The Greatest Recordings

Herreweghe, the greatest Bach?

There is a reason that I continue to compile and examine these lists of "greats."  I have accepted (challenged myself to?) the daunting task of a series of essays noting the ten greatest classical music works of all time.  Yes, it's an insane project.  Among the (at least) hundreds of thousands of possibilities, I'm going to try and narrow it down to ten, with two works from each of five historical periods:  the Renaissance, Baroque, Classical, Romantic, and Modern.  How can one pick the greatest composition of Beethoven, much less the milieu in which he lived.  Of course, there still remains the "Classical/Romantic" question when talking about the guy.

Believe it or not, I think I have two works selected already.  One is (at least to me) painfully obvious; the other is a kind of cop-out.  But more on than much later.

Here is a list I came across of the greatest recorded performances, assembled by Fred Childs and the folks at Performance Today.  I guess for the sake of clarity, they're all in alphabetical order; I've selected a listing of interesting performances in no particular order.  Of course, this is absolutely no opinion on the inclusion of a work on the "greats" list, but just another look into the collective minds of the blogosphere.

J.S. Bach: Brandenburg Concertos Nos. 1 - 6: Akademie für Alte Musik Berlin. Harmonia Mundi HMX 2901634.35 (2-CD set)

J.S. Bach: Mass in B minor, BWV 23: Collegium Vocale/La Chapelle Royale, Phillipe Herreweghe, conductor, Harmonia Mundi HMX 2908110.12.  I cannot begin to count the number of recordings of Bach's Mass that I own.  To me, this is among the best, combining modern scholarship and a more traditional (though not massive) ensemble size:  a happy (at least to me) medium.

Bartók: Concerto for Orchestra: Chicago Symphony Orchestra, Fritz Reiner, conductor.  RCA Victor 61504.  THE recording of this monumental work, from the glory days (which are hardly over) of the CSO.

Beethoven: Symphony No. 5 in C minor, Op. 67: Vienna Philharmonic, Carlos Kleiber, conductor.

Kleiber:  what did he know that
we don't?

Deutsche Grammophon 447 400-2.  I think that it is safe to say that there is universal agreement that this is the definitive performance of Beethoven's most well-known work, led here by (arguably) the greatest conductor of them all.

Brahms: A German Requiem: Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau, Philharmonia Chorus & Orchestra, Otto Klemperer, conductor.  EMI Classics 7243 566903 2 5.  I have studied this work at great length (and am prepared to conduct it should anyone call!) referring to a number of original sources, including the composer's own metronome markings.  They existed in his own conducting score for 25 years but were never published.  To my mind, Klemperer comes the closest to what I view as Brahms's conception.

Munch, Debussy and the
world's "greatest French orchestra"

Debussy: La Mer: Boston Symphony Orchestra, Charles Munch, conductor.  RCA Victor 61500.  This, I would definitely love to hear.  I see an Archiv buy coming my way soon.

Dvorák: Cello Concerto in B minor Op. 104: Mstislav Rostropovich, cello, Berlin Philharmonic, Herbert von Karajan, conductor.  Deutsche Grammophon 447 413-2.  Hmmm.  Better than duPre?  Ma?  I've fallen in love with a 1930s recording of Casals with Szell leading the Czech Phil.  Maybe it's the fact that the orchestra has Dvorak in its blood.

Dvorák: Symphony No. 9 in E minor, Op. 95: London Symphony Orchestra, István Kertész, conductor.  Penguin Classics 460604.  I own the entire set conducted by Kertész.  Incredible.

Elgar: Cello Concerto and Sea Pictures: Jacqueline du Pré, cello; Janet Baker, mezzo-soprano;
London Symphony Orchestra, Sir John Barbirolli, conductor. EMI CDC 556219 2.  Yes, the tale of an artist lost too soon is part of duPre's legacy.  Despite her tragic death, this performance defines the Elgar Concerto and, despite repeated listenings, makes me weep.

So this is just a brief listing of some of the best on record (CD?  mp3?--my least favorite medium).  But what makes them, or the works themselves great?  Here's another's thoughts that I am contemplating.  Dan Lis writes:

Composer Dan Lis

My solution: it’s all about the balance. I don’t adopt a strict guideline for what makes good music and what doesn’t, but I think a balance of elements (or lack thereof) makes music “good” (or “bad”). Two criteria that I’m certain that have to be in this mix are intellect and intuition. Music has to have an intellectual component and an intuitive component, and both have to be strong enough to a.) hold their own, b.) compensate for each other, and c.) form a cohesive unit. 

Intellect is important because it is the component that adds judgment, revision, depth, consideration, and most importantly, thought, to music. Music isn’t a purely sonic entity. We think about it (us musicians do it nearly all the time), judge it, reconsider our judgments, etc. Thought is the basis of our science of creating music (I’ll get to the art of creating music later). The interpretation of the bare sonic materials bombarding our ears, and the will we force on unsuspecting air molecules (see Zappa, haha) originate in the chemical and electrical signals running through our brains. Our processing of music refines music, progresses music, and creates more complex or more thoughtful art.

Intuition is the art of music, and is important because it is the spark and the unquantifiable aspect of the musical experience. It is the opposite of the intellect–impulsive, rash, emotional, idiosyncratic, irrational, etc. It just happens. As an integral part of the human experience, intuition guides us without our even knowing it. An an integral part of the musical experience, intuition gives life to pitches and rhythms in a composer’s head or in a performer’s fingers. Because it is at the core of the musical experience, it must be present for music to be art; otherwise music appears as quantized eighth notes.

Obviously, there will be much more list-making and (hopefully) provocative thought....