HutchFan

I agree with you, Mark. I think it's a very powerful film, one that's fundamentally about the difficulties of relationships -- especially when they're with someone as charismatic, contradictory, and gifted as Leonard Bernstein.

RIP

More from this set: Disc 4: Beethoven: Symphonies Nos. 7 & 8 - with the London SO Happy New Year to everyone.

Eugen Jochum - The Complete EMI Recordings Disc 5: Beethoven: Symphony No. 9 "Choral" - with the London SO & Chorus, Kiri Te Kanawa, Julia Hamari, Stuart Burrows, and Robert Holl

Definitely. They're both wonderful, classic recordings. For grandeur, I'd go with Horenstein. But for surefootedness, I'd go with Kubelik. . . . Of course, we're spoiled to have so many options from which to choose. 😉

Now listening to Kubelik's studio rendition of Mahler's Third Symphony: I've said it before but I'll say it again: IMO, no other conductor divines the inner architecture of this massive, sprawling symphony better than Kubelik. Not even Horenstein. Nice find.

Hey, that's terrific, Gheorghe! So glad you're enjoying those Freddie Hubbard albums!

The Hawks are difficult to watch. They're SO inconsistent -- aside from their defense, which is always poor. Seems like everyone is just waiting for the tear-down to come -- since this team, as it's currently built, isn't going anywhere.

Mahler: Symphony No. 9 / Bruno Walter, Columbia SO This one is special.

First listen to this new-to-me LP: Korngold: Symphony in F sharp, Op. 40 / Kempe, Munich PO (RCA, 1974) Until today, I'd only heard Korngold's film scores.

Years ago, I was an active member of the Mahler Forum. There have always been quite a few Mahler fans who are NOT fans of Lenny's way with Mahler. They felt that his interpretations were exaggerated to the point of excess . . . going far past the what Mahler put down in the scores. These critics also feel like Bernstein focused on moments to the detriment of the longer-line, the architecture. Personally, I can understand these criticisms, and I think they're valid as such. So you're far from alone, @Referentzhunter. All that said, I still enjoy Bernstein's Mahler. Very much. In fact, my gateway into the world of Mahler was Bernstein's recording of Mahler's Ninth with the Concertgebouw Orchestra (DG). This is one of Bernstein's MOST exaggerated Mahler performances. People tend to HATE it or LOVE it. Obviously, I fall into the latter camp. But I have no difficulty understanding why some listeners would find it distorted or distasteful. By way of contrast: Many, many people swear by Otto Klemperer's Mahler recordings. I've never been able to find anything in them. To me, they seem earthbound and cold. But this is one of the most enjoyable aspects of classical music. You've got to discover which conductors/interpreters take YOU on a chariot ride to heaven -- because we all respond differently. I love Swan Lake too. I'm not familiar with the Rozhdestvensky recording. My preferred versions are Stokowski (Decca) or Karajan (DG).

Yep. It's a much nicer version than the U.S. ATCO vinyl I've owned since high school.

Ha, ha, ha! Terrific story! In his book, Geddy talks about how they cringe when they look back on some of their "fashion" choices.

❤️ ❤️ ❤️

Outstanding! That Cannonball LP with Wynton Kelly is one of his very best, imo. Three gems!

I'm on a Rush bender today: Potent and wonderfully strange music -- plus that superb cover image. Along with Hemispheres, this is Rush at their early best. Also: and

I'll be first in line to buy your book, Ken! 👍

Rush - A Show of Hands (Anthem/Mercury, 1989) Live recordings, 1986-88.

Now: Earlier:

Hmm. I need to check that out. I'd definitely rather hear Billy Cox on bass (over Noel Redding) -- but I sometimes go back-and-forth when it comes to Mitch Mitchell or Buddy Miles.

Generally speaking, I think he was an outstanding conductor -- and I love the sound of the Philadelphia Orchestra. It's so plush and velvety, almost voluptuous. I think Ormandy was especially good at Russian repertoire: Tchaikovsky, Rachmaninov, Prokofiev, Shostakovich. His Sibelius is also outstanding. His interpretations are (usually) not the ultimate in terms of architecture or rhythm. Like Stokowski, who preceded him in Philadelphia, Ormandy is much more interested in color and texture. So I guess you could say that Ormandy was very good at some things, and not so good at other things. But the good stuff is so good that I find myself returning to it often. That's my take.

More from this set: Disc 4: - Rachmaninov: Piano Concerto No. 3 - with Vladimir Ashkenazy - Rachmaninov: Rhapsody on a Theme of Paganini - with Van Cliburn - Khachaturian: Dances Rachmaninov and the Philadelphia Orchestra go together like cookies & milk. A perfect pairing.

Eugene Ormandy Conducts 20th Century Classics (Sony) Disc 12: - George Gershwin: Rhapsody in Blue - Aaron Copland: Appalachian Spring - Charles Ives: Orchestral Set No. 1, Three Places in New England - Samuel Barber: Adagio for Strings, Op. 11 Ormandy's recording of Three Places in New England blew my mind when I first heard it. It was my gateway into the musical world of Charles Ives.