Hello Dave! Just wanted to say hello and tell you that your channel is one of the greatest discoveries I've made on TH-cam since the very beginning. Thank you so very much for sharing all your unfiltered thoughts and amazing amount of knowledge on classical music! You have enriched my life and cost me a lot of money :)
I love the Giardino Armonico recording for their hard-hitting approach. If I remember correctly, Mr. Hurwitz once characterized the Giardino's style as the "Hannibal Lecter school" of Baroque musicianship 😂
I Musici recorded the Brandenburgs twice, first in 1965 and once again in 1984. They both feature a star studded cast of soloists. The earlier performances have a somewhat chunkier string sound than the digital re-recordings. Can't go wrong with either of these. My favorite performances of the Brandenburgs are by the Wurttemberg Chamber Orchestra directed by Jorg Faerber and featuring Susanne Lautenbacher and Martin Galling as soloists. IMO, their performance of the 5th, featuring Martin Galling on harpsichord, has never been equaled. Released in 1966 on Vox Turnabout these performances are, of course, way too obscure to be considered references.
Thank you, I wondered about the two recordings! It was one of the first cds I bought with my allowance, and I remember it was the Maurice Andre one. Probably it was the budget offering at the time. I don't think I've ever heard this one!
Well... I was not even aware of the existence of this recording, thanks! I'll try and give it a listen. I would assume that in those days in France the non period instrument refernce was Richter, and, for me, Münchinger. Nowadays probably Pinnock, Savall or Alessandrini. I agree that Leonhardt in the cadenza is amazing! There is a costume film where you can see him ("chronique d'Anna Magdalena Bach" by Straub and Huillet. Most austere musical film ever after their own "Moses und Aron") (sorry for the digression)
@@JamesDavidWalley The new one, with the European Brandenburg Ensemble. I do not have the Archiv version. The versions I have: Alessandrini (more balanced than Egarr), Egarr (just for fun - do not recommend as a standard version), I Musici (top), Leonhardt, Pinnock and Savall (this one I have not listen with attention yet). These ones I listen with attention online and discarded: Busch (heavy and bad sound), Goebel (too fast), Harnoncourt and Tafelmusik (just regular)
Just like you Dave, I grew up on the Collegium Aureum set led by Franzjosef Maier with Gustav Leonhardt on the harpsichord. Those recordings were my introduction to period instrument ensemble playing and became my personal reference recording to which I compared all other performances. I continue to listen to them today. Looking forward to hearing the I Musici rendition now. HOWEVER, for Brandenburg Number 5, my secret listening joy is Edwin Fischer on the piano leading his own ensemble. I have it on an old EMI CD of Bach keyboard concertos. He truly makes the piano work as good a harpsichord and the overall contributions from the ensemble is stunning. It is a lesson that Bach's music is equally enjoyable on modern instruments.
Thank you, Dave, for your insights! My favorite of the Brandenburgs is a recommendation from you … Charles Munch and the Boston Symphony. I was not familiar with it until I heard you mention it. Thanks for being you! 😊
I’m not sure this is the reference recording, but well, it’s my favorite version in modern instruments, so I won’t complain (I like Leppard, too). I think I Musici is also the winner in the Four Seasons, with Félix Ayo.
I've heard so many different Brandenburgs, they run together! My first one (high school years) was Milan Munclinger leading the Ars Rediviva Ensemble on Crossroads Records. I still have it. I think I've heard the I Musici, but I'll recheck it. Thank you.
Holliger and Thunemann are so wonderful. Not only in this but in all the baroque'n'roll music they did. How about the newer Pinnock on Avie for a modern version of the reference?
I am enjoying the series, and especially like to hear what the reference recording is for my favorite works. I'm going to listen to I Musici tomorrow... my foundational listening for these was the Sir Neville Marriner/ASMF recordings (1971/2) that I first heard on the outstanding Classical music station we had in Washington DC when I was growing up in the late 80's/early 90's. Bonus points (in my opinion) that the 2nd concerto is played by horn (Barry Tuckwell) and not trumpet.
Mr. Hurwitz, efectivamente, I Musici representa el equilibrio interpretativo. Ellos fueron los descubridores oficiales del genio veneciano. Magníficas interpretaciones son también las de Munch, Klemprerer, Marriner... y las historicistas de Antonini. Goebel o Harnoncourt. En fin, hay gustos como colores. Pero su elección es magnífica, David. Gracias por sus videos y recomendaciones!!!!
I seem to remember that in the UK the Britten / ECO recording on Decca was always flagged up as a reference comparison before the HIP days. I'm thinking of 'Gramaphone' reviews. I never liked Britten's version particularly. Slow and beefy.
I agree. Could never understand the acclaim given to the Britten recording. Slow Tempi that never get off the ground. believe it or not, even Karajan is faster and lighter than Britten except in the last movement of No.1 which is laboriously slow.
I have the big I Musici (analogue) box. The Brandenburg concerti there were recorded in 1965. I love them! How do these compare with the 1984 recordings which I haven't heard? Were they reference recordings in those days?
I'm buying it... I remember back then hearing nothing but I Musici -- you HAD to own that one. Myself, I already had the Pablo Casals/Columbia box set, but eventually gave in to all the pressure.
I love the Casals set. Bracing, exciting music-making, and no HIP version that I've heard matches the excitement of his No.6. Maybe I haven't heard the right ones. My first recording was Britten and the ECO. I still listen to parts of it from time to time but its lost much of the lustre it once had. Pinnock is my period choice.
In my youth I distinctly remember the critical consensus was for Ristenpart and the Chamber Orchestra of the Saar, available here on Nonesuch. Everyone was praising it for superb and stylish musicianship. That wonderful set has been out of the catalog for eons, and, truth to tell, in terms of performance values it was surpassed by Marriner's second recording for Phillips as well as I Musici. As for the latter, it makes sense that it was being recommended not only by critics but also by salespeople in record stores. It's lovely; one of the best ever. As for HIP versions, at least the critical consensus in the UK has been to treat Pinnock's Archiv recording as a quasi-reference recording. At least, these are my recollections.
I imprinted on the Ristenpart recording. It was the first set of Brandenburgs I purchased, largely on the basis of the cover (Nonesuch had great album art), but also on the reputation of the soloists. It was an eye opener for me, especially in the slow movements, where I first learned how “romantic” Baroque music actually was. It was the first of many budget classical purchases I made at the Record Bar in the mall where I worked in college. Those were the days…
@@jaykauffman4775 Thanks for the tip. I had that set on LP--my first recording of the Brandenburgs--bought in a record sale at my college bookstore. Ah, those were the days.
@@PolymathCrowsbane Thanks for the reminiscences. "Ditto" is my response. This was my first recording of the Brandenburgs, purchased at a record sale in my college bookstore. I haven't heard those recordings in many years. After hearing so many on period instruments, and others such as I Musici on modern, would I still think so highly of them?
@@jaykauffman4775 Right. There is (was?) a 6-CD Ristenpart set of Bach works on the French Accord label. It included the Brandenburgs, Art of Fugue (in an orchestrated version), some of the multiple harpsichord concerti, and the Orchestral Suites. The Ristenpart Brandenburgs on Nonesuch would surely have been the reference among those on a student budget back in late '60s USA, but perhaps not in the wider world. And certainly not now.
My own first love was the early Marriner recording with the Academy of St. Martin in the Fields, but those were days that I was young. I'm not going to betray that now. Plenty of hours studying dumb things whilst listening to lovely chamber music
@@user-bk7ev6vr7y Oh yes, that blond with the recorder. Sorry, couldn't resist that. I do think Maurice André was the best then though. With Karajan and the Berliner he was devine
As a recorder player, I always like to see recorder being used on 2 and 4. So, yay for Frans Bruggen and Jeanette Van Wingerden on 4, not so much for the use of flute on 2. 😄 My favorite recording (and I have at least four) is the Sir Neville Marriner 1980(?) version with Michala Petri and Elisabeth Selin on recorders. (Jean-Pierre Rampal is on flute on 5, so also yay!) Yes, I Musici is a class act. Growing up, our local classical station (KDFC) used to play both them and the Academy of St. Martin-in-the-Fields a ton. Cheers!
My go to as of late is the Concerto Italiano - the one with the deer on the parking ramp on the cover. It hits me the right way. I must give I Musici a listen. Thanks, Dave!
I don't see this as controversial at all!! In fact, it's totally understandable, based on your criteria. Yes, I always turn to Pinnock or Leonhardt (I always loved the cool facsimile of the original score), and of course Collegium Aureum (the truly great Edward Tarr on trumpet), but still....this I Musici set boasts an all star cast of soloists that just can't be beat. So yes.....this is the reference. P.S. I've had this set on LP since my college days, and have returned to it often.
I own this wonderful recording. Dave, I imprinted on the Karl Ristenpart/Saar Chamber Orchestra LP. It is IMPOSSIBLE to find. Do you know if it is available and how one might obtain it? Disgrace that it can't be found. Thanks for any advice.
Yes I like both of I Musici's recordings but my favorite on modern instruments for both musical and sentimental reasons is Karl Richter's Archiv account from the early 60's. The fast movements are quick and light without being breakneck (though compared to other accounts of that time that may have been the opinion of many). The slow movements are not dragged but move along at a reasonable tempo while letting the music breathe. I also like Marriner's second account on Philips (not the first recording edited by Thurston Dart which has somewhat different performing versions than what we are familiar with). Among period accounts I enjoy Pinnock/English Concert and Pearlman/Boston Baroque both excellent with Pearlman's accounts a bit more extrovert than Pinnock.
I am a little confused as to why a "reference " recording should be controversial. As you argue it is not what you like or I like but based on consensus.
Dave’s reference recordings purport to present a fact about the history of recordings. Controversy can arise if another scholar of the history of classical recordings can present a good argument against what Dave says.
This is an excellent choice, the musical results speak for themselves here. I have both the original analogue I Musici one as well as this digital, and the digital is better. Tempi and string sonority are leaner. It’s really first rate.
FWIW, the Harnoncourt was MUCH earlier than this - two decades earlier, in fact! It came out in 1964, and, while it wasn’t the first HIP recording released (Harnoncourt and his group had done an earlier album of some more-obscure baroque chamber works), it was the first time a work in the "basic repertoire" had received the original instrument treatment on records.
Yes, that's corrent, but it was never a reference recording and period instruments were still mostly a curiosity (and given the quality of the playing, rightly so).
Just to make sure, I did the same search on Apple Music by popularity, the most listened to is Marriner, followed by Karajan and other HIP recordings, together with Britten, Abbado and even Chailly. Look my friend, I enjoy your channel and your talks, I really respect your courage to really give criticism when nowadays people tend to only be yes-men, I agree with your roasting ancient recording cults and Celi cults et cetera, I also started to pay more attention to different versions rather than focusing only on the score. I appreciate your contents , I even purchased your Shostakovich book to refamiliarize myself with works like 12th symphonies and found it helpful. I will not unsubscribe from your channel, but it was a real letdown seeing you just delete my comment without any reply, which was a legit question: if you talk about sales and the rise of HIP, Pinnock, Hogwood and even Marriner are still on todays lists, not I Musici, which I'm sure was indeed the best seller mid-80s, but it seems that nobody listens to it now, how can it still be the reference recording?
I am talking about in the mid-80s, not now. There is no reference recording now. That is the point of this series--to discuss what they were when they were, as I've explained many times. If no one listens to it now, well and good. They should listen to it. That's an excellent reason to remind people of its existence. Anyway, Apple music is not the standard--not at all. As to your previous comment, I did not delete it. In fact, I never saw it.
@@DavesClassicalGuide Thank you for your clarification, both about the comment or your definition of 'reference'. In the mid-80s I believe it had to be this one. So may I ask that, is it possible to trace a series of reference recordings for iconic works like this? Like in the 50s it was Busch, and then it was Karl Richter (in Europe) and Britten (in Brittain), then it was Karajan (sales figures), then it was I Musici, then Pinnock, then (God forbid I say this to you but it was a big hit) Abbado?
@@LuoTheMusicologist "then it was Karajan (sales figures)" i can believe it. Nonetheless, his tempo for the menuet from Brandenburg 1 (esp. his earlier recording) is nothing short of ludicrous. One of the comments on this channel alerted me to it.
Very controversial and somewhat dated by todays standards. Less so if this were qualified to a modern instrument version but even there the ASMF and ECO were strong contenders.
Today's standards of what? Sales figures don't date, and the set's popularity was what it was. I also dispute the idea that the performances themselves are somehow "dated." Superior musicianship does not date.
Hello Dave! Just wanted to say hello and tell you that your channel is one of the greatest discoveries I've made on TH-cam since the very beginning. Thank you so very much for sharing all your unfiltered thoughts and amazing amount of knowledge on classical music! You have enriched my life and cost me a lot of money :)
Thanks very much!
Ditto . I have the I Musici box - when I will be able to get to it I don’t now - David is so enrolling:)
Hear, hear! I'm going broke here too
I love the Giardino Armonico recording for their hard-hitting approach. If I remember correctly, Mr. Hurwitz once characterized the Giardino's style as the "Hannibal Lecter school" of Baroque musicianship 😂
I Musici recorded the Brandenburgs twice, first in 1965 and once again in 1984. They both feature a star studded cast of soloists. The earlier performances have a somewhat chunkier string sound than the digital re-recordings. Can't go wrong with either of these.
My favorite performances of the Brandenburgs are by the Wurttemberg Chamber Orchestra directed by Jorg Faerber and featuring Susanne Lautenbacher and Martin Galling as soloists. IMO, their performance of the 5th, featuring Martin Galling on harpsichord, has never been equaled. Released in 1966 on Vox Turnabout these performances are, of course, way too obscure to be considered references.
Thank you, I wondered about the two recordings! It was one of the first cds I bought with my allowance, and I remember it was the Maurice Andre one. Probably it was the budget offering at the time. I don't think I've ever heard this one!
I have the earlier one on Philips duo. I'll have to check out the digital recorded version
Well... I was not even aware of the existence of this recording, thanks! I'll try and give it a listen. I would assume that in those days in France the non period instrument refernce was Richter, and, for me, Münchinger. Nowadays probably Pinnock, Savall or Alessandrini. I agree that Leonhardt in the cadenza is amazing! There is a costume film where you can see him ("chronique d'Anna Magdalena Bach" by Straub and Huillet. Most austere musical film ever after their own "Moses und Aron") (sorry for the digression)
the greatest music channel on youtube 👍
Yep, I learn something new most days
The album I first bought of the concerti - and my reference since then. But Pinnock is perhaps my first choice today.
Which Pinnock? The old one on Archiv, or the recent one on Avie?
@@JamesDavidWalley The new one, with the European Brandenburg Ensemble. I do not have the Archiv version. The versions I have: Alessandrini (more balanced than Egarr), Egarr (just for fun - do not recommend as a standard version), I Musici (top), Leonhardt, Pinnock and Savall (this one I have not listen with attention yet). These ones I listen with attention online and discarded: Busch (heavy and bad sound), Goebel (too fast), Harnoncourt and Tafelmusik (just regular)
Just like you Dave, I grew up on the Collegium Aureum set led by Franzjosef Maier with Gustav Leonhardt on the harpsichord. Those recordings were my introduction to period instrument ensemble playing and became my personal reference recording to which I compared all other performances. I continue to listen to them today. Looking forward to hearing the I Musici rendition now. HOWEVER, for Brandenburg Number 5, my secret listening joy is Edwin Fischer on the piano leading his own ensemble. I have it on an old EMI CD of Bach keyboard concertos. He truly makes the piano work as good a harpsichord and the overall contributions from the ensemble is stunning. It is a lesson that Bach's music is equally enjoyable on modern instruments.
Thank you, Dave, for your insights! My favorite of the Brandenburgs is a recommendation from you … Charles Munch and the Boston Symphony. I was not familiar with it until I heard you mention it. Thanks for being you! 😊
I’m not sure this is the reference recording, but well, it’s my favorite version in modern instruments, so I won’t complain (I like Leppard, too). I think I Musici is also the winner in the Four Seasons, with Félix Ayo.
I've heard so many different Brandenburgs, they run together! My first one (high school years) was Milan Munclinger leading the Ars Rediviva Ensemble on Crossroads Records. I still have it. I think I've heard the I Musici, but I'll recheck it. Thank you.
It was also my first recording of the Brandenburgs (junior high school years).
Eager to listen to this rendering, being my favourite (until now) Reinhard Goebel's with musica antiqua Köln
I don't think any version will be able to match Goebel's "anything you can play, I can play faster" finale of the 3rd.
This has been my exclusive choice for years. Listening to I Musici now for the first time. Feels so slow!
Holliger and Thunemann are so wonderful. Not only in this but in all the baroque'n'roll music they did. How about the newer Pinnock on Avie for a modern version of the reference?
I am enjoying the series, and especially like to hear what the reference recording is for my favorite works. I'm going to listen to I Musici tomorrow... my foundational listening for these was the Sir Neville Marriner/ASMF recordings (1971/2) that I first heard on the outstanding Classical music station we had in Washington DC when I was growing up in the late 80's/early 90's. Bonus points (in my opinion) that the 2nd concerto is played by horn (Barry Tuckwell) and not trumpet.
I grew up with the I Musici recordings. Never had any idea I was "supposed" to be embarrassed by them!
Mr. Hurwitz, efectivamente, I Musici representa el equilibrio interpretativo. Ellos fueron los descubridores oficiales del genio veneciano. Magníficas interpretaciones son también las de Munch, Klemprerer, Marriner... y las historicistas de Antonini. Goebel o Harnoncourt. En fin, hay gustos como colores. Pero su elección es magnífica, David. Gracias por sus videos y recomendaciones!!!!
Welkom tot de wonderlijke wereld van de heer Hurwitz 🙂
I seem to remember that in the UK the Britten / ECO recording on Decca was always flagged up as a reference comparison before the HIP days. I'm thinking of 'Gramaphone' reviews. I never liked Britten's version particularly. Slow and beefy.
I agree. Could never understand the acclaim given to the Britten recording. Slow Tempi that never get off the ground. believe it or not, even Karajan is faster and lighter than Britten except in the last movement of No.1 which is laboriously slow.
The first one I heard was Rinaldo Alessandrini and I like it, now I listen to this disc, thanks.
My preferred recordings; Orchestra of the Antipodes/Anthony Walker ABC Classics, or, The English Concert/Trevor Pinnock Archiv
I have the big I Musici (analogue) box. The Brandenburg concerti there were recorded in 1965. I love them! How do these compare with the 1984 recordings which I haven't heard? Were they reference recordings in those days?
They were not, largely because Philips was still a local label in those days.
I'm buying it... I remember back then hearing nothing but I Musici -- you HAD to own that one. Myself, I already had the Pablo Casals/Columbia box set, but eventually gave in to all the pressure.
I love the Casals set. Bracing, exciting music-making, and no HIP version that I've heard matches the excitement of his No.6. Maybe I haven't heard the right ones.
My first recording was Britten and the ECO. I still listen to parts of it from time to time but its lost much of the lustre it once had. Pinnock is my period choice.
In my youth I distinctly remember the critical consensus was for Ristenpart and the Chamber Orchestra of the Saar, available here on Nonesuch. Everyone was praising it for superb and stylish musicianship. That wonderful set has been out of the catalog for eons, and, truth to tell, in terms of performance values it was surpassed by Marriner's second recording for Phillips as well as I Musici. As for the latter, it makes sense that it was being recommended not only by critics but also by salespeople in record stores. It's lovely; one of the best ever. As for HIP versions, at least the critical consensus in the UK has been to treat Pinnock's Archiv recording as a quasi-reference recording. At least, these are my recollections.
I imprinted on the Ristenpart recording. It was the first set of Brandenburgs I purchased, largely on the basis of the cover (Nonesuch had great album art), but also on the reputation of the soloists. It was an eye opener for me, especially in the slow movements, where I first learned how “romantic” Baroque music actually was. It was the first of many budget classical purchases I made at the Record Bar in the mall where I worked in college. Those were the days…
The Ristenpart which I had on Nonesuch was reissued I believe on French CDs with other Ristenpart material
@@jaykauffman4775 Thanks for the tip. I had that set on LP--my first recording of the Brandenburgs--bought in a record sale at my college bookstore. Ah, those were the days.
@@PolymathCrowsbane Thanks for the reminiscences. "Ditto" is my response. This was my first recording of the Brandenburgs, purchased at a record sale in my college bookstore. I haven't heard those recordings in many years. After hearing so many on period instruments, and others such as I Musici on modern, would I still think so highly of them?
@@jaykauffman4775 Right. There is (was?) a 6-CD Ristenpart set of Bach works on the French Accord label. It included the Brandenburgs, Art of Fugue (in an orchestrated version), some of the multiple harpsichord concerti, and the Orchestral Suites.
The Ristenpart Brandenburgs on Nonesuch would surely have been the reference among those on a student budget back in late '60s USA, but perhaps not in the wider world. And certainly not now.
I MUSICI rules! YES! Still my favorite Vivaldi Four Seasons, too!
Still an elegant performance.
My own first love was the early Marriner recording with the Academy of St. Martin in the Fields, but those were days that I was young. I'm not going to betray that now. Plenty of hours studying dumb things whilst listening to lovely chamber music
that's my 1st love too. And I still love that recording. Michala Petri is still my Goddess of recorder and Andre still God of trumphet.
@@user-bk7ev6vr7y Oh yes, that blond with the recorder. Sorry, couldn't resist that. I do think Maurice André was the best then though. With Karajan and the Berliner he was devine
As a recorder player, I always like to see recorder being used on 2 and 4. So, yay for Frans Bruggen and Jeanette Van Wingerden on 4, not so much for the use of flute on 2. 😄 My favorite recording (and I have at least four) is the Sir Neville Marriner 1980(?) version with Michala Petri and Elisabeth Selin on recorders. (Jean-Pierre Rampal is on flute on 5, so also yay!)
Yes, I Musici is a class act. Growing up, our local classical station (KDFC) used to play both them and the Academy of St. Martin-in-the-Fields a ton. Cheers!
My go to as of late is the Concerto Italiano - the one with the deer on the parking ramp on the cover. It hits me the right way. I must give I Musici a listen. Thanks, Dave!
I don't see this as controversial at all!! In fact, it's totally understandable, based on your criteria. Yes, I always turn to Pinnock or Leonhardt (I always loved the cool facsimile of the original score), and of course Collegium Aureum (the truly great Edward Tarr on trumpet), but still....this I Musici set boasts an all star cast of soloists that just can't be beat. So yes.....this is the reference.
P.S. I've had this set on LP since my college days, and have returned to it often.
I own this wonderful recording. Dave, I imprinted on the Karl Ristenpart/Saar Chamber Orchestra LP. It is IMPOSSIBLE to find. Do you know if it is available and how one might obtain it? Disgrace that it can't be found. Thanks for any advice.
I have no idea. Sorry!
Yes I like both of I Musici's recordings but my favorite on modern instruments for both musical and sentimental reasons is Karl Richter's Archiv account from the early 60's. The fast movements are quick and light without being breakneck (though compared to other accounts of that time that may have been the opinion of many). The slow movements are not dragged but move along at a reasonable tempo while letting the music breathe. I also like Marriner's second account on Philips (not the first recording edited by Thurston Dart which has somewhat different performing versions than what we are familiar with). Among period accounts I enjoy Pinnock/English Concert and Pearlman/Boston Baroque both excellent with Pearlman's accounts a bit more extrovert than Pinnock.
This recording are not in the big
I Musici box because it includes only the analogue recordings. 1955 to 1979.
That's right! Only the earlier one is in the box.
@@DavesClassicalGuide So, I one performance the "Reference Recording" over the other? Thanks.
Grrr!!!😡
I am a little confused as to why a "reference " recording should be controversial. As you argue it is not what you like or I like but based on consensus.
Well, yes, but most people seem not to get that part.
Dave’s reference recordings purport to present a fact about the history of recordings. Controversy can arise if another scholar of the history of classical recordings can present a good argument against what Dave says.
Lots of competition - and it’s an Italian band! Didn’t see that coming. I didn’t even know they did them…😢
This is an excellent choice, the musical results speak for themselves here. I have both the original analogue I Musici one as well as this digital, and the digital is better. Tempi and string sonority are leaner. It’s really first rate.
FWIW, the Harnoncourt was MUCH earlier than this - two decades earlier, in fact! It came out in 1964, and, while it wasn’t the first HIP recording released (Harnoncourt and his group had done an earlier album of some more-obscure baroque chamber works), it was the first time a work in the "basic repertoire" had received the original instrument treatment on records.
Yes, that's corrent, but it was never a reference recording and period instruments were still mostly a curiosity (and given the quality of the playing, rightly so).
Just to make sure, I did the same search on Apple Music by popularity, the most listened to is Marriner, followed by Karajan and other HIP recordings, together with Britten, Abbado and even Chailly. Look my friend, I enjoy your channel and your talks, I really respect your courage to really give criticism when nowadays people tend to only be yes-men, I agree with your roasting ancient recording cults and Celi cults et cetera, I also started to pay more attention to different versions rather than focusing only on the score. I appreciate your contents , I even purchased your Shostakovich book to refamiliarize myself with works like 12th symphonies and found it helpful. I will not unsubscribe from your channel, but it was a real letdown seeing you just delete my comment without any reply, which was a legit question: if you talk about sales and the rise of HIP, Pinnock, Hogwood and even Marriner are still on todays lists, not I Musici, which I'm sure was indeed the best seller mid-80s, but it seems that nobody listens to it now, how can it still be the reference recording?
I will for sure listen to this I Musici version, which I never even heard of before, so thank your for this recommendation.
I am talking about in the mid-80s, not now. There is no reference recording now. That is the point of this series--to discuss what they were when they were, as I've explained many times. If no one listens to it now, well and good. They should listen to it. That's an excellent reason to remind people of its existence. Anyway, Apple music is not the standard--not at all. As to your previous comment, I did not delete it. In fact, I never saw it.
@@DavesClassicalGuide Thank you for your clarification, both about the comment or your definition of 'reference'. In the mid-80s I believe it had to be this one. So may I ask that, is it possible to trace a series of reference recordings for iconic works like this? Like in the 50s it was Busch, and then it was Karl Richter (in Europe) and Britten (in Brittain), then it was Karajan (sales figures), then it was I Musici, then Pinnock, then (God forbid I say this to you but it was a big hit) Abbado?
No, it's not possible to do that, certainly not by decade, and it's also not practical.
@@LuoTheMusicologist "then it was Karajan (sales figures)" i can believe it. Nonetheless, his tempo for the menuet from Brandenburg 1 (esp. his earlier recording) is nothing short of ludicrous. One of the comments on this channel alerted me to it.
So. It's not Wendy Carlos.
Oh! My misspent youth!
That’s the first one I hesrd!
Very controversial and somewhat dated by todays standards. Less so if this were qualified to a modern instrument version but even there the ASMF and ECO were strong contenders.
Today's standards of what? Sales figures don't date, and the set's popularity was what it was. I also dispute the idea that the performances themselves are somehow "dated." Superior musicianship does not date.