When I was 16, I decided to listen to the first Mov of Beethoven’s Fifth, just for fun. I then heard the 2nd Mov, kinda by accident. When I heard the melody, it touched my heart, it literally struck me inside and I couldn’t understand how I had never been exposed to this music earlier in my life. I couldn’t stop listening to it. I then went into a music store, I was looking through some CD boxes, now interested to hear more from “this beethoven guy”. I then found this Zinman box. I was like “well, there’s a lot in there, sounds like a good deal”. My oh my, was it one of the best decision in my life. This box literally changed my life, as after hearing all the wonderful music in that box, I was fully converted; from a hard EDM and Trance addict to a total classical nerd. Here I am today, 9 years later, listening to Schumann in the morning and to Bruckner in the evening. I’m sure we all have our stories, but this box sparks so much nostalgia and so much emotions for me!

I just picked up the Fleisher/Szell cycle last week and it's fantastic. Thanks for the great content.

I so do agree with you on the Arrau 4 & 5. The 5th was the first Beethoven piano concerto recording I got when I was 17. I listened to it 4 times in a row. My reference version of the work.

Speaking of consistency I definitely miss the Kovacevich/LSO/Davis cycle!!! For me Kovacevich is one of the artists who is consistently true to the Beethovenian spirit and idiom, helped here by one of the greatest accompanist ever lived IMO. And oh guys that Adagio of "Emperor" is simply cosmic beauty if there was ever.

I own and greatly enjoy David Zinman's Beethoven set of Symphonies, Concertos, Overtures etc. His Eroica is scorching and the piano concertos are full of raw energy. I'm sure he sees Beethoven as the iconoclast forging a new path for music in the 19th century. The other cycle that thrills me is Sudbin / Vanska. This is Beethoven the profound, sublime towering genius. Sudbin is an incredible pianist. His control of dynamics and tempo is exceptional and the music is chrystal clear. You hear every note. I could not believe my ears the day I first heard them play the Emperor. Completely spine tingling. Thank you David for continuing to educate, inform and entertain us.

great review @DavidHurwitz and i especially treasure the fleisher szell for the spontaneous dramatics and searching slow movements but i must point out my other favorite cycle of perahia and haitink with its superb combination of eloquent poetry, power, and superb Concertgebouw playing.

Many thanks for introducing the Uchida/Sanderling cycle! I love the contrast between the incisive, rhythmically precise orchestra against the sweet touch by Uchida. In the Emperor Concerto for example, I love how the orchestra accommodates Uchida's delicate touch while managing to maintain a certain grandeur throughout.

When I heard you mention on your romantic piano concertos repertoire video that you had separate Beethoven repertoire entries, I went and found them immediately. I absolutely love the Ashkenazy cycle that you referenced here - mainly because I agree with you that he's an underrated Beethoven player, but also because he's been able to consistently make me feel something almost every time I've listened to him play darn near anything! I am definitely picking up the Bronfman cycle and listening to it after hearing you talk about it - I think he's a magnificent player in general - and he may have done my favorite Ossia Cadenza version of the Rach 3 that I've ever heard, period (though I am still digest and have some notable ones to go, among them Van Cliburn's) - so many thanks for pointing me to Bronfman's cycle - now I know what I'll be listening to over the next few days - going to digest that entire collection, including all of the symphonies, never mind the concertos! Your channel is fantastic, thank you.

Thank you very much for such of review and recommendations.

Hello David, I was friend with Claudio Arraus pupil and intimate Greville Rothon, who lived in Munich as a piano teacher and music critic in Munich. I learned so much from him and he told me so many stories about Claudio. Arrau really was one of the greatest pianists ever and last pupil of Martin Krause, the late pupil of Liszt. Thank you very much for another wonderful review! Best wishes 🙏

I imprinted on the Kempf/Leitner set, which is an all-time classic, then got the Perahia/Haitink set which is great for its sincere musicality and the beautiful sound of the Concertgebouworkest. I think these two cycles are what you would call introverted versions. Now there is a wonderful cycle on the way for Naxos, corona forbid, with Boris Giltburg and the Liverpudlians under Petrenko (concertos 1 & 2). I heard him live with the Brussels Philharmonic under Thierry Fischer a few months ago here in town in the same concertos (got an autograph on my disc!), which was equally amazing. It's both poetic and muscular when necessary. Thank you for your recommendation, another great review. I'm going to get the Bronfman/Zinman set as well, Bronfman I knew from his great Prokofiev: sonatas and concertos with the Israel Phil/Mehta on Sony.

Dave, thanks for another fascinating talk. Perhaps even more than your specific choices and your description of each set, I appreciate your introductory remarks in which you explain your rationale behind those choices. We non-professional music lovers/ hard-core collectors often rave about certain recordings for simply personal and sometimes sentimental reasons that have little to do with the actual quality of a given performance. It's quite interesting-and often helpful, in practical terms-to have an overview of how a particular critic approaches these questions. It is indeed a mystery how certain soloists work so well with certain conductors to produce performances that stand the test of time. As you say, it can be a matter of two musicians who completely identify with a single aesthetic vision (as with Fleisher/Szell) or, alternatively, two musicians who seemingly are opposite musical personalities (Ashkenazy/Solti) but complement one another. I don't know, but I would guess that in many cases in the recording business, pianist X is paired with conductor Y simply because they both have contracts with the same label, not because they are pals or admire one another. Sometimes it works; sometimes it doesn't. (Weissenberg/Karajan, anyone? Young Barenboim and ancient Klemperer? Pletnev at the keyboard and some lackey waving a baton? Brendel and whomever?) I'm quite familiar with Schnabel/Sargent, Fleisher/Szell, Kempff/Leitner, and Ashkenazy/Solti, and admire each of those for its unique individual qualities. I'm willing to give just about anyone a shot in this music, but of your selections, my taste generally veers toward Ashkenazy/Solti, in which the lyrical elements (Ashkenazy) mesh so seamlessly with the dramatic (Solti's muscular conducting and a powerful, assertive orchestral contribution), all in a splendid sonic palette. For many of the same reasons, and more (the Bösendorfer's golden tone, the Klang of the Vienna Philharmonic, and interpretations that are at once magisterial and intimate, timeless and immediate, and sound utterly “right” to me), my ultimate personal favorite is Backhaus/Schmidt-Isserstedt. Here endeth the essay. Thanks again. ~ John Drexel

@michaelwinby5854

11 ай бұрын

If it's the one I'm thinking about, the Brendel is with James Levine. That's the only complete Beethoven PC cycle I own, but I really find it to be high-quality, particularly the pianism. That's not to say the orchestral colours and moods aren't well-set, though: They are, particularly in the G major concerto, my special favourite. :) Brendel is a little more periody in my ears, but that in no way lessens the wonder of his later concertos while making the first and second true 'classical' jewels.

Wonderful overview. I grew up with the Pollini / Böhm cycle, which I find magnificent all the way through

@ulfwernernielsen6708

3 жыл бұрын

The Pollini cycle was with Jochum in the concerto 1 and 2 .

@ulfwernernielsen6708

2 жыл бұрын

@@hmhparis1904 You are right. There is a wonderful 1951 performance of the Beethoven concerto 4.with Edwin Fischer and Eugene Jochum . Just fabulous. Claudio Arrau also admired Jochum very highly. He once told that the greatest collaboration he ever had in the Beethoven 4. was with Jochum.

One advantage of the Szell/Fleisher cycle in the Sony "Classical Masters" box is that you also get the best recordings of the two Brahms piano concertos plus a wonderful Mozart 25th piano concerto. Thrilling playing that never drags.

Thank you for another illuminating review. I was not aware of the Serkin / Kubelik cycle, and will definitely check it out. I did want to mention three cycles which show great consistency and are very well-recorded - Aldred Brendel with Rattle - To my ears, the early Concertos show a nice balance between a sense of humor and gravitas, the Third and Fourth Concertos are superb (the Third I particularly like), and though the Emperor is somewhat heavy-handed, the slow movements on all Concertos are among the best on record. Two others in short - Murray Perahia with RCO and Haitink is more naive and pure, which works especially well in the early Concertos but also in the late ones - No. 4 is on of the best on records in my opinion. The Third is less successful. From the more recent cycles, the one every fan of this music must hear is Hannes Minnaar, with the Netherlands Symphony Orchestra under Jan Willem de Vriend. They take the Bronfman / Zinman approach a step further - and the results are more dramatic and thick without loosing in transparency. The Emperor is one of the more exciting from recent years, a nice culmination for a fantastic new Beethoven Concertos cycle.

I abashedly confess prior ignorance of the Serkin/Kubelik traversal. So I pop up No. 4 on my thingy, and OMFG! Such ardor, lyricism, flexibility and, amazingly from these old coots, youthfulness! You done well, Dave. Thanks.

@DavesClassicalGuide

4 жыл бұрын

Thank you! I'm so glad you had the chance to hear the performances.

I have many of the recommendations, and love them for many different reasons. Now in my mid 60's I'm more drawn to the slow movements, which speak more about the human condition than the extrovert moments - and Arrau's final cycle, for me, digs deeply in the slow movements.

Grew up with Fleisher / Szell / Cleveland and saw some KZread comment that described his playing as "Cartesian". That pleasantly described what I was thinking! Then Levin / Gardiner / ORR took over as my preference and remains so. [to be continued...] The improvised cadenzas for 1 - 4 (and the Choral Fantasy) are a breath of fresh air, particularly 1 and 2 where the composer's published cadenzas requires a *wider* compass than was originally available when the respective concerto was composed, and are thus over-powering in a certain light.

The first time I heard a Beethoven piano concerto live, it was Melvyn Tan on fortepiano playing with a regular orchestra. Unsurprisingly his instrument's sound was completely overwhelmed and I don't recall hearing a single note. I was much entertained by him appearing to mime the piece, but .it did put me off that instrument for a decade or more. It's actually in the Schubert keyboard and chamber works that I find it to be an incredibly expressive choice.

I enjoy the recent live cycle by Jan Lisiecki with the Academy of St Martin in the Fields on DG. Lisiecki is so dynamic and plays the concerti with such poise and confidence for a young pianist. I am guessing that his recordings will only get better so that we may one day talk about Lisiecki (who is only 25) amongst the best Beethoven recordings. Thanks for another informative and entertaining discussion, Dave!

@DavesClassicalGuide

4 жыл бұрын

You'll welcome!

Thank you. Another fascinating presentation. The Bronfman / Zinman set of the piano concertos is now on Brilliant Classics, which is great if you already have the symphonies - as I do.

My most fav. set is Backhaus / Schmidt-Isserstedt / Wiener PO. Traditional Romantic style, after pass a lot of set i realized that Backhaus is also great in Beethoven as well as Brahms he did

@dr.zdenekc.havlik9565

7 ай бұрын

After Backhaus comes Friedrich Gulda following the Beethoven viennese tradition.

This is a wonderful cycle with many excellent choices. I am partial to Zimerman/Bernstein, even with the caveat of the first two being conducted from the piano. Zimerman recorded again with Rattle in 2020, but it doesn’t grab me in the same way. Otherwise, the Fleisher/Szell is a timeless classic that is an easy choice for a casual listen. Ashkenazy does a nice job, and I love the mono Gould, exciting but not as good as the Fleisher of only a few years later. There is a chamber version of at least the first two concerti on BIS which is fun if missing some detail. Some period instrument performances of this just slaughter it. Never heard Klemperer unfortunately, but that and Zinman is on my list now. Thanks

Wow, that Solti/Ashkenazy is a discovery for me. His (Ashkenazy's, but I could say the same about Solti) playing is so muscular and exciting. You're right, though, that he can also show finesse. I am not a piano person but there's something so confident and deep in his striking of the keys.

Another vote for Ashkenazy and Solti, both of whom deliver vivid performances, the Chicago Symphony plays superbly, and the whole glorious enterprise is beautifully captured by the Decca engineers. I also love the Bronfman/Zinman cycle, which I bought on impulse a couple of years ago and was not disappointed - indeed, the entire set of symphonies, overtures and concertos (including an excellent Violin Concerto with Christan Tetzlaff) is quite a bargain. More recently, I've been getting a lot of enjoyment out of the Brautigam set which, for me, demonstrates yet again what an intelligent artist Ronald Brautigam is; it'll be interesting to see what Dave Hurwitz thinks of it in due course.

@presbyterosBassI

4 жыл бұрын

Beethoven on steroids! I love it.

Berezovsky and Dausgaard are just wonderful and apart from the concertos, the rondos just fizz! I've not heard better. These recordings are on my iPod of essential recordings for life. I have the Zinman / Bronfman and the Harnoncourt / Aimard recordings (as well as others... Kovacevich, Andnes etc) but the SIMAX recordings are the ones I oscillate back to. Just brilliant!

@markharmer5114

3 жыл бұрын

Rondo! In the singular (my Mozart and Beethoven are crossing over...)

My Litmus test for any cycle are the second movements of the 3rd and 5th Piano Concertos. They are beautifully profound. The touch, feel, phrasing, and elegance better be there. After going through some of these suggestions, Claudio Arrau with Haitink and the Concertgebouw is my choice. Great profundity and poignancy. I agree with Dave, Arrau is magisterial in all respects! Don't waste your time. Buy Arrau's beethoven sonatas-first rate also-with the concertos-14cd-box-set-philips. After a rigorous work week, I often reach for this box set and my whiskey or scotch.

I keep returning to the Perahia/Haitink set (not one of the sets you mentioned). I find the recording captures the warmth of the orchestra especially the strings and piano tone like none of the others that I have heard. Very satisfying sonically. The emperor concerto falls a little short in this regard but still very good.

@christophersmith6841

3 жыл бұрын

Yes. While the Perahia/Haitink Emperor doesn't have enough fire and epic grandeur for my liking, I find the 3rd and 4th unparalleled. Perahia also has the right touch for the earlier ones as well.

@danielhornby5581

3 жыл бұрын

@@christophersmith6841 Just ordered it two minutes ago for £9 so looking forward to hearing them tomorrow!

While I'm partial to violin concerto music the beethoven cycles I own include ashkenazy, brendel, gould, barenboim, rubinstein, fleisher and laurent-amard. So i enjoy the tone quality and beauty of ashkenazy. Barenboim is lyrical and I think makes real music in the cycle. The gould while not with the same conductor is irresistible because gould is convincing in approach and adds pathos to the play. The fleisher and szell combination is superbly played and tempos are consistent. I prefer thought going to ashkenazy or barenboim or gould depending on what I'm looking for ie authority, or lyrical quality or pathos. All have different charms and as always I enjoy you analysis and discussion david.

I'm personally partial to the Zimerman cycle with the Vienna Phil, sometimes conducted from the piano and sometimes with Bernstein.

@miguelangelavilescorey5467

4 жыл бұрын

Vaclav Miller That’s an excellent cycle.

@MisterPathetique

3 жыл бұрын

The reason why Zimerman is conducting the first two concertos is a bit more sinister than you may probably think. Concertos No. 3-5 were recorded in 1989. But by the time they started recording No. 1 and 2 (in 1991), Bernstein had already passed away, so Zimerman had to complete the cycle alone.

@ulfwernernielsen6708

3 жыл бұрын

@@MisterPathetique Exactly as in the first Pollini cycle. Carl Boehm died 1981 and Eugene Jochum. took over and conducted the recording of the first and second concerto.This two cycles didn’t have the same homogeneity as the Arrau/Haitink, the Fleischer/Szell and the Pollini/ Abbado cycles.

Well, I'll have to check out Ashkenazy/Solti--I own the Ashkenazy/Cleveland--and it's my preferred set.

As usually, I am very much influenced by what I grew up with, and my choices were limited by what was available in then non-free Czechoslovakia. The Gilels cycle was one of the two available on Supraphon (but really, pressed by Melodiya and packaged in Czech boxes) and I believe it was rather good. I loved the warmth of the pianist and also the almost chamber-like music quality of the accompaniment by the Cleveland Orchestra under Geroge Szell. I acquired the whole other cycle, by Jan Panenka and Prague Symphony under Smetáček much later, when it became available on CDs in the "Supraphon Archiv" series. Panenka was a great virtuoso but also a consummate chamber player, and he never showed his virtuosity for its own sake. Everything seemed so simple and natural there...

@DavesClassicalGuide

4 жыл бұрын

I agree that Panenka was an marvelous artist generally.

Thanks for the recommendations, actually haven't investigated the Ashkenazy/Solti before. I will do so. My go to cycles were always: Barenboim/Philharmonia/Klemperer - classic Klemperer Beethoven and a youthful Daniel Barenboim. Some really good moments. Gould/Various - if nothing else than for the Emperor with Stokowski conducting... Stoki keeps trying to press on with the first movement but everytime Gould comes in he slows it right down, its classic conductor vs soloist! Apart from that I have always gone for individual recordings rather than sets as there haven't been many that caught my eye or got good reviews. It's a shame Argerich hasn't recorded the Emperor, that would be a great set. Her 2 and 3 with Abbado are wonderful. But right to the top of my list goes the new recording by Stephen Hough/Finnish Radio/Hannu Lintu... Wow. Hough doesn't disappoint. I had heard that this was in the pipeline for a while and it has lived up to all expectations as Hough generally does. His playing is subtle yet technically brilliant, his use of the pedal for example is genius! Particularly love the third (the cadenza in the first movement has rarely been so punchy!) and the fifth.

I love it that for this review you wear a t-shirt in festive red :)

I think Beethoven Piano Concertos do not need a light-weight modern approach. No need to damp down Beethoven. Szell/Flieisher or Kempff/Leitner take the music and give deep rich sounding versions which you simply cannot find today.

Yes! My favorite has always been the ashkenazy/Solti recordings. You can really feel the effort and physicality that is going on in ashkenazy's playing. Especially in for example the beginning of five. The strength and control in the arpeggios and trills is almost tangible. You can really picture the way he forcibly and intentionally hits each and every note. He can also be extremely gentle as well. For example the second movement of the fourth. The playing is so calm and serene and light. There's nothing like it. Id also recommend the ashkenazy/Previn recordings of the prokofiev piano concertos for all the same reasons. They're some of my favorite recordings of anything ever.

@DavesClassicalGuide

4 жыл бұрын

Those are certainly fine choices! Thank you for sharing.

@artistinbeziers7916

4 жыл бұрын

Ashkenazy / Solti; Always sounds fresh. Never dull. One of my very frst LvB PCs puchases I probably have far too many now ! In no particular order, I'm particularly fond of Fleisher / Szell (of course !) Gulda / Stein, Gould / (mostly) Bernstein - for sheer dash and daring - playing by the seat of his pants - wonderful stuff ! and a whole bunch of other combos.

@AlexMadorsky

4 жыл бұрын

I also like Ashkenazy/Solti. I’d love to see a video on Prokofiev piano concerto cycles. Specifically, I’d describe Solti’s perspective on tempi and rhythms are always balanced but still entertaining.

@ThankYouKiwi

4 жыл бұрын

@@AlexMadorsky agreed. Id love a video on his piano concertos. Also his first, sixth, and seventh symphonies

@JackJohnsonNY

2 жыл бұрын

Very much agree. In the 5th he plays the bold parts the same way he plays the bold parts of the Rach 2. It's very exciting but never vulgar, because he is able to, and does also, demonstrate elegance and finesse.

I have two cycles: Solti/CSO/Ashkenazy (Decca) and Karajan/BPO/Weissenberg (EMI). They both offer different things (the former a bit more high octane, the latter more mannered) and I enjoy them both. Sound quality on both is also excellent.

@MorganHayes_Composer.Pianist

4 жыл бұрын

Weissenberg and Karajan were good friends so a compliment to the more uneasy (according to this review ) relationship of Ashkenazy and Solti.

I saw Uchida perform the fourth concerto in London recently. She rocks

@cmonclair27

4 ай бұрын

I agree. She's my favorite interpreter for the 4th.

Thanks! Talk about consensus, I choose Bronfman/Zinman for their HIP approach and Fleischer/Szell for their Classical style. When I got the Bronfman they were on the dirt-cheap Arte Nova discs. Once the business people realized what a winner they had with Zinman and his Tonhalle Orchestra their recordings were “elevated” to full price BMG/Sony! I also like one set you didn’t mention: Perahia with Haitink on Sony for their poetry-at least 1-4. I don’t care as much for their Emperor because it lacks excitement. For that I find Fleischer/Szell unbeatable.

Thanks for all these wonderful talks, I am learning so much. You do not (as far as I can recall watching so many) comment on whether you have any liking for SACD or DVD/Blu Ray audio recordings, or whether you dabble in surround sound? I appreciate a bad recording or performance is no better in 5.1 or high definition, but since you have such a good ear for detail, I wonder if your enjoyment has been enhanced by having a hi def/5.1 recording. Keep up the good work.

@DavesClassicalGuide

4 жыл бұрын

Thank you for joining the conversation. I am not an audiophile beyond a desire for warm natural, impactful sonics generally. I have not found that SACD or DVD/Blu-Ray or 5.1 whatever make enough difference for me to care about--beyond a certain point it's all just a matter of taste and preference, and a good recording usually sounds good on just about any system you play it on.

I recommend Friedrich Gulda/Vienna Philharmonics/Horst Stein.

I think Arrau/Haitink is pretty great all the way through. The sound of the orchestra, and Arrau playing like a lion. And Aimard and Harnoncourt are brilliant, on the level of most of Harnoncourt's Beethoven, which I still find gripping to this day. My two other picks! (And I am talking about cycles too!) Maybe have a chat with Jens Laurson as well? :)

@Stanvansandt

8 ай бұрын

My first cycle was the Arrau/Haitink and I loved all of them. I was always disappointed that the critics didn't seem to agree. They uniformly preferred the later cycle with Davis, but I was disappointed in those, thinking (if I remember correctly) that they were colder and slicker sounding, though I'm not sure it was the recording, the conductor, or the pianist that created that impression. But that was years ago - I could well be remembering a different cycle. Dave has made me want to look for the earlier Arrau EMI cycle, though I may get that Zinman box set first.

The Bernstein Zimmerman cycle with Vienna Phil is utterly spectacular; I like it better than the Szell Fleischer cycle and many more. It's crisp and clear, the phrasing borders on perfection, and each movement of the five concertos is a chiseled, sparkling masterpiece! Dave, with all due deference, and I'm a fan, I'm surprised this didn't make your cut and I'd love to hear your opinion of it.

@DavesClassicalGuide

3 жыл бұрын

It's OK, but not special. Too much chiseling and now enough sparkling.

What about Brendel? It was through him I had my first acquaintance with these wonderful music. Thank you very much for all the commentaries on this channel. Your labour of love and time is far-reaching. Love, Singapore.

@Ageless-yh7gv

Жыл бұрын

I have the Brendel/Levine with the Chicago "live" on CD. I love it! Is it the best? While I haven't heard all other sets, this one is spectacular. Brendel's alleged "intellectual style" does not get in the way of the drama, it enhances the drama, and he plays impeccably. The Chicago is one of the great American orchestras and knows what it's doing from start to finish --- especially in the hands of one of the finest American conductors. So I take the opportunity to expand on hebrews619's comment.

I like all the cycles you mentioned. My guilty pleasure cycle is Glenn Gould. He didn’t really do an integral set, I think the first are with Bernstein, and the fifth is with Stokowski. I think Gould was a line guy and it’s so interesting how he brings our inner lines you don’t often hear. It’s not a reference set but I especially like pulling out and listening to the 4th and 5th concertos.

@TheCastlepoet

4 жыл бұрын

Even more amazing than the Gould/Stokowski recording of the Emperor is this astonishing broadcast performance from 1970. Gould (evidently substituting for Arturo Benedetti Michelangeli at the last moment) with the Toronto Symphony, conducted by Karel Ancerl: kzread.info/dash/bejne/naSuwbdxp6vWkZs.html

@ulfwernernielsen6708

3 жыл бұрын

The first concerto with Gould was with Vladimir Golshmann . I my opinion the first concerto is the highlight in the Gould cycle.

@neilford99

2 жыл бұрын

Lennie 2,3,4. 5 Stoki. 1 Golschmann.

Thank you Dave for yet another insightful talk. Has Jed ever mentioned to you that he writes reviews for, ahem, Gramophone? I grew up (musically) with three cycles, the Kempff/Leitner, the Ashkenazy/Solti, and one you didn't mention but still wears very well, the Stephen Kovacevich (he was Stephen Bishop at the time) and Colin Davis. He was and still is a very fine Beethovenian. But then so are Brendel, Perahia, Stephen Hough, Paul Lewis... There's even a set with various associates by Glenn Gould. You look up Beethoven Piano Concertos 1-5 on Presto Classical and get 96 results! I suspect that not even the most dedicated critic has heard them all.

@DavesClassicalGuide

4 жыл бұрын

Yes, of course I know who Jed writes for--it's the best thing that ever happened to them. You're right though, no one can possibly hear everything anymore, especially with stuff going in and out of print by the minute. Happily, no one needs to. This isn't a hunt for the Holy Grail, some mythical ideal performance,. There are many fine ones, varied enough to suit all tastes. With works like these there may be some listeners out there so picky that nothing is fully satisfying to them, but that's not a musical issue, it's a personal problem.

Grew up on Fleischer/Szell (especially the Emperor) But Currently revelling in Stephen Hough/Hannu Lintu (just released on Hyperion)

Great video! I was kind of waiting for this one, although my favorite is not here. First of all, I'm absolutely with you about the Kempff cycle (except that I prefer the earlier one, with Kempff equally enchanting but technically more solid, as in the sonatas; Kempff is a marvel of nature), and I also agree with you about the Fleisher/Szell wonders. I would prefer the piano not so much forward, though. And the Zinman is fabulous! But I wonder: what do you think of the Levin/Gardiner cycle? Time made it my preferred choice, for the same reasons I love Gardiner's way with the 9 symphonies: it's assertive, lively, sharp, clear and colorful (those winds are gorgeously shaded) and Levin takes part in that non-fussy, forward-headed readings which make me think they are really being challenged (as I always think Beethoven should sound). I know the balances are not to everyone's taste, but I love it also because of that. I always end up holding my breath and being delighted by the way the pianist (a real virtuoso!) overcomes every limit, and that is so awe-inspiring every time! By the way, I listened a bit to Brautigam's new cycle, but I'm not a fan of his way with phrasing. Anyway, of one thing I'm sure: the orchestra doesn't compete with the ORR, sounding like a rehearsal as compared to them (balances, rhythmic accuracy, timbres). Thank you for all.

@DavesClassicalGuide

4 жыл бұрын

I enjoy Levin, but find Gardiner a bit stiff and mechanical over time. I loved his Beethoven syms when they came out, but they haven't worn well for me.

Everyone has put up interesting choices. I've always tended to mix-and-match in these pieces (although I do have the Perahia/Haitink cycle which I think is sensitively played through out, but particularly 3 & 4, and I even can accept the less grandiose Emperor which gains something in this interpretation). I curiously also have John Lill, with Gibson and SNO, very persuasive in 1 & 5, and the Choral Fantasy, but elsewhere not so sure. Individually Gilel's 4th with LudwigPhilharmonia (relaxed but strong, that slow movement has a rapt concentration which is unique I think). Kovacevich, Davis in 1, 2 & 5 (very muscular, intelligent playing). 3 probably Perahia.

At this point I don't own a complete Beethoven concerto cycle featuring one soloist, but I have favorites taken from the cycles you mention : Fleisher/Szell ln amazingly rich, precise performances of nos 3 & 5, Bronfman/Zinman in crisp, alert versions of nos 3 & 4, and Ashkenazy/Solti in a well-balanced but propulsive account of no 5. I'm somewhat excited about the new Brautigam cycle. What are your opinions of the Perahia/Haitink and Kovacevich/Davis cycles?

Two more recent cycles I really like are Yevgeny Sudbin (made over several years) and Uchida with the BPO and Rattle. I thought the latter was allowing for style evolution through Beethoven’s life but that perhaps #3 was a little light. I’d love to know what others think of these versions.

Love the cycles of Fleisher/Szell, Kempff/Leitner, Berezovsky/Dausgaard, Perahia/Haitink and Bronfman/Zinman, However, the ones i really listen more and that i find also superb are: Pollini/Jochum/Böhm (DG set), Ingrid Jacoby/Jacek Kaspszyk (ICA) and Gilels/Szell (EMI).

First the confession: I quite like the Schoenderwood 1 & 2 - in the 1 in particular, I find the very free phrasing has an almost jazzy feel at times which is compelling. Better this "balls out" HIP approach than a modern performance with an authentic instruments veneer, I say! For other sets, in addition to the ones DH mentioned, I like Aimard/Harnoncourt, though surprisingly I think this is at its best in the later works, with perhaps my favourite Emperor of all. Aimard's coolness makes a good foil to Harnoncourt's gruff approach, and as so often he finds energy in the details you won't hear elsewhere ...

Have you heard the new Zimerman and Rattle Beethoven piano concertos? They sound like the equivalent of Chinese porcelain to me. Very pretty. All the dangerous side of Beethoven extracted. It's like watered-down table wine.

Any thoughts on the RADU LUPU set with Mehta/Israel? I saw reviews by your fellow critics on Classics Today (freebies) but interested on your views, if any (these didn’t fall under your Mehta surveys either given those particular boxes). Or Lupu the pianist/musician in general?

The Brautigam period instrument cycle is wonderful! You must hear it. I’m a latecomer to the period instrument stuff. The ear soon adjusts to the McNulty fortepiano sound. It’s not tinny and Brautigam’s mastery of the Beethovinian idiom (that won me over to this instrument in his sonata cycle) is on full display. Brautigam is a master musician. love the sound of the Period orchestra. The winds are very tangy. Such a buzzy bassoon. The orchestra can play with power when needed. The first 2 concertos are very playful.

@DavesClassicalGuide

4 жыл бұрын

I look forward to hearing it.

@frgraybean

4 жыл бұрын

I thought it was excellent. The only period instrument cycle I’ve kept in my collection. I must look for the Bruggen. I adore him!

@frgraybean

4 жыл бұрын

Ivailo Partchev there is a sense of play in the early works that I found unique and totally winning. This whole cycle is loaded with character. The 3rd is a particular winner. That finale!!! I love this set!!!

I rarely reach for Beethoven Piano Concerto cycles anymore when I want to hear a Beethoven Piano Concerto, and I suppose Schnabel with Sargent is my overall "favorite", but if I had to recommend just one box to somebody new to them, yes it would be Bronfman with Zinman, for the excellent sound and consistently good performances. Though, I wish they included the triple concerto with it too. -- edit: Didn't see that it's the Zinman box, which does come with the Triple Concerto

@Ageless-yh7gv

Жыл бұрын

A word about Zinman ---- it doesn't get much better. If the conductor isn't mentioned at the beginning of any recording you hear on the radio, don't be surprised if it's Zinman. His specialties are the blockbusters -- such as the Russian Easter Overture. He has 2 recordings that I know of: one with the Baltimore, one with the Rotterdam. There's a comment I don't often make: either is still the greatest recording of this piece (defies logic, doesn't it?).

David, please make some videos about modern/contemporary/obscure composers and their best works :)

@DavesClassicalGuide

2 жыл бұрын

I have already made quite a few.

Thanks for the excellent suggestions. My list would be : #1: Dorfmann / Toscanini They have the right tempo and spirit. #2: Gould / Bernstein Catches the playfulness well. #3: Haskil / Markevitch Two great artists. For me, nobody can match Haskil in this concerto. #4: Katchen / Gamba Just beautiful... #5: Serkin / Ormandy So many get lost in the scales, but not Serkin, who manages to make music, with a great support from Ormandy. People will probably hate me for it, but also find Gieseking 1945 a great performance.

I like the Ashkenazy/Solti cycle for the rather muscular accompaniment. I hate weak Beethoven. Ashkenazy is fine. Szell and Fleisher are also powerful and poetic...sounding better than ever in the 24 bit remastering (and with that grand Brahms cycle thrown in this set is a no brainer). For a sentimental set I’d pick Backhaus and Schmidt-Isserstedt/Wiener Philharmoniker...my first cycle. Very serious. I like the corresponding symphony cycle, too.

@rsmickeymooproductions4877

4 жыл бұрын

I have the Bachaus/Schmidt-Isserstedt/Wiener Philharmoniker but the remaster i have is very poor. I get some horrible clicks which detracts me from the music

What you think about baremboim Beethoven piano concertos?

David, curious what you thought of Paul Lewis's set with Jiri Belohlávek. The samples I tried sound pretty sprightly though maybe not barnstorming.It's gotten heaps of superlatives,

@DavesClassicalGuide

3 жыл бұрын

Not from me. Good, but not special.

I always describe Ashkenazy/Solti as "Beethoven on steroids". That's how I like my Beethoven.

I haven't heard any improvement over the years since hearing Otto Klemperer and Daniel Barenboim with the John Aldis Choir, New Philharmonia Orchestra originally came out on the Angel label as a boxed record set of 5 LPs (1970 or so); then later on CD under EMI. The Choral Fantasia at the end of the Emperor is sung with fantastic conviction and dynamism; and Barenboim's piano is precision all the way through with the depth Beethoven demands; and Klemperer's orchestration every bit the match. Very consistent from the 1st concerto through to the Fantasia ending it all in a tremendous crescendo. If you don't own it your Beethoven cycle sets are suffering; you really need to listen to the Barenboim Klemperor collaboration--they dug into and they laid open Beethoven's soul.

@DavesClassicalGuide

3 жыл бұрын

If you "haven't heard any improvement" then you haven't been listening.

@UlfilasNZ

Жыл бұрын

@@DavesClassicalGuide Agreed - and Barenboim has surpassed this cycle himself on two occasions!

Hi Dave, I thought you might be interested in listening to this Indie Label recording with Moura Castro/Chibas and the Orchestra de Venezuela. Many other recordings there worth exploring. I particularly like the interpretation of no.4 :)

Hello Dave - I am curious about your thoughts on Kristian Bezuidenhout's recent Mozart concerto recordings. I think the orchestral and solo playing is vivacious and dramatic in a sense that is rarely captured for these concertos, some moments feel truly operatic. So many Mozart piano concerto recordings are quite frankly sleepy with the orchestra trying to be perfect and airy and the soloist being too careful and delicate.

I'm exploring the 1st concerto and just listened to Arturo Benedetti Michalangeli/ cond Guilini. I found it full of fizz, sparkle and propulsion and joie de vivre. Apparently they are `individual`. I can't read music and I just know what I like. Is that bad? I wish to hear more versions yet I have this version going round in my head!

@DavesClassicalGuide

4 жыл бұрын

Of course it's not bad. That is a reference version for the First Concerto, and even if it isn't, you like it which is all that matters. I was just talking about complete cycles of all five. I'll get to individual works at some point, and believe me, that recording will be one of those considered.

@littlejohnuk

4 жыл бұрын

@@DavesClassicalGuide thanks

@Zezahn

4 жыл бұрын

@@littlejohnuk Michelangeli is an absolute summit. He recorded officially for DGG 1st, 3rd and 5th. I can only dream to listen to his hypotetic 4th - my personal favourite. ;-)

By the way, congrats on 2,000+ subscribers. I'm new to your channel and loving your posts, although my wallet may not agree!

@DavesClassicalGuide

3 жыл бұрын

Thanks and welcome!

Dave... would you at some point address Solti's music-making. He and Karajan, along with Bernstein, seem to drive classical music sales in the 1970s-1980s. William Bender, in his liner notes for the first vinyl Beethoven cycle, quotes Solti to the effect that he demands a kind of forte playing from the Chicagoans. That to me explains the brilliance of the Dec a sound. But it turned gray in later years in my opinion, too shrill. The digital re recording of the Maher 2 made my cat screetch. What is it about the Solti/Karajan dynamic that Gramophone extolled (Karajan) and decried in his competitor? Solti's Ring cycle is still the best-selling set of anything classical. Is that indicative of anything? There's some bitterness between the two conductors. Solti publicly ridiculed Kempe, the conductor, when he died (substantiated by a press clipping), deriding him as an amateur. Karajan at a Proms concert a short time later with the Berlin Phil gave Kemper a silent minute-long tribute before the downbeat. Is this beyond the essence of musicmaking? I enjoy your take on music so much!

@DavesClassicalGuide

4 жыл бұрын

Thank you for the suggestion, but I'm honestly not sure what you're getting at.

As someone who can barely play the piano (Bach fugue subjects / Twinkle Twinkle are the upper limit), but in orchestras has played all the accompaniments more than once, on both violin and viola, depending on the work in question, I will hereby vociferously argue that a complete cycle needs to include the Concerto, opus 61A, as Beethoven himself transcribed from the violin concerto original. A two-concert pairing of (A) #1 and 3 (first-half) / #5 (second-half) (B) #2 and 4 (first-half) / #6 (aka opus 61A, second-half) seems ideal before the recording sessions. (^-_-^)

@DavesClassicalGuide

4 жыл бұрын

No, a complete cycle does not "need" to include that silly arrangement, although it's fun to hear now and then for the wacky cadenzas. I enjoy it personally, but totally understand (and support) the desire of pianists to leave the violin music to the violinists. After all, they have five concertos to the violins' one, and the unwillingness of most pianists to play the arrangement speaks volumes about its quality.

I miss Friedrich Gulda with Horst Stein and Wiener Philharmoniker here.

David - greetings. Any love for the Bishop-Kovacevich & Davis cycle from the late 60s and 70s? I know you are talking cycles but I so love that Emperor. Best wishes, B

@DavesClassicalGuide

4 жыл бұрын

The Fourth is very good, especially for its bracing finale.I'm not as wild about the 5th.

Appreciated, David Hurwitz! I am a rather new subscriber to your wonderful channel, from Iran, and have enjoyed the serious, absolutely informative, and sometimes humorous content of it so much. And this is my first comment. As regards consistency my vote would go for Kempff/van Kempen and to my recent discovery Gilels/Szell, that I found you are not a big fan of. I am now sleeping on it. I found both Ashkenzay/Solti and Brendel/Rattle dull, boring and dusty, being the former as architectonically bizarre (not uncommon with Solti) and the latter characterless. However, one of the worst I have ever listened to was Weissenberg/Karajan of the mid 1970s with EMI, at the same period when Karajan was at his peak. I am a Karajan fan, by the way, but the set is a catastrophe par excellence, an example of when everything goes astray.

@DavesClassicalGuide

3 жыл бұрын

First of all, welcome, and second, interesting choices. Must be the pistachios! BTW, would you by any chance have a really good Fesenjan recipe? I've tried several but I'm having trouble finding the right pomegranate paste...

@alirezaseyyed-ahmadian7743

3 жыл бұрын

Thank you, @@DavesClassicalGuide. I am also a cook, "coincidentally." That ingredient, pomegranate paste, is a must, I dare say. But have you ever seen this video: kzread.info/dash/bejne/gXarrMR-nqqumZc.html . I'll look also for a written recipe.

@DavesClassicalGuide

3 жыл бұрын

@@alirezaseyyed-ahmadian7743 Thank you so much!

@alirezaseyyed-ahmadian7743

3 жыл бұрын

@@DavesClassicalGuide you're most welcome, sir!

It's interesting Argerich hasn't done a complete cycle or, as far as I can tell, any individual recording of the 5th? You would think she would be excellent at that one. I wonder why not ...

I would be interested in hearing your opinion on one of my favorite sets: The Robert Levin/Jon Eliot Gardiner. I am a "period instrument person," and am always interested in hearing early music interpretations of Mozart and Beethoven. What I like about the set is that I feel like I get an excellent sense of what kind of interpretive license and extroversion an 18th century virtuoso would exhibit in these pieces, without some of the austere seriousness and humorlessness that can infect many of the modern performances, Gilels/Szell for instance.

@DavesClassicalGuide

4 жыл бұрын

I think it's a good set. Levin is very fine artist, but Gardiner is a bit faceless.

@123goodoldmusic

11 ай бұрын

I love the Levin/Gardiner cycle, too. I just love the tight and sparkling sound of the fortepiano in those recordings. And the overall interpretation is fine. It's a lot easier to go see and hear a decent performance live in concert on modern instruments than on period instruments. This is especially true regarding fortepiano. So for me, it's essential to have a good period instrument performance on record.

I remember feeling disappointed with the Ashkenazy/Solti CD set. The piano sounded tinny. A review at the time, Penguin I think, mentioned that the transfer to CD wasn't handled right, that it didn't sound tinny on its original LP release. The remastered blu-ray markings on the set David held up seems to indicate that Decca took heed of the criticism. Does the new release restore the fullness of sound?

@DavesClassicalGuide

2 жыл бұрын

It depends on how you describe "fullness of sound." I never thought that they sounded bad to begin with.

@JackJohnsonNY

2 жыл бұрын

I have only now discovered this disc, on Dave's recommendation, and I would say a "fullnesss of sound" to the piano is its defining characteristic. The piano-playing sounds very muscular and deep-toned. Kinda the opposite of "tinny."

@edgesdragon888

2 жыл бұрын

@@JackJohnsonNY That's why I was wondering if the newer issue had anything to do with it. The packaging he held up suggests a newer remaster. The CD set I have is from about 20 years ago or so.

Just an innocent question - why are Steinway Grands the most commonly used - not Bosendorfer or Bechsteins ?

@DavesClassicalGuide

4 жыл бұрын

Steinway was traditionally the biggest and mostly smartly run company. They also make excellent pianos. That's about it. There's no other special reason.

@josephlow1102

4 жыл бұрын

@@DavesClassicalGuide Thanks David - I felt that Bosendorfers & Bechsteins deliver better second harmonics - thanks for your great reviews - I am discovering and learning - stay well

Was wondering what you thought of Pollini/Abbado or Pollini/Bohm? I find that Pollini's muscular and "steely" playing is perfect for Beethoven.

@DavesClassicalGuide

4 жыл бұрын

If it's for you, then that's fine. They aren't bad, of course, but how good they are is a matter of personal opinion. That's all.

I think one of the issues with the belief that, "grumble grumble everything was higher quality in the past," is that the past has already been filtered. Time has passed, consensus has been formed. We pretty much know what is the great Beethoven from the 78 era and the LP era and even the early CD era. And those are the ones that get reissued and talked about. The bad and mediocre Beethoven from those eras are largely forgotten. Whereas with more recent recordings, we are living through the filtering process. We are exposed to all kinds of Beethoven, good and bad and ugly. We do not have the privilege of 50 or 100 years of listening history to see what stood the test of time.

@DavesClassicalGuide

4 жыл бұрын

A very good point. I totally agree.

@MorganHayes_Composer.Pianist

4 жыл бұрын

ditto , " all the great music has already been written" forgetting that at one time all music was contemporary.

I like Brendel/ Haitink and Kempf/Leitner, though Kempf's earlier recording of no 5 with van Kempen is even better.

So many beautiful versions, luckily... I only want to add the recent effort by Giovanni Bellucci on Calliope, an outstanding pianist in my book that has all the allure, beauty of sound and yes, sometimes not for everyone personal touches that you expect from a master of the instrument. His orchestra is unfortunatly not first rate (shrill violins), the conductor tries his best and the set includes many versions of the cadenzas (Busoni, Reinecke...). :-) Bellucci is a great artist and pianist who's horribly under-recorded. David is right asking "why" we love a version, not "which" version we love: I love Bellucci because he always, always has a soul and is not afraid to show it.

@DavesClassicalGuide

4 жыл бұрын

Thank you for sharing this. You see, something to look for!

@Zezahn

4 жыл бұрын

@@DavesClassicalGuide Pleasure. Btw, where I write "soul" you could as well read "personality" or "presence".

I’m new to your reviews. Who is Jed that you refer to?

@DavesClassicalGuide

12 күн бұрын

He is a well-known music critic, composer and pianist who writes for ClassicsToday.com, Gramophone, has his own podcasts and radio shows, and he's probably the most knowledgeable person alive when it comes to the piano repertoire.

I find Solti's conducting overpowering and aggresive ( in genral and particularly in these concertos ). The Uchida/Sanderling series is fine but am surprised to find no mention of the Radu Lupu/Mehta cycle on Decca.

@DavesClassicalGuide

4 жыл бұрын

Surprise is my middle name!

Disappointed that Katchen is not there :-( ... The Uchida set is brilliant absolutely :-)

@DavesClassicalGuide

2 жыл бұрын

You'll get through it.

@Mandibil

2 жыл бұрын

@@DavesClassicalGuide I have the Katchen Beethoven box so yes, I will :-)

@DavesClassicalGuide

2 жыл бұрын

@@Mandibil So do I!

@Mandibil

2 жыл бұрын

@@DavesClassicalGuide great

What is your best recording of the triple concerto of Beethoven?

What about Andsnes?

@DavesClassicalGuide

Жыл бұрын

What about him?

@alessandrodimeo6570

Жыл бұрын

@@DavesClassicalGuide Ow well, noone seems to mention him, so I was wondering what anyone was thinking of him.

I agree with you on the worst cycle by Schoonderwoerd. But, you won't believe this... I actually attended a concert of his in which he played the 4th and 5th concerto with Anima Eterna, and it was great! He really struggled with the old piano and actually overcame its many problems. He was actually gushing sweat. And it came across as a Herculean effort, which kind of befits Beethoven. The period instrument orchestra was quite large, so it wasn't anything like the record. I'd heard the Emperor performed in concert by Buchbinder and the Rotterdam Philharmonic. Now Rudolf played that like he was simultaneously having a cup of coffee at the breakfast table. It was note perfect, but he made it sound so easy, it became uninteresting. Very strange, because I quite like his recording with the Vienna Phil.

Listening to your voice, I can't help but think there's a medical condition you're suffering from mr Hurwitz; It doesn't sound good.. at all. It's not my intention to sound bad or mean, just a little concerned. Peter Rosel / Flor is a big omission in your list as is Zacharias / Vonk 😀

David, has Stephen Hough (with Hannu Lintu) caught your fancy?

@DavesClassicalGuide

3 жыл бұрын

Not yet, but it's in the listening pile.

I love the Uchida/Sanderling cycle and agree that it sounds like a serious Beethoven. However, I love the new set with Uchida/Rattle (on the Berliner Philharmoniker lable), fresh sounding, well played and recorded. Much better then Brendel/Rattle from Vienna.

I've been a Fleisher/Szell admirer for many years, but have never been able to understand why many British critics (e.g. Gramaphone) give it short shrift. For some reason, they (still) get hung up on Szell's demanding personality and this taints their opinions. So maybe they are off to the side on the Venn Diagram of Critic Consensus? :)

@DavesClassicalGuide

4 жыл бұрын

You never know...

Snickerdoodle hahahaha

I found the Kempff/Leitner cycle to be rather dull. Listen to the Serkin/Szell Beethoven 1st piano concerto and compare with Kempff/Leitner.

@DavesClassicalGuide

2 жыл бұрын

Your dull is another's subtle. But I like Serkin better too.

My top 10 cycles are ... just kidding

Why Kempff/Leitner over Kempff/van Kempen? Leitner is somewhat bland for my taste (and he's practically not remembered for anything other than these recordings, which doesn't shock me). By contrast, I suspect van Kempen would himself have been better known had he only lived al little longer. I tend to the view that the earlier Kempff was better than later Kempff, for the most part (his later later solo Brahms is a possible exception). A little too soft edged in the later recordings. A little surprised you didn't mention the earlier set in this survey, as you did specifically highlight the "later Kempff" vs "earlier Kempff" debate when it came to his sonata cycles. Of non mentions, surprised Kovacevich didn't get a plug (or Bishop-Kovacevich, as he once was). These works should sound a bit aggressive, particularly the earlier ones, and I thought Kovacevich brings that out more than some of your others.

@DavesClassicalGuide

4 жыл бұрын

I don't think the interpretive differences between the two Kempff cycles outweigh sonic considerations, and Van Kempen doesn't impress me in these works. As for Bishop, remember, full cycles, with consistency a key criterion.

@olegroslak852

4 жыл бұрын

What did you consider the “weak link” (or links) in the Kovacevich cycle? Curious.

@michaelhartman8724

4 жыл бұрын

I'm with the van Kempen crowd--punch counts for me in the orchestra, (though I do like the Leitner also).

What you said about Gilels/Szell caught me absolutely off-guard. I grew up learning, that this is the one and only greatest cycle and Gilels to be the greatest Beethoven-interpreter besides Wilhelm Backhaus, so i couldnt believe at all, when you mentionend its so strongly disliked. Please explain, what bothers you about it or ill not die in peace haha

@DavesClassicalGuide

Ай бұрын

I never said I didn't like it. I happen to like it quite a bit, but in my experience it never had the cachet that other great cycles did, especially Szell's first cycle with Fleisher.

Love Uchida's Beethoven concerti! And yet I hate her Mozart!

I have the Ashkenazy, too, with Solti, also Pollini, Abbado, and Lewis with Behlohlavek. My yucky one is the set that JE Gardiner did. There’s no balance at all. It just sounds awful. The piano is quite recessed.

Yet more Beethoven cycles....Along with the symphonies, the Beethoven piano concerti are works which these days I try not to listen to as they are horribly stale. As with certain other works, they are so well known as to become a cliche. Why not describe recordings from a different composer of the period? Then perhaps one can really appreciate Beethoven's mastery.

@DavesClassicalGuide

4 жыл бұрын

Maybe because you're one of the few people in the universe who regard the music as "horribly stale?"

@RollaArtis

4 жыл бұрын

@@DavesClassicalGuide If one hears the same works ad nauseam no matter how great, they inevitably lose their zeitgeist as in 'horribly stale'. See Mozart Vivaldi Brahms Beethoven etc you know the same pieces we are talking about, they are everywhere. Lets hear something which is unknown, a box set of Hummel piano concerti perhaps?

@DavesClassicalGuide

4 жыл бұрын

@@RollaArtis Um, yeah. Well, I think you're wrong. You can't possibly know my work (and I assume you don't), or even have watched my channel, without knowing that no one is more interested in unusual repertoire than I am, but I also believe that a great performance is self-justifying, and if these works sound stale to YOU, then you have been listening to the wrong versions or not listening in the most productive way. I understand that we all need a break now and then--and if that's where you are--then by all means take a break, but don't tell others that they must feel as you do..

@RollaArtis

4 жыл бұрын

@@DavesClassicalGuide Seems you think I am 'Wrong' in the same way that you tell everyone that certain recordings are 'The Best'. But only in your opinion. I have mine - musical tastes are all subjective.

@DavesClassicalGuide

4 жыл бұрын

@@RollaArtis That is exactly what I said, and exactly why the following statement that you made was wrong to the extent that it applies to anyone other than yourself: "the Beethoven piano concerti are works which these days I try not to listen to as they are horribly stale. As with certain other works, they are so well known as to become a cliche."