porcy62 Posted December 13, 2007 Report Share Posted December 13, 2007 (edited) Wow, love these. I was used to more "classic" performances of these. I've got the impression that most performances were looking at classic Beethoven's works. (aka not the latest quartets or sonatas) Gilels/Jochum's gazes were lookin forward to Mahler and Bruckner, maybe Wagner. Is it the correct Brahms's interpretation? I guess so, considering that they followed Brahms's kadenz. Any thoughts? Edited December 13, 2007 by porcy62 Quote Link to comment Share on other sites More sharing options...
tonym Posted December 13, 2007 Report Share Posted December 13, 2007 I've been wanting this for a while. I have the Zimmerman and Pollini recitals of No.1 but I've heard the Gilels is supposed to be the one to get. Quote Link to comment Share on other sites More sharing options...
gnhrtg Posted December 13, 2007 Report Share Posted December 13, 2007 Yes, I also like these performances. Fine coupling as well. Quote Link to comment Share on other sites More sharing options...
porcy62 Posted December 13, 2007 Author Report Share Posted December 13, 2007 To me these performances enlightened Brahms as the first 'modern' opposed to the common 'the latest of 'classic'. Quote Link to comment Share on other sites More sharing options...
ajdstrider Posted December 14, 2007 Report Share Posted December 14, 2007 To me these performances enlightened Brahms as the first 'modern' opposed to the common 'the latest of 'classic'. these peformances are all they are made out to be. However, the recording is resonant and a complementary digital one is nice- I have kovacevich which is excellent and vogt. But my favourite, albeit also an analogue recording, is baremboim /barbirolli. In the slow movement it's as if the chords' descent is hesitating, reluctant, and aspires to climb - a srtruggle between the treble wanting to stay up and the bass chords pulling it down that is very poignant and makes a straight reading very bland.I urge anyone to hear this, it's cheap.Anyone see the film " the l shaped room"?it was the use of the d minor as background that made me love it ever since. Quote Link to comment Share on other sites More sharing options...
porcy62 Posted December 14, 2007 Author Report Share Posted December 14, 2007 To me these performances enlightened Brahms as the first 'modern' opposed to the common 'the latest of 'classic'. these peformances are all they are made out to be. However, the recording is resonant and a complementary digital one is nice- I have kovacevich which is excellent and vogt. But my favourite, albeit also an analogue recording, is baremboim /barbirolli. In the slow movement it's as if the chords' descent is hesitating, reluctant, and aspires to climb - a srtruggle between the treble wanting to stay up and the bass chords pulling it down that is very poignant and makes a straight reading very bland.I urge anyone to hear this, it's cheap.Anyone see the film " the l shaped room"?it was the use of the d minor as background that made me love it ever since. I've got the vinyl box set, and yes, the sound is in the tradition of bad sounding DG (there are some good sounding DG too, like the early pressing with the "tulip" label or Beethoven's symphonies Wiener/Bohm). However I had that Barbirolli / Barenboim on a bestbuy EMI twoofer, I couldn't find it anymore, maybe I lent it to a friend and it never came back and, as far I remember, the sound was excellent, so was the performance, but it's in the Brahms' 'classic' stream. Not that I disliked it, but Gilels/Jochum changed my opinion about Brahms. Quote Link to comment Share on other sites More sharing options...
_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.