Listening to Transit with the VO was something else. Holographic. It would be a test track for me for staging.
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So I have been trying to listen to some more contemporary compositions just to see what ānewā classical sounds like.
Im am hearing a lot of potential but there seems to be this need to throw in these incoherent noises that ruin pieces to my ears. Sounds like they are trying to combine atonal elements with more classic music theory. Sometimes it is pulled off well, mostly not.
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Philip Glass has managed to do this well.
I think he applies a more judicial hand when using such elements, resulting in an engaging experience.
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Phillip Glass is an interesting composer. I agree that his pieces can be engaging but there are times I find his compositions frustrating, at times they just seem to float along in circles not going anywhere.
Love-hate with him.
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Haha! I do see that. I think some artist intentionally lead the audience down paths that have no resolution. I like to think the point is to have us focus on the moments, and not have expectations of a conclusion. At least that keeps me happy in thinking itās an of-the-moment experience.
It lets me think Iām being zen. 
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I call him Phillip āone more arpeggio and Iām gonna pukeā Glass.
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LOL. Glassās style has changed somewhat over the years. I have these along with his āAhknatenā
Humorous story. The film āStokerā had an interesting scene where the two principal characters (Mia Wasikowska and Matthew Goode) perform a duet on piano and it hints at the sexual tension that has been building between the two during their time together. While the rest of the film score was composed by Clint Mansell (I like his film music in general), the director, Park Chan-Wook, asked Glass to compose something special for the piano duet scene. Upon hearing the initial offering Park said to Glass, āCan you make it sound a little less Glass?ā
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Iāve always been a fan of Beethovenās 8th. Maybe my favourite of his symphonies, but I wander around them a tad.
I find this rendition of the 8th to be appropriately lively for my tastes if at times a bit clumsy between transitions. The good far outweighs the clumsy here.
This is an entertaining Beethoven cycle.There is no fear of dynamism here, which I find at times frustrating with some interpretations and performances. The metronome ticks a bit faster than some may traditionally be used to. Pacing seems to be a bit of a controversial topic in classical music but I have no issue with how it was implemented for these recordings.
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Itās been a long time since Iāve listened to the 8th. Thanks for pointing it out.
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This is also another favourite 8th of mine. The 6th also sounds wonderful but Im not as familiar with that work to say how it ranks in my mind. I do like the way Harnoncourt presents both of these and the recording quality is good.
Ive decided to start a search for what I feel are great renditions of favourite pieces. Should be a fun exercise. Im going to try and get a more permanent copy of what I find to be top notch. Havent bought a CD in ages! I could see myself trying to pick up this Harnoncourt.
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I love Harnoncourtās Beethoven cycle. I got it as a wedding present, and I believe that it was this set that made me realize that I like my tempos on the brisk side.
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Yes, Iām definitely going to be listening to his Beethoven cycle. Really liked what I have heard so far.
OK, so Im really enjoying the Harnoncourt Beethoven cycle. Itās hard to believe this was recorded so long ago. Excellent production.
The 6th is excellent after having a more focused listen.
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The 6th, the Pastorale is my favorite. I posted my favorite recording - or at least my most familiar one of it previously - on DG label. Itās something I ALWAYS use when evaluating headphones, because I can always just relax and listen.
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Not sure if Id classify it as "classicalā but it sounds like an interesting album with classical elements.
I looked through this thread and couldnt find your posting. At least I got to respond to an old post from @TylersEclectic. Do you mind providing specifics so I can have a listen. Having listened to the Harancourt 6th I can find the appeal in this piece.
Itās odd how the mainstream always suggest 5th and 9th as the greats for Beethoven, but they never come to mind when I seriously think about my preferences for his symphonies. I know they had some massive impact when they were first performed. Maybe I see them as too mainstream and subconsciously dismiss them with my usual snobbery.
I have the Harnoncourt cycle, along with about too many others, and it is good. I can take my Beethoven āBig Bandā (say Klemperer or VK), or original instruments (say Hogwood or Gardiner). The only cycle I have real problem with is Norringtonās first go at the 9 on EMI, sounds like a 331/3 LP played at 78 RPM. Of all Bās symphonies I tend to favor #3 and #7 for my desert island.
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Iāve heard some Klemperer works recently. I liked what I heard even though some of the recordings werenāt technically spectacular. Heās on my radar now.
Having sampled most of the Harnoncourt cycle itās my favourite so far in regards to completed full works. I have the von Karajan cycle and itās a good one but itās very middle of the road, doesnāt capture my attention like the Harnoncourt.
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Alexander Gibson (Conductor), New Symphony Orchestra of London (Orchestra)
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I believe VK did 3 complete cycles in stereo; the first on EMI with the Philharmonia (ADD), a set in 1963 (ADD) with the BPO on DG - which is the one I have and like best having heard some samples from the other two, and a later all digital affair with the BPO also on DG.
Iāve also got way too many one-offās of individual symphonies #3 thru #9.
For #3 I keep coming back to Klemperer on EMI and the Philharmonia coupled with a great orchestrated version of his āGross Fugueā. Klempererās āFuneral Marchā 2nd movement is the key to this performance.
For a #5 and #7 coupling Carlos Kleiber and the VPO on DG are classics.
For an terrific āSmall Bandā approach to #4 and #7 Joshua Bell and the ASMF on Sony (I wish he would record the rest with this ensemble with augmented forces for the 9th).
For #6 an old Bruno Walter with Columbia SO on the Columbia label.
For #9 Solti and Chicago on Decca 1972 (ADD) for extra ball-sy Beethoven and great soloists.
And Toscanini on RCA just because.
And the first B9 I ever bought on LP and own now on CD
This is the original 1988 CD made from the 1966 master tapes.
Great soloists (as in Soltiās) and the VPO on Decca, a conductor and orchestra steeped in the German tradition (as was Klemperer) and a chorus singing in their native tongue.
So as Iām checking my facts on Amazon what do I stumble across:
Beethoven: Symphony No.9 (UHQCD-MQA) A Japanese re-master of this 66 recording.
Beethoven / Schmidt-Isserstedt, Hans (Artist) Format: Audio CD
Price: $42.39 (Yes, but I just had to, I couldnāt help myself, hopefully it is one of the re-masters and not a gimmicky trollop.
One final thought; there are as many different recordings of Beethoven Symphonies as there are stars in our galaxy. There are so many excellent ones of each to choose from its one of those āyou canāt get there from hereā scenarios when trying to pick just one. And if you are a fan of his symphonies his concertos and Sonatas for piano should satisfy also. After that, I like his late string quartets, to me they are truly his best compositions, a simply amazing source of music that, for me, towers above his other works.
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