# Multiple recordings of the same symphony?



## DiesIraeCX (Jul 21, 2014)

Whether it's due to OCD, a need to collect (read: hoard), or just out of love of a certain piece of music, some of us have a sometimes _unreasonable_ amount of *different *recordings of the same work.

Whatever the reason is, I thought we could use this thread to share the works (Symphonies, Operas, String Quartets, etc.) that we have multiple recordings of! It's OK, nobody's judging you. 

As of right now, I have thirteen recordings of Beethoven's 9th and I'm pretty sure when it's all said and done, I'll have quite a few different recordings of Mahler's 6th and 2nd.


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## Guest (Aug 26, 2014)

k466

...and it needs no introduction.


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## hpowders (Dec 23, 2013)

Beethoven's Pastoral Symphony. Individual performances by Bernstein/Vienna and Furtwangler/Berlin plus those found in complete sets by Wand, Toscanini, Mackerras, Abbado, Chailly and Vanska.


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## ribonucleic (Aug 20, 2014)

I have 9 complete sets of the Beethoven piano sonatas. (10, if you include Gilels' not-quite.)

The thing is: I know that this is, relatively speaking, chump change. That there are people with several dozen recordings of, say, the Mozart Requiem.

Yet my wife would look at me and suggest that 9 complete sets of the Beethoven piano sonatas is _more than I need_.

She's a fine woman, but she does fail to understand certain things.


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## StlukesguildOhio (Dec 25, 2006)

I believe this question has been raised here on multiple occasions. I have multiple recordings of a good many works of music and not merely symphonies. When I began to collect classical music seriously I made an effort to research which recordings of works of the "core repertoire" were most highly acclaimed. With the passage of time and experience I came to develop personal preferences in composers, performers, and singers. Sometimes I felt the "need" for another recording of a given work because I wasn't wholly satisfied with the one I had. But I also went out of my way to purchase multiple recordings of favorite works recognizing that there was no such thing as the sing "best" recordings, but rather (in many cases) there were multiple recordings of great merit... each bringing something unique to my experience of a given work.

I find the differences to be found among vocalists are the most immediately obvious and so I tend to have a number of recordings of my favorite operas, choral works, lieder, etc... I also tend to have a number of versions of various works due to intentionally seeking out performances/recordings by various violinists, cellists, and pianists (especially). In most instances I will limit myself to 2 or three recordings of works of the core repertoire: one older "historical" or "old school" recording, one more contemporary and/or one HIP. The great exceptions are the operas of Mozart, Wagner & Richard Strauss, _La Traviata, La Boheme_, Gluck's _Orfeo ed Euridice_, Engelbert Humperdinck's _Hänsel and Gretel_, Johann Strauss' _Die Fledermaus_, _Madame Butterfly_, Schubert's song-cycles, Beethoven's 9th and violin concerto, and almost anything by J.S. Bach... many of which I have in half-a-dozen or more incarnations.


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## brotagonist (Jul 11, 2013)

Few of my duplicates are intentional. I am just not that fortunate a collector yet. While I have had a lot of classical albums since the 1970s, I have never yet reached a point of being able to purposefully forego something I was still wanting for a duplicate of something I already had.


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## StlukesguildOhio (Dec 25, 2006)

I have never yet reached a point of being able to purposefully forego something I was still wanting for a duplicate of something I already had.

The point is, in either instance we are speaking of something you don't have. There is a world of difference between this:










this:










and this:










No one recording offers the last or ultimate word on a given work of music.


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## brotagonist (Jul 11, 2013)

^ I understand this line of reasoning and the validity behind it :tiphat:


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## Chordalrock (Jan 21, 2014)

I have eight different recordings of Beethoven's Diabelli Variations. Unfortunately, the one that I'd like to have that I once heard on youtube I don't have, and don't know who played it (it's no longer on youtube either).

I don't tend to collect a lot of different renderings for a few reasons. One is that they're rarely imaginative or different enough. Another is that they nearly always have some basic flaws that I don't like, mainly the dynamic range being too great - the silent parts too silent and the loud parts too loud.


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## KenOC (Mar 7, 2011)

Chordalrock said:


> I have eight different recordings of Beethoven's Diabelli Variations. Unfortunately, the one that I'd like to have that I once heard on youtube I don't have, and don't know who played it (it's no longer on youtube either).


Paul Lewis. If I didn't mention it before, Paul Lewis.


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## Chordalrock (Jan 21, 2014)

KenOC said:


> Paul Lewis. If I didn't mention it before, Paul Lewis.


2011 is too new. I'll check it out though.


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## SixFootScowl (Oct 17, 2011)

I have 6 or 7 Beethoven Missa Solemnis, but only the Ormandy one gets played. I have about 34 or 35 Beethoven Ninths and 99 percent of the time Fricsay gets played. I have 4 or 5 Fidelio Operas and always Bernstein gets played (for Gundula Janowitz, Manfred Jungwirth, and Hans Sotin). Two Beethoven Symphony cycles and a couple handfuls of other Beethoven symphony sets and individual discs, but Wand gets played most for symphonies 1-8. I have 6 or so Messiah sets and several get equal playing time (Westenburg, Topp (live), Butt (Dublin version), and Richter (sung in German)). I was fondling CD set of Beethoven 5th and Egmont the other day at the music store but put it down since I buy too many CDs and already have several 5ths and one Egmont. I must say, though, the soprano in this Egmont was nice. I might get it yet in my hopelessly addicted state.


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## JACE (Jul 18, 2014)

I have nineteen recordings of Ives' Second Piano Sonata in my collection. No other work comes close to that, duplication-wise. I have nine recordings of Ives' Fourth Symphony. And I'm pretty sure that's tops for any orchestral work.

When I was developing my Ives site, I had a good "excuse" for investigating every Ives recording that piqued my curiosity. Then performers and labels started sending recordings to me since they wanted their recordings to be represented on my site. So, over a period of several years, I ended up amassing nearly every major Ives recordings that had been released. (This was several years ago; I haven't kept up with newly-released recordings -- or with updating the site.)

Beyond Ives, my biggest duplicates are with Mahler and Shostakovich. I'd guess that I've got an average of four or five recordings of their symphonies. ...Maybe a _few_ more with favorites like Mahler's 2nd & 9th and DSCH's 10th & 15th.

I like comparing different versions of the same work. It's instructive, and it's fun!


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## JACE (Jul 18, 2014)

StlukesguildOhio said:


> No one recording offers the last or ultimate word on a given work of music.


Yes! ...And the greater the work, the more that this is true!


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## Guest (Aug 26, 2014)

StlukesguildOhio said:


> The point is, in either instance we are speaking of something you don't have. There is a world of difference between this:


Agreed, but let's be honest: he has a point that there is, in most cases, more of a difference between a random 20th century composer recording and a Mozart disc than between...two Mozart discs.


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## JACE (Jul 18, 2014)

arcaneholocaust said:


> Agreed, but let's be honest: he has a point that there is, in most cases, more of a difference between a random 20th century composer recording and a Mozart disc than between...two Mozart discs.


From my point of view, the most important thing to keep in mind is that there's no one right way to do this. Right?

If you're focused on building a broadly representative collection, then owning multiple versions of the same work doesn't make sense.

On the other hand, if your most interested in exploring the work of certain composers (or even particular works), then finding multiple interpretations of the same work makes all sorts of sense.

On another board, I posed this same idea as a question: Do you collect DEEP or WIDE?


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## PetrB (Feb 28, 2012)

DiesIraeVIX said:


> Whether it's due to OCD, a need to collect (read: hoard), or just out of love of a certain piece of music, some of us have a sometimes _unreasonable_ amount of *different *recordings of the same work.
> 
> Whatever the reason is, I thought we could use this thread to share the works (Symphonies, Operas, String Quartets, etc.) that we have multiple recordings of! It's OK, nobody's judging you.
> 
> As of right now, I have thirteen recordings of Beethoven's 9th and I'm pretty sure when it's all said and done, I'll have quite a few different recordings of Mahler's 6th and 2nd.


I sort of get it, but at that rate of expense, why not just go to concerts?


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## Art Rock (Nov 28, 2009)

Normally, I don't do this at all. However, I feel compelled to get every recording I can get my hands on of two of my favourite pieces of music, Mahler's 4th and his Das Lied von der Erde. The only one that comes close is Mussorgsky's Pictures at an exhibition, where I want to get every different version (from the original piano to various orchestrations, to jazz bands, rock bands, and so on), but not multiple CDs for the same version.


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## JACE (Jul 18, 2014)

PetrB said:


> I sort of get it, but at that rate of expense, why not just go to concerts?


Often, it's not practical.

Lately, I've been enjoying Hartmann's symphonies. How long do you think I'd have to wait -- or how far would I have to go -- to hear even one of his symphonies performed live? I live in Atlanta, Georgia. I dare say that it might NEVER happen here.

To hear Ives Fourth Symphony performed in concert, I had to fly across the country! Very costly, to say the least.

All of those barriers/constraints go out the window with recordings.


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## DiesIraeCX (Jul 21, 2014)

PetrB said:


> I sort of get it, but at that rate of expense, why not just go to concerts?


Haha, this has some truth to it! In fact, I'm going to my first live symphony performance this upcoming November, I'm extremely excited!

That said, for the thirteen Beethoven 9ths I have, most of them were purchased used for dirt cheap on Amazon. So, not too much post-purchase guilt there!


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## DiesIraeCX (Jul 21, 2014)

Art Rock said:


> Normally, I don't do this at all. *However, I feel compelled to get every recording I can get my hands on of two of my favourite pieces of music, Mahler's 4th and his Das Lied von der Erde*. The only one that comes close is Mussorgsky's Pictures at an exhibition, where I want to get every different version (from the original piano to various orchestrations, to jazz bands, rock bands, and so on), but not multiple CDs for the same version.


That's precisely how I feel about it, this is something I do only for a couple of works that I truly adore above all. Speaking of Mahler's Das Lied von der Erde, seeing how you have plenty of different recordings of it, which one would you recommend or which is your personal favorite? I recently bought Reiner/Chicago (Forrester, R. Lewis). I wouldn't mind getting my hands on a better recording if possible.


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## JACE (Jul 18, 2014)

DiesIraeVIX said:


> Speaking of Mahler's Das Lied von der Erde, seeing how you have plenty of different recordings of it, which one would you recommend or which is your personal favorite? I recently bought Reiner/Chicago (Forrester, R. Lewis). I wouldn't mind getting my hands on a better recording if possible.


DiesIrae,

You weren't asking me, but I'll jump in anyhow. 

For DLvdE recordings, I'd recommend:
- Bernard Haitink, Concertgebouw, Janet Baker, James King (Philips)
- Rafael Kubelik, Bavarian Radio SO, Janet Baker, Waldemar Kmentt (Audite)
- Bruno Walter, NYPO, Mildred Miller, Ernst Haefliger (Sony) [Since it's older, the sound quality on this one isn't quite as good as the other two.]


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## DiesIraeCX (Jul 21, 2014)

JACE said:


> DiesIrae,
> 
> You weren't asking me, but I'll jump in anyhow.
> 
> ...


Thanks for that. I might go with Haitink's since it comes coupled with the 9th (that seems to have excellent reviews), looks like a bargain to me!


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## PetrB (Feb 28, 2012)

DiesIraeVIX said:


> Haha, this has some truth to it! In fact, I'm going to my first live symphony performance this upcoming November, I'm extremely excited!


Congratulations, and have a great time!


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## Guest (Aug 26, 2014)

I am also guilty of OCMRCDH (obsessive-compulsive multi-recording CD hoarding) in terms of LvB piano sonatas, Diabelli Variations, cello sonatas, Bach cello suites and violin partitas and Bruckner symphonies. All in the spirit of disinterested musical scholarship, you understand.


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## Andreas (Apr 27, 2012)

I think I have about ten to fifteen different recordings of each of theses works:

Beethoven 9
Brahms 3 and 4
Bruckner 7, 8 and 9
Schubert Unfinished and Great C Major
Sibelius 5
Wagner Overtures and Preludes

I suppose that these must be the orchestral works that mean the most to me. That is, if I'd one day find The Perfect Recording of these works, I'd be less than a handwidth away from total bliss (as opposed to the near-total bliss that any reasonable good performance of these works will provide already).

Other works that exist in numerous incarnations in my collections:

Bach, Art of the Fugue
Beethoven opp. 109-111
Mozart 40 and 41
Schubert D960
Schumann 4


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## Andolink (Oct 29, 2012)

I have many thousands of CD's in my collection, collected over 30+ years, and only *once* in all that collecting have I ever (deliberately) bought 2nd versions of pieces of music for comparative purposes. That was 3 weeks ago when, after buying a highly praised recording of Fauré's two cello sonatas, I discovered a recording of the same sonatas performed on period instruments. Being fanatical about HIP, I couldn't resist buying this to compare with the first recording.

After reading through this thread I feel like I'm now looking over the abyss into the black hell of duplicate recording addiction. Should I not carefully step back before it's too late?


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## Art Rock (Nov 28, 2009)

DiesIraeVIX said:


> That's precisely how I feel about it, this is something I do only for a couple of works that I truly adore above all. Speaking of Mahler's Das Lied von der Erde, seeing how you have plenty of different recordings of it, which one would you recommend or which is your personal favorite? I recently bought Reiner/Chicago (Forrester, R. Lewis). I wouldn't mind getting my hands on a better recording if possible.


My personal taste:

Original version (orchestra, tenor, alto): Kollo/Ludwig/Berliner Philharmoniker/von Karajan (DG, 1975). If you don't mind lower quality recording, also check out Patzak/Ferrier/Wiener Philharmoniker/Walter (Decca, 1952) and Wunderlich/Ludwig/Philharmonia and New Philharmonia Orchestras/Klemperer (EMI, 1967)

Alternate version (orchestra, tenor, bariton): King/Fischer-Dieskau/Wiener Philharmoniker/Bernstein (Decca, 1966)

Adapted version (chamber orchestra, tenor, alto): Blochwitz/Remmert/Ensemble Musique Oblique/Herreweghe (HM, 1994)

Adapted version (piano, tenor, alto): Vorzellner/Haselboeck/Berchtold (Cavi-Music, 2009)

There is also an adapted version with the lyrics sung in Cantonese, which I do not recommend (Liang/Mok/Singapore Symphony Orchestra/Shui (BIS, 2007).


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## ptr (Jan 22, 2013)

I confess to OCMRCDH! I also confess to having replied to at least half a dozen similar TC treads, hoarding music is fun and it brings meaning to my dullish life! But not as much meaning as listening to my shoals of musical hoards does!

/ptr


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## techniquest (Aug 3, 2012)

Well...I have 14 versions of Mahler's 2nd on commercial CD (including 5 from complete symphonies box sets); plus 6 versions on vinyl (not duplicated on CD), 2 versions on commercial DVD and a whole host of recordings from radio and TV.
This figure is only slightly less for Mahler's 3rd; and I have quite a few of Mahler's 8th too.
I have 3 commercial recordings of Wagner's Ring on CD plus part recordings (CD and vinyl) and highlights (also CD and vinyl). I have 4 complete sets of Beethoven Symphonies plus several 9's 5's and 6's; and I have 5 different recordings of the Respighi Rome trilogy - not something many will own up to I'm sure.


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## DiesIraeCX (Jul 21, 2014)

ptr said:


> I confess to OCMRCDH! I also confess to having replied to at least half a dozen similar TC treads, hoarding music is fun and it brings meaning to my dullish life! But not as much meaning as listening to my shoals of musical hoards does!
> /ptr


There are _multiple _threads of the _same_ topic?  Well, I guess it's appropriate in the spirit of the thread topic, then! 

And yes, I have to agree with you, hoarding music definitely brings a bit of fleeting meaning but that pales in comparison to listening to the actual music!


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## JACE (Jul 18, 2014)

Andolink said:


> After reading through this thread I feel like I'm now looking over the abyss into the black hell of duplicate recording addiction. *Should I not carefully step back before it's too late?*


Yes. Run away and don't ever look at this thread again. Run!!! RUN!!!!!!!!!!!!!!


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## Guest (Aug 26, 2014)

JACE said:


> On another board, I posed this same idea as a question: Do you collect DEEP or WIDE?


I collect WIDE and listen DEEP to individual works rather than listening WIDE


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## hpowders (Dec 23, 2013)

JACE said:


> Yes. Run away and don't ever look at this thread again. Run!!! RUN!!!!!!!!!!!!!!


Yes. It's easy to spend money on duplicate CDs and DVDs. Once I embarrassed myself and actually ordered the exact same CD that I already had. I have so many CDs, I didn't realize it was an exact duplicate.


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## Art Rock (Nov 28, 2009)

techniquest said:


> ....and I have 5 different recordings of the Respighi Rome trilogy - not something many will own up to I'm sure.


A bit of a tangent, but I really like Respighi in general, and this trilogy in particular (but I have only one version).....


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## Blancrocher (Jul 6, 2013)

hpowders said:


> Yes. It's easy to spend money on duplicate CDs and DVDs. Once I embarrassed myself and actually ordered the exact same CD that I already had. I have so many CDs, I didn't realize it was an exact duplicate.


Don't throw it away! I deliberately purchase multiple copies of most of my cds, just in case I should scratch or lose one.


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## Guest (Aug 26, 2014)

Hmmm, off the top of my head:
Beethoven's symphonies - Szell, Vanska, Immerseel
Beethoven's 9th - Szell, Vanska, Immerseel, Gardiner, von Karajan (60's), Fricsay, Furtwangler
Beethoven's 5th and 7th - Kleiber, Szell, Vanska, Immerseel
Tchaikovsky 6th - Mravinsky, Gatti, Jansons, Monteux
Dvorak 9th - Reiner, Neumann, Bernstein
Mahler 1 - Bernstein (DG), Kubelik (Audite)
Mahler 2 - Bernstein (DG), Klemperer (Live, EMI), Solti, Slatkin, Tilson Thomas, Boulez, Rattle (Birmingham), Jarvi, Mehta
Mahler 6 - Boulez, Eschenbach, Tilson Thomas


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## Orfeo (Nov 14, 2013)

*Anton Bruckner's Symphony no. VIII*
-Herbert von Karajan & the BPO.
-Herbert von Karajan & the VPO.
-Gunter Wand & the Cologne Radio Symphony Orchestra.
-Gunther Wand & the BPO.
-Welser-Most & the Mahler Youth Symphony.
-Klaus Tennstedt & the London Philharmonic.
-Daniel Barenboim & the Chicago SO.
-Jascha Horenstein & the London Symphony.
-Gennady Rozhdestvensky & the USSR Ministry of Culture SO.

*Alexander Glazunov's Symphony no. VIII*
-Jose Serebrier & and Royal Scottish National Orchestra.
-Valeri Polyansky & the Russian State Symphony Orchestra.
-Yevgeny Svetlanov & the Moscow Radio Symphony.
-Gennady Rozhdestvensky & the USSR Ministry of Culture SO.
-Vladimir Fedoseyev & the USSR Radio & TV Large Symphony Orchestra.
-Takashi Asahina & the Japan Shinsei Symphony Orchestra.

*Pyotr Illyich Tchaikovsky's "Manfred"*
-Yevgeny Svetlanov & the USSR State Symphony.
-Nathan Rakhlin & the USSR State Symphony. 
-Konstantin Symeonov & the State TV & Radio Grand Symphony Orchestra.
-Vladimir Jurowski & the London Philharmonic.
-Vladimir Ashkenazy and the Philharmonia.
-Yuri Simonov & the London Symphony.
-Yuri Abronovitch & the London Symphony.

And so forth.


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## Tristan (Jan 5, 2013)

Right now, I have 3 sets of Tchaikovsky's symphonies, 2 of Shostakovitch's, 2 of Brahms' (3 of his Symphony No. 4), 3 sets of Beethoven symphonies, and at least 2 recordings of most Mahler symphonies.


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## Skilmarilion (Apr 6, 2013)

Okay ... is it strange that I do not own multiple recordings of *any* work? This is because ...

1) I have, most of the time, been more than satisfied with purchases I have made based on reading reviews and the like regarding what is "acclaimed", so I haven't felt the need to replace, so to speak.

2) I don't like spending money.

3) I'm usually far more interested in discovering music itself than comparing recordings.

[But for those other times ...]

4) Youtube.


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## SONNET CLV (May 31, 2014)

Of course, my specific brand of insanity leads me to have more than a dozen copies of many more than a dozen works. In the cases of something like Beethoven's Fifth, Dvorak's Ninth, Shostakovich's Fifth, or Schubert's Winterreise, I can claim many more than a dozen (or even a couple of dozen). I probably have at least a dozen copies of Furtwangler conducting Beethoven's Ninth (admittedly some are duplicate performances on different labels). But that last parenthetical point brings up the point I'd like to make in this post.

For some of us, it's more than just having several copies of a work. We also seek the best sounding pressing (recording) of a work, and there is often a great range in the quality of sound _of the same exact recording _from one media version to the next. For instance, an original LP from the 1960s may sound quite different from the early CD version on one label and a later CD or SACD version on another label, or even different from a modern day LP pressing. I even have modern day LP recordings (same work, same label) from different pressing plants, and there are differences in sound. And then you get into re-mastered works and digitally re-mastered, and now Blue Ray discs ....

But the pursuit of a great sounding recording, especially of an interpretation I love, is an end goal to collecting. Of course, one need never settle for a single interpretation, either. Who can suggest that there is only one right sounding way to perform the Beethoven Fifth? Thus, the collecting hunt goes on ....

I have in recent months begun to downsize. I have to. Sometime or other I'll have to get rid of my dozen versions of Gorecki's Third and Tchaikovsky's Sixth. But there remain certain versions of disc (interpretation and sound) that I will maintain till the end. A much smaller collection than I have now, for certain, but a quality one, I believe.

Insanity? Yes. But it beats being a serial killer or the village arsonist. There really is nothing quite like great music performed greatly (and a great recording of the work played back on great sounding stereo equipment).


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## TurnaboutVox (Sep 22, 2013)

I haven't deliberately set out to acquire multiple recordings of the same works on many occasions, but I have ended up with quite a few.

- I've replaced LPs with CDs, a mix of direct replacements of the same recording, and alternative interpretations. This has depended on whether or not I was happy with the original interpretation / recording, the availability of a direct replacement, or the availability of a new performance / recording which attracted my attention.
Direct replacements - e.g. Shostakovich (Fitzwilliam Quartet); Beethoven sting quartets (Quartetto Italiano), piano works (Brendel, Kovacevich)
Alternative interpretations - e.g. Beethoven String Quartets (Talich Quartet - I bought those before the QI was reissued on CD), Cello Sonatas (Brendel and Brendel)

- I have replaced CDs when the recording hasn't satisfied me. 
Mahler #8 (Solti) and #10 (Ormandy) are examples.

I can only think of one disc I've ever replaced on the grounds that the interpretation / performance was poor (and the recording was terrible anyway). 


-I have duplicated CDs when acquiring a box set after one or more single discs (e.g. Beethoven - Endellion Quartet, Q. Italiano; Bruckner Symphonies - Tintner / RSNO etc.)

- I have accidentally ordered a disc I already own (Bax, Bridge - Piano Quintets - available to any good home)

- Occasionally (maybe more often, on reflection) I have ordered alternative recordings of something I already have just to have another interpretation (Beethoven String Quartets - Tokyo Quartet, Takacs Quartet, Endellion Quartet; Beethoven piano sonatas - Gilels, Lortie, Schiff; Schubert piano sonatas - Tirimo, Wallisch, Kempff; Liszt - Annees de Pelerinage - Bolet, Kempff, Jando, Brendel; Berg Violin Concerto - Hirsch, Mutter; Hindemith String Quartets - Amar, Juilliard, Sonare, Prague quartets).

OK, so now I really think about it, I have quite a few multiple recordings and I too may have a (mild, surely?) case of OCMRCDH!


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## Bulldog (Nov 21, 2013)

For the composers/works I love, multiple versions are all over my house. Bach's my main man: over 100 Goldbergs and dozens of most of his other works. Also, many multiple versions of Beethoven's Hammerklavier and 7th/9th symphonies, Granados' Goyescas, Shostakovich Preludes Op. 34, Op. 87 Preludes & Fugues and his symphonies/chamber works. Throw in a lot of versions of Scriabin/Schumann/Schubert/Chopin solo piano works; same with Bruckner/Mahler symphonies. My collection just keeps giving in this manner.

I'm not going to try justifying my collection; don't care how it might look, it's me.


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## Vesteralen (Jul 14, 2011)

Downsizing?

Yes.

If I could go back and re-obtain all the LPs and CDs I've traded and sold, I would have Brahms and Schumann symphony sets that would rival anyone's.

As of now, my multiple versions are mostly limited to discs that happen to fall within various megasets I own - Bernstein box, Steinberg box, Mercury Living Presence box, and so forth.

I do still have multiple Brahms and Schumann symphony sets outside those boxes, but nothing near in number to what I've gotten rid of over the years.


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## Mahlerian (Nov 27, 2012)

dholling said:


> *Anton Bruckner's Symphony no. VIII*
> -Herbert von Karajan & the BPO.
> -Herbert von Karajan & the VPO.
> -Gunter Wand & the Cologne Radio Symphony Orchestra.
> ...


All those 8ths, and not even one of the original version?


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## StlukesguildOhio (Dec 25, 2006)

I don't tend to collect a lot of different renderings for a few reasons. One is that they're rarely imaginative or different enough.

It would seem that you are not listening to the right recordings.

Another is that they nearly always have some basic flaws that I don't like, mainly the dynamic range being too great - the silent parts too silent and the loud parts too loud.

So these "flaws" don't exist in the sole version of the given work that you own? Are these then "flaws" or simply differences of interpretation from what you have grown accustomed to?


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## Itullian (Aug 27, 2011)

I have many of the works I really love.
Schumann and Brahms syms.

Many Mozart syms, operas.
Haydn syms.


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## StlukesguildOhio (Dec 25, 2006)

From my point of view, the most important thing to keep in mind is that there's no one right way to do this. Right?

If you're focused on building a broadly representative collection, then owning multiple versions of the same work doesn't make sense.

On the other hand, if your most interested in exploring the work of certain composers (or even particular works), then finding multiple interpretations of the same work makes all sorts of sense.

On another board, I posed this same idea as a question: Do you collect DEEP or WIDE?

I have elements of both. My musical collection spans the entire width from Byzantine Chant to Contemporary composers. On the other hand... I only tend to delve deeper within the spectrum from Bach through the early 20th century... and only with certain composers and/or certain works of music.


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## Orfeo (Nov 14, 2013)

Mahlerian said:


> All those 8ths, and not even one of the original version?


You know, actually I do have Simone Young's CD with the Hamburg Philharmonic (it slipped my mind).
But I'm happy to report that most of the recordings are in the Hass edition.


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## Bulldog (Nov 21, 2013)

Can't say I've ever thought about building a music collection. I acquire what I want, and the "building" part is just a collateral condition.


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## Mahlerian (Nov 27, 2012)

dholling said:


> You know, actually I do have Simone Young's CD with the Hamburg Philharmonic (it slipped my mind).
> But I'm happy to report that most of the recordings are in the Hass edition.


I prefer the revised Nowak myself, but I'm happy that we have that, and the Haas, and the original version as well.


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## StlukesguildOhio (Dec 25, 2006)

That's precisely how I feel about it, this is something I do only for a couple of works that I truly adore above all. Speaking of Mahler's Das Lied von der Erde, seeing how you have plenty of different recordings of it, which one would you recommend or which is your personal favorite? I recently bought Reiner/Chicago (Forrester, R. Lewis). I wouldn't mind getting my hands on a better recording if possible.

A "better" recording?! That's a damn fine recording... as is Forrester's with Bruno Walter:










Other marvelous recordings include Klemperer's with Christa Ludwig and Fritz Wunderlich

Bruno Walter with Kathleen Ferrier (essential!):










Bruno Walter with Mildred Miller & Ernst Haefliger

And I would suggest checking out Philippe Herreweghe's recording of the Schoenberg arrangement for chamber orchestra, and the Josef Krips live recording of the version for two male soloists featuring Fritz Wunderlich and Dietrich Fischer-Dieskau:


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## Orfeo (Nov 14, 2013)

Mahlerian said:


> I prefer the revised Nowak myself, but I'm happy that we have that, and the Haas, and the original version as well.


Out of curiosity, why the Nowak preference? I know there have been conductors with their preference for the Novak edition (Jochum for instance, then a Hass follower, then Solti, et al). But the Hass has been the preferred choice for a growing number of conductors after the 1950s. I think Hass brings out the more complete, consummate Bruckner, his original even daring thoughts as he was writing his symphonies. The ideas show greater coherency in Hass and is often more revealing.

But that's just my opinion.


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## thetrout (Jan 28, 2012)

Too many Schubert 8ths, e.g. Harnoncourt's, Mackerras's, Kleiber's et al. Quite a few Schubert 9ths also. Also have a few Beethoven repeats.


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## Mahlerian (Nov 27, 2012)

dholling said:


> Out of curiosity, why the Nowak preference? I know there have been conductors with their preference for the Novak edition (Jochum for instance, then a Hass follower, then Solti, et al). But the Hass has been the preferred choice for a growing number of conductors after the 1950s. I think Hass brings out the more complete, consummate Bruckner, his original even daring thoughts as he was writing his symphonies. The ideas show greater coherency in Hass and is often more revealing.
> 
> But that's just my opinion.


Boulez also recorded the Haas edition in his surprisingly good (because I would never think to associate him with Bruckner) recording.

It certainly changes the flow of the Adagio and Finale, and this leads to the division, I suppose. I feel that the Nowak version is more consistent, personally. Both are preferable to the original, which is less rich in terms of orchestration and harmony, despite some intriguing ideas.


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## GreenMamba (Oct 14, 2012)

I am one who has few duplications of works. I don't have a big CD collection to begin with, and I'd always rather buy a piece I don't own. I often go so far as to trade or sell recordings if I acquire, say, a box set. 

Also, I wasn't listening to Classical as consistently in the pre-internet days. If I want to hear several different conductors' takes on a symphony, I can do so online.


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## SONNET CLV (May 31, 2014)

StlukesguildOhio said:


> That's precisely how I feel about it, this is something I do only for a couple of works that I truly adore above all. Speaking of Mahler's Das Lied von der Erde, seeing how you have plenty of different recordings of it, which one would you recommend or which is your personal favorite? I recently bought Reiner/Chicago (Forrester, R. Lewis). I wouldn't mind getting my hands on a better recording if possible.
> 
> A "better" recording?! That's a damn fine recording... as is Forrester's with Bruno Walter:
> 
> ...


And one to consider hearing at least once in your lifetime:









I've enjoyed this reading for decades. It's ... interesting.


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## Chordalrock (Jan 21, 2014)

StlukesguildOhio said:


> Another is that they nearly always have some basic flaws that I don't like, mainly the dynamic range being too great - the silent parts too silent and the loud parts too loud.
> 
> So these "flaws" don't exist in the sole version of the given work that you own? Are these then "flaws" or simply differences of interpretation from what you have grown accustomed to?


In anything newer than recordings from the 1950s, the dynamic range is pretty wide. I didn't mean to suggest that the recordings I have are somehow perfect, rather I just don't like recordings as such very much because of this reason as well as their relatively poor sound quality (as compared with live performances).

There are of course some exceptions, mainly Rennaissance choral music, which however is a genre where there are only a few different recordings of the same pieces (at best), so there's not much to collect. Many recordings are also poor due to the muddiness of sound or weirdness like the Tallis Scholars leaving out tons of leading tones, so collecting Renaissance choral music boils down to just avoiding the disasters and acquiring a good recording or two per work.


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## Andreas (Apr 27, 2012)

Mahlerian said:


> I feel that the Nowak version is more consistent, personally. Both are preferable to the original, which is less rich in terms of orchestration and harmony, despite some intriguing ideas.


Quite a matter of taste, of course. Personally, once I'd heard the original version, I felt like, that's it. I can see the direction toward the Ninth in it more clearly than in the other versions. The Haas and Nowak have been immortalized by great recordings of the past, so they remain just as important I suppose. But it's the original version's turn now.


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## Janspe (Nov 10, 2012)

I do like the idea of collecting different recordings of a piece I like but unfortunately my student budget doesn't really allow me that kind of a buying scheme. Whenever I buy a new CD (usually when I go to a concert and find myself flipping through the shelves of the CD store in the venue) I opt for the ones that contain works not yet in my collection.

This brings me to an another annoyance: less popular works are often paired with something really well known. This results in me having several Mendelssohn E minor concertos in my collection, just because I wanted _that other concerto_ on the CD and got the Mendelssohn as a supplementary pairing. Or the Schumann C major fantasy, Beethoven Op. 57 piano sonata, Chopin second sonata etc. etc.

(PS. On an unrelated note, the reason I've always felt uncomfortable approaching the Bruckner symphonies is the abundance of different versions as discussed in this thread. How the heck am I supposed to know which version should I use as my first exposure to a given work? All that decision-making makes me feel dizzy. Oh well...)


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## Guest (Aug 27, 2014)

Janspe said:


> I do like the idea of collecting different recordings of a piece I like but unfortunately my student budget doesn't really allow me that kind of a buying scheme. Whenever I buy a new CD (usually when I go to a concert and find myself flipping through the shelves of the CD store in the venue) I opt for the ones that contain works not yet in my collection.
> 
> This brings me to an another annoyance: less popular works are often paired with something really well known. This results in me having several Mendelssohn E minor concertos in my collection, just because I wanted _that other concerto_ on the CD and got the Mendelssohn as a supplementary pairing. Or the Schumann C major fantasy, Beethoven Op. 57 piano sonata, Chopin second sonata etc. etc.
> 
> (PS. On an unrelated note, the reason I've always felt uncomfortable approaching the Bruckner symphonies is the abundance of different versions as discussed in this thread. How the heck am I supposed to know which version should I use as my first exposure to a given work? All that decision-making makes me feel dizzy. Oh well...)


I honestly don't worry about the different versions. I couldn't even tell you which I have - I'm sure if I listed them here, somebody would identify them. Dive into Bruckner with whichever version you wish - if you like it, later you can get into the different versions.


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## bigshot (Nov 22, 2011)

The first priority for a classical music fan is to become familiar with the repertoire. That takes at least a decade, usually two. Once you've gotten to that point, you can start delving into interpretation. If you divide classical music fans by age, you'll find the older ones are the ones talking about Furtwangler, Klemperer and Toscanini as much as Beethoven, Mozart and Mahler. That isn't because they are from the same generation as Furtwangler, Klemperer and Toscanini... no one alive today is that old. The reason is because they have moved across the line from purely repertoire to the effect of interpretation on the repertoire.


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## JACE (Jul 18, 2014)

bigshot said:


> The first priority for a classical music fan is to become familiar with the repertoire. That takes at least a decade, usually two. Once you've gotten to that point, you can start delving into interpretation.


That's certainly a valid approach for delving into classical music. But it's not at all the approach that I've taken.

One of the very first classical CDs I ever bought was Shostakovich's Fifth, performed by Maazel and the Cleveland Orchestra. Shortly afterwards, I remember going over to a friend's house and hearing his recording of Shostakovich's Fifth -- by Bernstein and the NYPO. I particularly remember the horn part in the Largo movement. It was so much FASTER in the Bernstein recording!!! And it really changed the feeling of the music. I was _amazed_ at different it was. Ever since then, I've been aware that interpretation often has a HUGE impact on what we hear and how we hear it. So I've always enjoyed comparing different conductors' and orchestras' recordings of the same work. And it started right at the beginning of my interest in classical music.

That was nearly thirty years ago. _Doh! I'm old!_


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## thetrout (Jan 28, 2012)

bigshot said:


> The first priority for a classical music fan is to become familiar with the repertoire. That takes at least a decade, usually two. Once you've gotten to that point, you can start delving into interpretation. If you divide classical music fans by age, you'll find the older ones are the ones talking about Furtwangler, Klemperer and Toscanini as much as Beethoven, Mozart and Mahler. That isn't because they are from the same generation as Furtwangler, Klemperer and Toscanini... no one alive today is that old. The reason is because they have moved across the line from purely repertoire to the effect of interpretation on the repertoire.


It is an interesting interpretation but it is a little, neat (at least for my circumstances). There are still things in the repertoire which I, suppose, have not delved into (I am currently struggling with Mahler) yet I already own numerous Beethoven and Schubert symphonies - and others! The mind is a little too inquisitive to, merely acquire knowledge of the material without inquiring if there are, 'better interpretations?' Also, you tend to focus on individual composers anyway, and buy up multiple recordings. There is a tendency - at least with me - to go through phrases, as opposed to, moving automatically on to another composer.


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## StlukesguildOhio (Dec 25, 2006)

By and large my experience with music followed the trajectory suggested by bigshot. I first collected with an eye/ear to gaining a grasp of the core repertoire. Later I focused quite a bit more on alternative performances. Of course this wasn't cut & dried. I didn't reach a point (I still haven't) where I felt there were no more composers or compositions that were "new" to me... or that I still hadn't/haven't a full grasp upon. At the same time that I was fleshing out my collection of the "core repertoire" I began to recognize that there were certain conductors, performers, and singers that I preferred over others... and often for a specific repertoire. With time I began to make a concerted effort to seek out alternative performances of favorite works... while still seeking out compositions and composers that were "new" to me.


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## hpowders (Dec 23, 2013)

I've bought several performances of Ives Second Symphony, but the Bernstein/NY Philharmonic is still definitive as far as I'm concerned.

Also, quite a few performances of Copland's Appalachian Spring and though Michael Tilson Thomas is quite fine with the SF Symphony and gives us the entire work, nobody does Copland better than Leonard Bernstein and the suite performed by the NY Philharmonic remains unsurpassed.


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## Antiquarian (Apr 29, 2014)

Most of my duplicates of the same performance are the result of my move from LP's to CD. When I bought my Von Karajan set of Beethoven Symphonies on CD, I retained my old recordings for sentimental reasons. Since vinyl seems to be making a comeback, I'm glad I did! Of the recordings that I have of different performances, it would have to be Handel's Messiah. Not because it is a piece that I am particularly fond of (although I am), but because I am an 'accidental collector', and music lovers even of the most cursory sort seem to have a copy of this in their collection. How many? Seventeen, eighteen I would hazard, if you include 'best of' collections, and Karl Richter's 'Der Messias' in German. I know it's not a symphony, but I thought it was interesting. Of symphonies, hands down its Beethoven's 5th, for the same reason.


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## stevens (Jun 23, 2014)

I have 6 different videos of Rachmaninoffs second pianoconcert and 5 of his third. Does that count?


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## hpowders (Dec 23, 2013)

I have two Furtwängler performances of the Brahms First Symphony and one by Charles Munch.

I don't care for the former's fussy tempo manipulations. The Munch is a fantastic performance and is my choice whenever I want to play this music, which admittedly is very infrequently.


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## hpowders (Dec 23, 2013)

For Beethoven's Ninth Symphony, I have Toscanini, Abbado, three Karajans, Wand, Chailly, Mackerras and Vänskä.

So that's nine that I can remember. I have to say I am not satisfied completely with any of them, though Chailly probably comes closest to what I consider a great performance of this music.


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## hpowders (Dec 23, 2013)

Since we are not limited exclusively to symphonies, I have to list the Ives Concord Piano Sonata, since it is my favorite work for piano.

I have performances by Gilbert Kalish, Marc-André Hamelin, Easley Blackwood and Donna Coleman.

The definitive performance from this group is the Easley Blackwood, a towering beautifully proportioned performance-pure poetry.


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## hpowders (Dec 23, 2013)

One of my favorite symphonies is Beethoven's Pastoral. I own recordings by Wand, Abbado, Toscanini, Bernstein, Vänskä, Mackerras and Chailly.

My favorite is the Wand performance, beautifully proportioned and played with deep feeling; the complete opposite of the dreadful Chailly performance.


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## hpowders (Dec 23, 2013)

The Mahler 9th Symphony is wonderful. I have it done by Abbado, Karajan, three Bernstein performances and Barbarolli.

Here for me Karajan's live performance hits the bullseye-a beautifully proportioned, warm performance, just the opposite of what I would have expected from this often cold conductor, usually more interested in beautiful surface gloss than serious music making.

Interesting that given three tries, Bernstein just couldn't get it right-this from a conductor with a reputation for conducting Mahler.


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## hpowders (Dec 23, 2013)

Since we are not limited only to symphonies, my favorite violin concerto is Bartok 2.
I possess recordings by Shaham, Chung and Mutter.

The choice is really between Chung and Mutter; the Shaham being too cold and analytical thanks to iceman, Pierre Boulez.
I would pick Mutter/Ozawa for its dynamism and feeling as being my favorite.


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## hpowders (Dec 23, 2013)

As for piano concertos one of my favorites is Beethoven 1.
I own performances by Fleisher, Brendel, Vogt and Richter.

This one's easy. Richter gives an astonishing performance-playful, moving joyful. Charles Munch and the Boston Symphony provide steady support.


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## stevens (Jun 23, 2014)

hpowders said:


> As for piano concertos one of my favorites is Beethoven 1.
> I own performances by Fleisher, Brendel, Vogt and Richter.
> 
> This one's easy. Richter gives an astonishing performance-playful, moving joyful. Charles Munch and the Boston Symphony provide steady support.


Yes! Beethovens first pianoconcerto is seldom mentioned. I think its the second best (after no 5)


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## SixFootScowl (Oct 17, 2011)

Seven posts in a row hpowders. Are we going for a new post count record? 

Since I need to boost my "likes" count, I liked them all!


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## hpowders (Dec 23, 2013)

Florestan said:


> Seven posts in a row hpowders. Are we going for a new post count record?
> 
> Since I need to boost my "likes" count, I liked them all!


No. Since I have so many performances of the same works (multiple comparisons is my hobby), this thread plays right into me.

Thanks for liking them!!


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## SixFootScowl (Oct 17, 2011)

hpowders said:


> No. Since I have so many performances of the same works (multiple comparisons is my hobby), this thread plays right into me.
> 
> Thanks for liking them!!


You are welcome. Ha, I just received my 35th Ninth today! It's a good one too.
Oh and thanks for the bunch of likes in return.


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## DiesIraeCX (Jul 21, 2014)

Florestan said:


> You are welcome. Ha, I just received my 35th Ninth today! It's a good one too.
> Oh and thanks for the bunch of likes in return.


Whoa, whoa, whoa. You can't just say that and not share which recording it is!


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## hpowders (Dec 23, 2013)

Florestan said:


> You are welcome. Ha, I just received my 35th Ninth today! It's a good one too.
> Oh and thanks for the bunch of likes in return.


You are welcome. That's a lot of Ninths! I stopped at nine Ninths. I wonder why?


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## SixFootScowl (Oct 17, 2011)

One more Ninth and the sum of the digits will be (3+6) nine!

My 35th Ninth Symphony, just added to my collection, is conducted by Michael Tilson Thomas with the English Chamber Orchestra and Tallis Chamber Choir. It was recorded in the early 1980s. Now I am wondering how big the English Chamber Orchestra would be compared to a full symphony orchestra? From historic photographs on their website, it looks like maybe 35-40 instruments.

Many of my Ninths were purchased for the same reason men (and women) climb mountains--because it is there. Seriously, I bought about every used ninth I found at Dearborn Music for a year or two. Recently I passed on two used Ninths there, but not without buying the Furtwangler Conducts Beethoven 6 symphony set that included a Ninth.


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## SimonNZ (Jul 12, 2012)

Answered on a couple of threads already:



SimonNZ said:


> There was another thread a while back on this subject. At the time I wrote this:
> 
> 
> 
> ...


I once considered making a project of collecting as many different Goldbergs as I could find, but what became clear very quickly is that there's such a huge difference in inspiration and understanding between the first rank of interpretations and those of the second, that second rank recordings left me bored and angry and wondering if I hadn't been fooling myself that I liked the work at all (until I played one of those listed above again).

Most recordings of a _symphony_, though...probably one of Haydn's across various sets.


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## Varick (Apr 30, 2014)

PetrB said:


> I sort of get it, but at that rate of expense, why not just go to concerts?


Concerts are great, but you can't replay them. However, I do believe they are an essential part exploring music.



Blancrocher said:


> Don't throw it away! I deliberately purchase multiple copies of most of my cds, just in case I should scratch or lose one.


Now that's taking it a bit too far. If I ever scratched a recording I liked, I just bought another one.

This thread is about one of my favorite parts of listening to classical music.

I have 11 Goldberg's (about 5 more on Amazon wish list). Might I add that besides Gould's recordings ('55) I can't recommend Andrei Gavrilov's Goldberg's enough. My second favorite Goldberg there is. He brings something new to them and a spirit that is magnificent.

Have 9 Brahms Piano Concertos
6 Beethoven Piano Concertos
... it would take me too long to list everything I had 5 or more recordings of, and it is ever expanding.

I will say that there are some good points on this thread by those who say they don't get many repeats they already have because they want to hear new things all the time. I completely get that, and it does get in the way of exploring. I spent almost 3 months just listening to the two Brahm's Piano Concertos, then a few years later, I spent about another month going over everything in my collection and adding a few more. This activity does inhibit the expansion of repertoire.

But it is so much fun and I get so much enjoyment from it, and isn't that what music is supposed to be all about?

V


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## Chordalrock (Jan 21, 2014)

Another thing I've noticed about recordings is the balance between the orchestra and piano in concerto recordings is pretty much always unrealistic in pieces like Mozart's 20th piano concerto, where you can barely hear the winds at many points in the first movement for example. I've listened to this piece live and the winds were a lot more prominent than on recordings, where apparently the recording engineers are pressured to make the piano very prominent. Why would I want to get multiple recordings of pieces like this when they all have this flaw?


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## Varick (Apr 30, 2014)

Chordalrock said:


> Another thing I've noticed about recordings is the balance between the orchestra and piano in concerto recordings is pretty much always unrealistic in pieces like Mozart's 20th piano concerto, where you can barely hear the winds at many points in the first movement for example. I've listened to this piece live and the winds were a lot more prominent than on recordings, where apparently the recording engineers are pressured to make the piano very prominent. Why would I want to get multiple recordings of pieces like this when they all have this flaw?


This is why you keep trying, because when you do hear the winds the way you want to hear them, it will all fall into place and you will be ecstatic. This is why Spotify is wonderful, so you don't have to spend a fortune to find what you are looking for.

V


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## joen_cph (Jan 17, 2010)

(never mind, sorry)


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## hpowders (Dec 23, 2013)

I have so many multiple recordings that I could spend the rest of my life on this thread and never run out of works to list...but I won't.


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## Lord Lance (Nov 4, 2013)

I have been listening for over a year and I own several records of the same symphony. For Beethoven - Vanska, Furtwangler, Klemperer, Abbado [BPO], Solti/CSO, Barenboim [Staatskapelle Berliner], Haitink/LSO, Immerseel, Gardiner, Karajan [All], Walter [CBS], Mackerras [Live from Edinburgh Festival], Jochum/RCOA and Bernstein [VPO].

Brahms - Karajan 70s and 80s, Eugen Jochum, Jaap van Zweden, Bernstein/VPO, Wand, Klemperer's live First.

Mozart Symphonies - Bohm, Mackerras, Hogwood, Fischer, Marriner and Pinnock.

Haydn - Fischer.

Mahler - Bernstein/VPO, Solti, Kubelik,

Bruckner - Jochum/DG, Karajan, Stanisław Skrowaczewski, Barenboim.


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## ToneDeaf&Senile (May 20, 2010)

Chordalrock said:


> Another thing I've noticed about recordings is the balance between the orchestra and piano in concerto recordings is pretty much always unrealistic in pieces like Mozart's 20th piano concerto, where you can barely hear the winds at many points in the first movement for example. I've listened to this piece live and the winds were a lot more prominent than on recordings, where apparently the recording engineers are pressured to make the piano very prominent. Why would I want to get multiple recordings of pieces like this when they all have this flaw?


This is one of my pet peeves. So many concerto recording have the soloist unrealistically spotlighted. (I once heard/read that this is often done at the insistence of the soloist, who demands that he or she be clearly heard above the accompaniment at all times.) It's especially bothersome during passages when the soloist is playing the subordinate role, while the orchestra does all the interesting stuff. Yet in the recording the soloist buries the orchestra. It's a prime reason my hard copy music collection contains relatively few concerto recordings.

As to multiple recordings, there are no pieces I have a great many alternative interpretations of. But I most definitely have multiples. Mahler's fifth symphony for instance: 2 LP, 8 CD, 1 laserdisc (my ancient player still works!), 4 DVD. That might be a record for me, but maybe not.

Nowadays I tend to rely on YouTube to audition alternate interpretations so far as is possible. However, if I'm quite taken with a particular YouTube performance and a hard copy is available I will order/buy it, as recently happened with Beethoven's Eroica. It seems only fair.


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## senza sordino (Oct 20, 2013)

I have three different versions of LvB Symphony 5&7 and two complete symphony cycles. I think that's it. I'm not generally interested in collecting multiple versions of the same symphony. On the other hand, I am more likely to collect a few different versions of a concerto to hear the different soloist.


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## arpeggio (Oct 4, 2012)

*Granger Lincolnshire Posey*

At one time I thought having multiple copies of was a good thing. Not anymore.

Most of my multiple copies are the result of serendipity. This occurs frequently with band works. Most of the CD's of band music are collections of many works. (Note: Generally speaking band works are not as long as orchestral works.) I may see a copy of the _Acme Variations_ by Johnson on a CD. It is the only recording available of the work. However I already have recordings of the five other works on the CD. So if I really want a recording of the _Acme Variations_, I end up getting duplicates of the other five works.

My biggest duplication is of Percy Granger's _Lincolnshire Posey_. I have the following twelve recordings in my library.

Albany TROY 206 \ Tears: Khachaturian-Wilson-Granger-Ticheli-Copeland-Maslanka-Ives
Rowell, Jr., Malcolm W. \ Conductor
University of Massachusetts/Amherst Wind Ensemble \ Band

Chandos CHAN 9549 \ Granger Edition Volumn 4: Works for Wind Orchestra 1
Reynish, Timothy \ Conductor
Royal Northern College of Music Wind Orchestra \ Band

EMI Classics CDC 7 49608 2 \ British Music for Concert Band
Banks, Eric \ Conductor
Central Band of the Royal Air Force \ Band

EMI Classics-ArkiveCD 7243 5 56412 2 9 \ Granger
City of Birmingham Symphony \ Orchestra
Rattle, Simon \ Conductor

Equilibrium EQ75 \ Brooklyn Bridge
Haithcock, Michael \ Conductor
University of Michigan Symphony Band \ Band

Klavier KCD-11079 \ Wildflowers
Corporon, Eugene \ Conductor
North Texas Wind Symphony \ Band

Kosei KOCD-2818 \ The Heart of the Wind Ensemble
Fennell, Frederick \ Conductor
Tokyo Kosei Wind Orchestra \ Band (Out of print.)

Mercury 432 754-2 \
Eastman Wind Ensemble \ Band
Fennell, Frederick \ Conductor

Reference Recordings RR-117 \ Granger
Dallas Wind Symphony \ Band
Junkin, Jerry \ Conductor

Sony Classical SK 47198 \
Eastman Wind Ensemble \ Band \ Ensemble
Hunsberger, Donald \ Conductor

Summit dcd 281 \ Milestones
Satterwhite, H. Dwight \ Conductor
University of Georgia Wind Symphony \ Band

Telarc CD-80099 \
Cleveland Symphonic Winds \ Band \ Ensemble
Fennell, Frederick \ Conductor

Since I have every major recording of _Lincolnshire Posey_ and many secondary recordings, if a person asked me which of the above was the best I could give them an answer. It would be the Telarc with Fennell and the Cleveland Symphonic Winds.

Here is the rub. It is not that I think that the Telarc is a ten and the rest are zeros. As far as my ears are concerned all of the above are nines and tens. I would have no problem recommending any of them to anybody. Any discussions concerning the differences would be splitting hairs.

There was a marvelous entry in another thread concerning the marketing practices of the classical music recording industry. If a label came out with a new recording of _Lincolnshire Posey_ it would have to come up with some bogus nonsense to convince us that the recording is better than the other twelve and we have to buy it.

I have reviewed the above recordings and found that in eleven of them there is at least one work on the CD that is unique. The one that does not have a unique work is the EMI with the Central Band of the Royal Air Force. I really do not remember why I got that one.


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## PeterPowerPop (Mar 27, 2014)

I was recently on a Tchaikovsky ballet binge, and by the end of it I had bought these CDs of the complete ballets:

*The Nutcracker* (12):


Maurice Abravanel, Utah Symphony Orchestra
Werner Andreas Albert, Queensland Symphony Orchestra
Vladimir Ashkenazy, Royal Philharmonic Orchestra
Semyon Bychkov, Berliner Philharmoniker
Antal Doráti, Concertgebouw Orchestra
Charles Dutoit, Orchestre symphonique du Montréal
Mark Ermler, Orchestra of the Royal Opera House Covent Garden
Valery Gergiev, Kirov Orchestra
John Lanchbery, Philharmonia Orchestra
Seiji Ozawa, Boston Symphony Orchestra
Leonard Slatkin, Saint Louis Symphony Orchestra
Michael Tilson Thomas, Philharmonia Orchestra

*Swan Lake* (6):


Charles Dutoit, Orchestre symphonique du Montréal
Mark Ermler, Orchestra of the Royal Opera House Covent Garden
John Lanchbery, Philharmonia Orchestra
Seiji Ozawa, Boston Symphony Orchestra
Leonard Slatkin, Saint Louis Symphony Orchestra
Michael Tilson Thomas, London Symphony Orchestra

*The Sleeping Beauty* (a paltry 4):


Antal Doráti, Royal Concertgebouw Orchestra
John Lanchbery, Philharmonia Orchestra
Seiji Ozawa, Boston Symphony Orchestra
Leonard Slatkin, Saint Louis Symphony Orchestra

Plus some discs of excerpts.

I had it bad.

And now I'm on a Beethoven symphony cycle binge. Help!


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## Triplets (Sep 4, 2014)

I think it is primarily a gender thing. My wife and I listen to the same Music and in fact we met via an Internet based site for Classical Music Lovers. She is happy to listen to music and doesn't understand the multiple/compulsive ownership thing. She is quite happy at my faltering attempts to move my collection to a hard drive and to reclaim real estate from mountains of CDs.
Most of the people I know that have multiple recordings of works are men. Women like to listen but don't feel the need to own and compare.
Streaming will change all of this. Sales of CDs have been plummeting for years. Now downloads are dropping as streaming
gains momentum. Streamers will be able to pull up all 200 versions of a Brahms Symphony without having to suffer the embarrassment of having to explain to visitors why they have so many recordings of the same piece on their shelves.


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## Radames (Feb 27, 2013)

PetrB said:


> I sort of get it, but at that rate of expense, why not just go to concerts?


That's what I do. I only have a few Beethoven 9ths - my main one is Jochum. I got a deal on a complete set of the Walter Beethoven Symphonies so I have his also. I got the Karajan 60s one too after seeing it in a cut out bin for only $3.



hpowders said:


> Yes. It's easy to spend money on duplicate CDs and DVDs. Once I embarrassed myself and actually ordered the exact same CD that I already had. I have so many CDs, I didn't realize it was an exact duplicate.


That's the good thing about ordering on Amazon - they tell you if you already ordered something. That feature has saved me a few times. But when I see something in a used shop I sometimes can't remember if I have it. A couple of times I got something I already had. I just trade it in. I also trade in recordings when I find one I like more. I used to have the Tennstedt Mahler 3rd, but I found I liked Bernstein better. When I found the early Bernstein in a used shop I got it and traded in the Tennstedt.


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## PeterPowerPop (Mar 27, 2014)

Oops. I just realised that this thread asked about multiple recordings of the same symphony. Unfortunately for this thread, I blathered on about my CDs of Tchaikovsky's ballets instead. Sorry about that, folks.


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## DiesIraeCX (Jul 21, 2014)

PeterPowerPop said:


> Oops. I just realised that this thread asked about multiple recordings of the same symphony. Unfortunately for this thread, I blathered on about my CDs of Tchaikovsky's ballets instead. Sorry about that, folks.


Definitely not, I enjoyed your post! I've been meaning to give Tchaikovsky's ballets a chance, I've only heard his final three symphonies. So, I'll consult your post for some guidance when it comes time to purchase one of the ballets. 

From OP:


> Whatever the reason is, I thought we could use this thread to share the works (Symphonies, Operas, String Quartets, etc.)


All musical works are permitted. At the rate I'm going, pretty soon I'll have numerous recordings of Beethoven's Late String Quartets.


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## hpowders (Dec 23, 2013)

I am enjoying comparing three performances of Mahler's Eighth Symphony: Stokowski, Solti and Boulez.

Stokowski and Solti are similar-very aggressive in the fast sections at the expense of the poetic ones.

Boulez, on the other hand, at about 7 minutes slower than Stokowski and 5 minutes slower than Solti gives a beautifully proportioned and moving performance. Fast sections are fast enough and he is very sensitive to the beautiful slower sections of this great work.

Yes. Boulez is my favorite of these three.


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## Guest (Sep 16, 2014)

hpowders said:


> I am enjoying comparing three performances of Mahler's Eighth Symphony: Stokowski, Solti and Boulez.
> 
> Stokowski and Solti are similar-very aggressive in the fast sections at the expense of the poetic ones.
> 
> ...


Try Nagano's on Harmonia Mundi - the first recording that actually allowed me to connect with this symphony.


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## Badinerie (May 3, 2008)

Its difficult to say really What with Different couplings of Symphonies on different labels from different decades, and different formats even I would say its pretty inevitable that a frequent buyer would end up with half a dozen of a popular composition. I wouldn't like to go and count mine because I might catch sight of how many "Tosca's" I've amassed over the years and feel sl-ightly embarrassed.


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## chalkpie (Oct 5, 2011)

I have like 20 versions of Mahler 2, BUT oddly enough there isn't one of them which I would say is "perfect". Still too many though. I am also starting to have too many Sibelius sets.....ok screw that....no way.


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## DiesIraeCX (Jul 21, 2014)

chalkpie said:


> I have like 20 versions of Mahler 2, BUT oddly enough there isn't one of them which I would say is "perfect". Still too many though. I am also starting to have too many Sibelius sets.....ok screw that....no way.


What would you say your favorite M2 is? The only ones I have heard are Mehta/Vienna and Klemperer/Philharmonia. Both of them are excellent, with a slight edge to Mehta because I think he does the 3rd movement better.


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## hpowders (Dec 23, 2013)

My favorite Mahler 2 is a live performance of Zubin Mehta leading the NY Philharmonic in the boxed set, "The Mahler Broadcasts". One of the best things Zubin Mehta has ever done, though admittedly, that's not saying very much.


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## senza sordino (Oct 20, 2013)

^^^^^^ That is the version of Mahler 2 I own. I don't have any other versions. I would I like to hear other versions of all of Mahler's symphonies, as I only have one version of each symphony. I am not interested in buying multiple copies of each symphony. I got from the library the Haitink version of Mahler and it didn't play, a faulty disk. This is not infrequent. Why can't people take better care of the CDs they borrow from the library?


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## bigshot (Nov 22, 2011)

Mehta isn't a bad conductor at all actually. He just went through a period where he was burning the candle at both ends and his work suffered for it. His recent Ring cycle in Valencia, Spain is pretty doggone impressive. Especially since the orchestra is so young. You don't pull massive projects off so well with a young crew without having something on the ball.


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## PeterPowerPop (Mar 27, 2014)

PeterPowerPop said:


> Oops. I just realised that this thread asked about multiple recordings of the same symphony. Unfortunately for this thread, I blathered on about my CDs of Tchaikovsky's ballets instead. Sorry about that, folks.





DiesIraeVIX said:


> Definitely not, I enjoyed your post! I've been meaning to give Tchaikovsky's ballets a chance, I've only heard his final three symphonies. So, I'll consult your post for some guidance when it comes time to purchase one of the ballets.


Thanks, DiesIraeVIX.

By the way, if you want to hear any of those Tchaikovsky ballets, let me know and I'll post excerpts on YouTube. You'll be able to hear the music for yourself, instead of me trying to describe each version (and adding my biases).



> From OP:
> 
> 
> 
> > Whatever the reason is, I thought we could use this thread to share the works (Symphonies, Operas, String Quartets, etc.)





DiesIraeVIX said:


> All musical works are permitted. At the rate I'm going, pretty soon I'll have numerous recordings of Beethoven's Late String Quartets.


I'm pleased to say that I haven't been bitten by the Beethoven String Quartet bug yet. Some time ago I listened to four versions of the complete quartets, and bought one (the Alban Berg Quartett). I'm happy with that. Besides, I've recently gone berserk on the complete Beethoven symphonies. I've started buying them. (Three sets and counting...)


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## bigshot (Nov 22, 2011)

Tchaikovsky is one of the greatest composers who ever lived, and his ballets are the absolute peak of his output. They deserve a serious look, but preferably with dancers involved since they were designed to go with dance. Would you feel like you had heard La Traviata without a tenor and soprano? How about Wagner without his TUBA?!


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## PeterPowerPop (Mar 27, 2014)

bigshot said:


> Tchaikovsky is one of the greatest composers who ever lived, and his ballets are the absolute peak of his output. They deserve a serious look, but preferably with dancers involved since they were designed to go with dance. Would you feel like you had heard La Traviata without a tenor and soprano? How about Wagner without his TUBA?!


For me, one of the problems of the "must be seen as well as heard" argument is that the visual aspects of each ballet can vary wildly from production to production (depending on what the choreographer and set designer have in store for the unsuspecting audience). Plus there's the potential disadvantage of one or more things being not quite right for the viewer/listener, thereby spoliing your experience (e.g., "Well, it was great but the prima ballerina was awful" or "Well, it was great but the orchestra sounded terrible" or "Well, it was great but I don't know why they had dancing turtles" etc.)

Considering all of the above, I'm awfully glad the music never changes.

In other words, I'm fine with just hearing the music. I can happily use my imagination for what it's supposed to look like.


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## hpowders (Dec 23, 2013)

I love to compare multiple performances of the same work, even by the same conductor.

Listen to the Mahler 6th Symphony in Bernstein's earlier recording with the NY Philharmonic and compare it to his later recording with the Vienna Philharmonic. Practically a different performance. The latter recording produces much more of an emotional wallop.


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## Varick (Apr 30, 2014)

_My favorite Mahler 2 is a live performance of Zubin Mehta leading the NY Philharmonic in the boxed set, "The Mahler Broadcasts". *One of the best things Zubin Mehta has ever done, though admittedly, that's not saying very much.*_

Wow, that blind squirrel actually found a nut huh? I guess it's inevitable. It's the "_throwing enough $#%t against the wall, some of it has got to stick"_ theory in practice. I'd have to listen to that version on Spotify before I would consider buying ANYTHING from that hack.



bigshot said:


> Mehta isn't a bad conductor at all actually.


No, actually he is!. But seriously... He is

V


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## PeterPowerPop (Mar 27, 2014)

hpowders said:


> My favorite Mahler 2 is a live performance of Zubin Mehta leading the NY Philharmonic in the boxed set, "The Mahler Broadcasts". One of the best things Zubin Mehta has ever done, though admittedly, that's not saying very much.





bigshot said:


> Mehta isn't a bad conductor at all actually. He just went through a period where he was burning the candle at both ends and his work suffered for it. His recent Ring cycle in Valencia, Spain is pretty doggone impressive. Especially since the orchestra is so young. You don't pull massive projects off so well with a young crew without having something on the ball.





Varick said:


> Wow, that blind squirrel actually found a nut huh? I guess it's inevitable. It's the "_throwing enough $#%t against the wall, some of it has got to stick"_ theory in practice. I'd have to listen to that version on Spotify before I would consider buying ANYTHING from that hack.
> 
> 
> 
> ...


I agree with bigshot. I love Mehta's 1976 recording of the _Appalachian Spring_ orchestral suite with the Los Angeles Philharmonic Orchestra (I bought the Decca Ovation release below, but Decca has re-released it numerous times.) After hearing plenty of other versions, it's still one of my favourite _Appalachian Spring_s.



I'm also extremely fond of Mehta's recording of Tchaikovsky's _Swan Lake_ and _The Nutcracker_ suites with the Israel Philharmonic Orchestra (Decca, 1979). It sounds like he and the orchestra are enjoying themselves enormously.


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## StlukesguildOhio (Dec 25, 2006)

Mehta's performance of Mahler's Symphony no. 2 is certainly among "essential" listening:










Then there's also Mehta's _Il Trovatore_:










And the _Turandot_:


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## BartokPizz (Oct 26, 2014)

Beethoven Symphonies: Hogwood, Gardiner, Zinman, Szell, Bernstein 's 3, Kleiber's 5&7.

Beethoven Late Sonatas: Schiff, Pollini, Gulda, Goode, Arrau, Rosen, O'Conor, Schnabel, Eschenbach 

Beethoven Quartets: Emerson, Alexander, Alban Berg, Cleveland, Kodaly, Takacs, Tokyo (RCA), Tokyo (Harmonia) 

Brahms Symphonies: Klemperer, Muti, Gardiner, Haitink, Sawallisch, Abravanel, Marturet, Szell's 1&4, Karajan's 3&4, Mackerras's 3&4, Eschenbach's 3&4

Mahler 9: Bernstein: BPO, Bernstein: NYPO, Karajan (studio), Rattle, Solti: LSO, Boulez, Abravanel 

Mozart Symphonies 40 & 41: Szell, Gardiner, Bernstein, Bohm

Schubert Sonata D. 960: Pollini, Fleischer, Brendel (x2), Hough, Goode, Sokolov, Schiff, Uchida, Lupu, Klien, Hungerford 

Schubert String Quintet: Alban Berg Quartet, Belcea Quartet, Raphael Ensemble, Petersen Quartet, Hollywood Quartet, Emerson Quartet, L'Archibudelli, Melos Quartet, Janine Jansen & friends, Ma/Stern & friends, Borodin, Ma/Cleveland 

Schumann Symphonies: Zinman, Bernstein, Gardiner

Also many recordings of Brahms' Violin Concerto, Clarinet Quintet and Piano Quintet, Schumann Quintet, Sibelius 4 & 5, etc. . . .


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## DiesIraeCX (Jul 21, 2014)

BartokPizz said:


> Schubert String Quintet: Alban Berg Quartet, Belcea Quartet, Raphael Ensemble, Petersen Quartet, Hollywood Quartet, Emerson Quartet, L'Archibudelli, Melos Quartet, Janine Jansen & friends, Ma/Stern & friends, Borodin, Ma/Cleveland


I'm glad you posted this, I have one recording of the Quintet, Cleveland Quartet w/Yo-Yo Ma. What are your top 3 recordings (in order) from your collection?


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## brotagonist (Jul 11, 2013)

I definitely enjoy hearing multiple interpretations of pieces  I like to compare the recording I own--most meaningful once I have become very familiar with it and am able to discern differences--with other recordings available online. I almost always listen to numerous interpretations of the weekly Saturday Symphony, for example  I like to select interpretations by performers I don't yet have in my collection, interpreters who are unknown to me and interpreters considered to be the best for the work.

Sometimes, I end up with additional interpretations, as the piece is included on an album I wish to buy. Sometimes, I buy additional interpretations on a whim, when I see them at the local used record stores at prices too good to refuse. I typically only deliberately order multiple versions of pieces that are huge favourites: I have numerous recordings of some Beethoven, Haydn, Xenakis, Bach, Schubert, Bruckner, Ligeti, Bartók, Schumann, Mozart, Carter, Webern, Shostakovich and Schoenberg works, among many others. I don't feel I need to have multiple recordings of everything I own, unless I am especially attracted to the work--and that takes time and repeated listening to develop such a level of familiarity.


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## hpowders (Dec 23, 2013)

Not just symphonies! Bach's WTC. Beethoven and Brahms piano and violin concertos. Haydn's Creation. Haydn's Masses. Beethoven and Mendelssohn's string quartets.
I love collecting multiple performances of anything and everything!

Hopefully daddy's allowance will never run out!


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## Albert7 (Nov 16, 2014)

I am working on multiple recordings right now of Beethoven's symphonies... and Brahms too.
Plus Mahler too. I really enjoy having different versions to fall back now.


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## hpowders (Dec 23, 2013)

Happy hunting!! Been there! Done that!! A lot of fun!!


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## BartokPizz (Oct 26, 2014)

DiesIraeVIX said:


> I'm glad you posted this, I have one recording of the Quintet, Cleveland Quartet w/Yo-Yo Ma. What are your top 3 recordings (in order) from your collection?


Hi DiesIraeVIX,

My two favorites are the Raphael and Petersen. These are not the recordings you usually hear about, but they are absolutely phenomenal. Third place? Tie between the Melos (with Rostropovich and a famously slow adagio) and the Borodin.

If I had to choose just one for the desert island it would be one of those four. (Which one depends on the mood I am in!)

The L'Archibudelli is an excellent HIP recording, and the Hollywood Quartet recording (paired with Verklarte nacht) is of great historical interest (but in mono).


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## StlukesguildOhio (Dec 25, 2006)

Schubert String Quintet: Alban Berg Quartet, Belcea Quartet, Raphael Ensemble, Petersen Quartet, Hollywood Quartet, Emerson Quartet, L'Archibudelli, Melos Quartet, Janine Jansen & friends, Ma/Stern & friends, Borodin, Ma/Cleveland

Have you heard the 1950s recording with Isaac Stern, Pablo Casals, Paul Tortelier, Alexander Schneider (of the Budapest Quartet) and Milton Katims?


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## BartokPizz (Oct 26, 2014)

Hi SLGO,

Yes, that recording has been recommended to me before. I found that despite the giant talents involved, this recording is not for me. If I recall, the playing is often only approximately in tune. The harsh mono sound doesn't help either.


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## hpowders (Dec 23, 2013)

For the Haydn Paris and London Symphonies, I find it fun to collect both HIP and non-HIP performances.
It's an absolute hoot to compare them!!


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## SixFootScowl (Oct 17, 2011)

hpowders said:


> For the Haydn Paris and London Symphonies, I find it fun to collect both HIP and non-HIP performances.
> It's an absolute hoot to compare them!!


You could listen to both at once--one in each ear!  :lol:


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## hpowders (Dec 23, 2013)

Florestan said:


> You could listen to both at once--one in each ear!  :lol:


And they still couldn't tell.


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## HaydnBearstheClock (Jul 6, 2013)

I have Haydn's 'Farewell' symphony by Solomons, Weil and Brüggen - I can't say which one is my favourite, they're all very good versions, imo. I also have the Paris symphonies by Weil and Kuijken - Weil sounds a bit more 'Viennesse', Kuijken more HIP and rhythmatic. Also hard to tell which set is 'better' - they both have their advantages.


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## Mahlerian (Nov 27, 2012)

Florestan said:


> You could listen to both at once--one in each ear!  :lol:


With the differences in tuning, I imagine this would be unbearable.


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## Blake (Nov 6, 2013)

I used to be like this in the beginning of my journey. Particularly with Beethoven and Bruckner. But the more my admiration for other eras expanded, the more I realized my bank account and time don't support this kind of habit. I'm also a bit more savvy at picking a great set the first go-around.


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