulent Bax sounds better in 1980's sound with the heavy reverb. 

 

 

 

 

 

[Loert 2,509]

Some examples I found in my files. I'll post YT and Spotify links, but neither will show the full quality of the recording obviously:

 

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Berio: Sinfonia [NY Phil recording from 1969(!)]

 

 

 

 

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Scelsi: Œuvres pour chœur et orchestre [2003 · Accord]

 

 

 

 

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Scriabin-Nemtin; Prefatory Action [Ashkenazy recording]

 

 

 

 

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R. Strauss; Elektra [Decca, Solti, 1966]

 

 

 

 

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Tchaikovsky; Symphony No. 6 [Philips, Gergiev, 1995]

 

 

 

 

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Wagner; Der Ring des Nibelungen [Barenboim, 1992 Bayreuth Cycle] - this one is not so much great for its recording quality as it is great for the powerful performance by the singers (Tomlinson, Evans, Jerusalem...) and orchestra. It was recorded in the Bayreuth Festival Hall, so you will hear people running on the stage.

 

 

 

A good demo track:

 

 

 

[Marian Schedenig 8,153]

The Solti Elektra sounds wonderfully intense. Oddly, the booklet (of the "The Originals" release at least) doesn't seem to indicate where it was recorded. Kempe's Lohengrin, also with the Vienna Philharmonic, was recorded the same year, 1964, at the Theater an der Wien:

 

 

I love the energetic, dry sound. It's possibly the closest match I've heard on CD to the live acoustics of the Vienna State Opera.

 

Then there's Wand's 1998 Bruckner 4 with the Berlin Philharmonic. YouTube seems to have only the final movement, although the reason I mention is the opening horn solo of the first movement. Perhaps the most beautifully intoned horn I've heard anywhere, and it carries wonderfully on the recording.

 

 

Also, Jacob's fierce Figaro, where you can practically see the instruments before your eyes:

 

 

[Marian Schedenig 8,153]

Speaking of horns, Carlos Kleiber's recording of Weber's Freischütz:

 

(Seems to be a scratch LP transfer, but it seems to sound closer to the remastered CD release than the other uploads I've found)

 

And I love the balancing of the offstage brass section in Kempe's Alpensinfonie:

 

 

I'll try to think of some non-German/Austrian ones tomorrow..

[Dixon Hill 4,232]

3 hours ago, Jilal said:

 

That's an excellent one as well. Thanks!

 

Check out Boulez's for DG with the Cleveland Orchestra.  It sounds very nice, very punchy as Sharky likes it (though the room is pretty live, and I think the brass are brought up in presence artificially), but his interpretation is nowhere near as savage as I'd like.  DG also has a live one with Mehta and the NYP which is ferocious.  The horns are wild on that one.

 

1 hour ago, Marian Schedenig said:

Also, Jacob's fierce Figaro, where you can practically see the instruments before your eyes:

 

 

 

Yeah, this rocks!  That's what I'm talking about with the non-"name brand" labels, Harmonia Mundi in this case.  Not only do they seem to consistently have purer recording methods, the performances are far from second-tier.

[Sharkissimo 1,973]

Would you say this is heavily spot-miked?

 

 

[Dixon Hill 4,232]

It takes a while to become obvious since you've got the winds playing alone for so long.  But the balance at 1:50 between the winds and tremolo violins sounds really false to me, for starters.

[karelm 2,901]

11 hours ago, Sharkus Malarkus said:

Would you say this is heavily spot-miked?

 

 

No.  It sounds like it's using a Decca tree mic.  The winds are quite close sounding like mica above conductor. The brass sound appropriately further out and percussion further than that.   I think an example of a recording that is too heavily spot mic'ed is essa pekka salonen planets with the Philharmonia.  I'll look to see if I can find reference recordings to post.

[Dixon Hill 4,232]

I don't know, it sounds like it could have more amplification than just the tree.  I feel like I can hear that screwy perspective that you get from having mics between sections.  There's a bit of bleed that makes the strings sound simultaneously where they actually are and also "behind" you.  They also seem to back off a bit after the introduction.  The rest all does sound natural though, you're right. 

[karelm 2,901]

By saying "Decca tree mic", yes it could still have far mics but the bulk is handled by the tree. It's sort of a decca sound.  I agree that this particular recording is more than three mics but I would generically classify it as a Decca tree setup.  Sort of like how most Decca recordings include far left and far right to give a broad sound but the predominant style is still Decca...albeit a wide sound with those far mics.

[Bespin 8,472]

Never enough of Bach!

 

- Double concertos (Andràs Schiff)

- Cantatas for Feast of the Purifaction of Mary (Gardiner)

 

 

 

[Naïve Old Fart 9,489]

Did you know that Arnold Schwarzenegger is due to play a classical composer? 

Asked "which one", he replied "I'll be Bach" 

[Bespin 8,472]

8 minutes ago, Richard said:

Did you know that Arnold Schwarzenegger is due to play a classical composer? 

Asked "which one", he replied "I'll be Bach" 

 

[Naïve Old Fart 9,489]

I don't like you, anymore 

[Bespin 8,472]

 

[Naïve Old Fart 9,489]

I like the colour-scheme.

It's very PSB/BILINGUAL.

[Bespin 8,472]

Speaking about the beautiful and stately BWV 82 (wrote the the Feast of the Purifaction of Mary), here are two other recommended recordings.

 

 

 

[Bespin 8,472]

From time to time, you need String Quartet music.

 

I've chose the Talich Quartet both for Mozart and Beethoven.

 

 

[SteveMc 2,674]

To my ears, the quality of this recording is the very peak of musical perfection.

 

[The Illustrious Jerry 3,356]

Edit

[Loert 2,509]

 

Best recorded triangle ever! But seriously, all the instruments have such brilliant presence in this recording.

[Glóin the Dark 1,218]

On 7/29/2016 at 1:19 AM, Loert said:

Berio: Sinfonia [NY Phil recording from 1969(!)]

 

 

 

 

 

 

But why doesn't he say "Thank you Mr. Berio" at the end?!

[Bespin 8,472]

19 hours ago, Steve McQueen said:

To my ears, the quality of this recording is the very peak of musical perfection.

 

 

You have th hear the wonderful playing of this canadian guy.

 

 

[SteveMc 2,674]

2 hours ago, Bespin said:

 

You have th hear the wonderful playing of this canadian guy.

 

 

 

Crystalline.  He really breaks it down to its pure essence.

[The Illustrious Jerry 3,356]

Anyone have a favourite recording of Holst's The Planets?

[Marian Schedenig 8,153]

Complete as opposed to what?

[Bespin 8,472]

They added Planets without telling me? GEEZ!

[Naïve Old Fart 9,489]

3 hours ago, Jerry said:

Anyone have Holst's The Planets. Complete.

 

2 hours ago, Marian Schedenig said:

Complete as opposed to what?

 

Exactly.

There's a movement called PLUTO, but that wasn't written by Holst, and since Pluto's been downgraded...

 

[Marian Schedenig 8,153]

It's also not the only "completion" that's been done. But if we're talking about complete recordings of Holst's original orchestral suite, I have 9 (one of them taped from a radio broadcast of a concert I've attended in 2001).

[The Illustrious Jerry 3,356]

They did not add planets, Bespin. Settle down!

[Marian Schedenig 8,153]

18 hours ago, Jerry said:

They did not add planets @Bespin. Settle down. 

 

They did. There's a Pluto movement by Colin Matthews and a 4-movement asteroids suite by four different composers. (I haven't heard either)

 

If you don't have a complete recording of the Holst suite, get one NOW.

[The Illustrious Jerry 3,356]

Edit

[Bespin 8,472]

@Steve McQueen talked about the great Itzhak Perlman earlier.

 

Here's some of my favourite recordings of him.

 

 

 

 

[Jurassic Shark 12,008]

3 hours ago, Bespin said:

 

Child labor!

[Bespin 8,472]

Easter music by excellence!

(Should have listened to one of the passion yesterday, wooops!)

La Passion Selon Saint Matthieu, BWV 244

La Passion Selon Saint Jean, BWV 245 (Mu choice this year)

[Bespin 8,472]

Easter - The Sequel!

 

 

 

- Christ Lag In Todesbanden,  BWV 4

- Cantatas BWV 6 & 66 (Easter Cantatas)

[Naïve Old Fart 9,489]

Ooh! John Eliot Gardiner. Nice. He does great Mozart operas, for DG Archiv.

 

I'm not sure if it's Easter music, but I like something by Messiaen, called LA TRANSFIGURATION DE NOTRE SEIGNEUR JÉSUS-CHRIST.

I find it almost unbearably moving.