# Recordings you have been disappointed with...........



## Itullian

What recordings have you taken a chance on or bought by reviews, recommendation or whatever that you have been 
disappointed with.

Thank you


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## Guest

That's a tricky one. Having been prompted by the BBC Proms to buy my own copy of Shostakovich's 11th Symphony, I've struggled to find one with the 'right' bells at the end. I'm listening to the recommended Petrenko/RLPO (2009) and the bells seem somewhat anaemic in comparison to those in the Proms version: too far back in the mix until the final notes.

I was also recommended Dutoit's Planets Suite with the Montreal Symphony Orchestra, but was disappointed on first listen. I've since returned to it and it's growing on me.


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## TurnaboutVox

Too many over the years to mention!

Recently - much hyped recording of Zehetmair Quartet playing Bartok #5 and Hindemith #4 disappointed and sent me back to favourite versions.

A couple of years ago - Lindsay Quartet's Beethoven Op 130 / 133, also much recommended, though I am getting used to some of the peculiarities of this performance now on repeated listening. It certainly stopped me from buying the other Lindsay Beethoven recordings.

Martino Tirimo's 'completed' Schubert piano sonatas on EMI has absolutely terrible acoustics (and may have been recorded in a swimming pool for all I know). However there's no real alternative to this and I am very interested in the more obscure fragmentary works, so I've stuck with this set. (Gottlieb Wallisch has recorded the unfinished works on Naxos, and he is well recorded, but Tirimo's completions are interesting)

Sorry, I've got into grumpy old man mode now, which isn't the best start to a Sunday morning.


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## brotagonist

Back in the '90s, I was buying every Luigi Nono album as it hit the shelves, which was in _rapid_ succession. I had a fair stack and noticed that many/most of the pieces were barely audible and punctuated by extended silences. Nono was stuck in a rut, not one that worked for me. That might work in a concert hall with ideal acoustics and total silence, but it doesn't work in my living room (or car): I actually have to be able to hear the music to appreciate it. I pawned the whole stack and still have no Nono albums in my collection, although I _am_ presently looking for something more appropriate (his don't seem to be very available currently).

Michael Nyman: I had a couple in the '90s. He was very hyped then, likely due to his music appearing in Peter Greenaway films. I found the music to be blandly nondescript: ideal movie music, I suppose, but not concert music. I pawned them, too.


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## starthrower

Esa-Pekka Salonen's Wing On Wing is the only CD I bought this year that I didn't like. I put it on the shelf a few months back. Will give it another go sometime.


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## Manxfeeder

France Clidat's Satie recording. Unless you want to hear Satie from someone who just doesn't get it, steer clear.


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## Vaneyes

From many, a few of the more famous ones--Dutoit Planets, Stokowski Shostakovich 11, Bohm Schubert 5/LvB 6, LvB Triple Concerto w. Richter/Oistrakh/Rostropovich/HvK, Brahms Requiem, w. Klemperer, Brahms PCs 1 & 2, w. Gilels, Brahms Sym 4, w. Kleiber, Britten Requiem, w. Hickox, RVW Sym. 2, w. Hickox, Bruckner Sym. 8 (DG), w. HvK, Mahler Sym. 9 (DG, DDD) w. HvK, Stravinsky Rite of Spring (2), w. Markevitch. :tiphat:


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## Vaneyes

brotagonist said:


> Back in the '90s, I was buying every Luigi Nono album as it hit the shelves, which was in _rapid_ succession. I had a fair stack and noticed that many/most of the pieces were barely audible and punctuated by extended silences. Nono was stuck in a rut, not one that worked for me. That might work in a concert hall with ideal acoustics and total silence, but it doesn't work in my living room (or car): I actually have to be able to hear the music to appreciate it. I pawned the whole stack and still have no Nono albums in my collection, although I _am_ presently looking for something more appropriate (his don't seem to be very available currently).
> 
> Michael Nyman: I had a couple in the '90s. He was very hyped then, likely due to his music appearing in Peter Greenaway films. I found the music to be blandly nondescript: ideal movie music, I suppose, but not concert music. I pawned them, too.


I'm generally yes-yes to Nono, but absolute no-no to Nyman. :tiphat:


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## brotagonist

Vaneyes said:


> I'm generally yes-yes to Nono...


So am I, philosophically, but I am having a great deal of trouble finding works that really work for me. _La Lontananza Nostalgica Utopica Futura_ is likely the best match. Some of the works on NEOS are quite interesting, but they are not priced to sell


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## Itullian

For me, it's the Talich Quartet's Beethoven cycle.
Praised to the heights. 
I can't stand listening to it.
It sounds harsh and anemic to me with very little bottom.
oh well.


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## Guest

Retracted .


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## realdealblues

I've been generally disappointed with Daniel Barenboim.

I bought both his EMI Beethoven Piano Sonatas Cycle and 80's DG Beethoven Piano Sonatas Cycle very early on in my classical listening career after hear such great reviews and reading that both were very different. Hearing him taking movements and slowing them down to make them sound more romantic and his odd phrasing just really, really bothered me and after I'd heard such good things I was very disappointed.

Same thing with his Mozart Piano Sonatas Cycle on EMI. Lets take every Allegro and play it as a Presto just to prove we have good technique and can play things fast or lets take every Andante and play it as mind numbingly slow and romantic as we can. Again I was extremely disappointed.

I hadn't heard much from his conducting so I bought his Beethoven Symphonies cycle with the Staatskappe Berlin.

The first symphony I listen to in any Beethoven Cycle is Symphony No. 1 which is my favorite on many days that end in "Y". I kept hearing such great reviews about how his set was very Furtwangler inspired. Furtwangler's 1952 recording is wonderful and an absolute joy, but in typical Barenboim fashion he changes things and adds things that shouldn't be there and ruined the whole symphony for me. Others in the set were more listenable but Symphony No. 1 was an absolute travesty.


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## elgar's ghost

Colin Davis's Bruckner 6 with the LSO. Some Brucknerians will no doubt disagree but I found this performance sounding oddly uninvolved and vapid, even allowing for the lighter textures compared to other 6's I have.


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## bigshot

Vaneyes said:


> From many, a few of the more famous ones--Dutoit Planets, Stokowski Shostakovich 11, Bohm Schubert 5/LvB 6, LvB Triple Concerto w. Richter/Oistrakh/Rostropovich/HvK, Brahms Requiem, w. Klemperer, Brahms PCs 1 & 2, w. Gilels, Brahms Sym 4, w. Kleiber, Britten Requiem, w. Hickox, RVW Sym. 2, w. Hickox, Bruckner Sym. 8 (DG), w. HvK, Mahler Sym. 9 (DG, DDD) w. HvK, Stravinsky Rite of Spring (2), w. Markevitch.


You've got a few of my favorites in there.


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## Vaneyes

*Rosettes* even. :lol:


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## DavidA

I must confess to have been really disappointed with the Chailly Beethoven symphonies. They got rave reviews but I wonder whether it was not just critics climbing on a musically PC bandwagon. The whole lot seem to me to be rushed and relentless.


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## TurnaboutVox

Itullian said:


> For me, it's the Talich Quartet's Beethoven cycle.
> Praised to the heights.
> I can't stand listening to it.
> It sounds harsh and anemic to me with very little bottom.
> oh well.


Oh dear! It's my favourite Beethoven Quartet cycle! Well, it just goes to show...


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## DavidA

I felt let down by Rattle's recording of Bruckner's 9th with the completed last movement. Whether the last movement is anywhere near where the composer would have left it I don't know. But it seems pretty ordinary to me. Rattles performance was praised to the skies but again it seems to me pretty ordinary by the sides of Jochum, Karajan, et al.


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## sabrina

I have a CD with Glen Gould, but I don't remember what concert...it is full of humming, coughing in public, my God, I could not listen to it without being distracted. I know Gould had this humming tic, but I have other recordings with him and they are not so bad.


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## bigshot

The Glen Gould Canadian TV broadcasts are fantastic, because you can see how the humming and rocking in his chair works with his playing. Not nearly as distracting when you can see him as well as hear him.


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## Wandering

The Barenboim/Chicago DVD of Mahler's 5th was slightly disappointing to me. Mostly for the 4:3 aspect ratio screen and poor screen quality, even when using a bluray player, which is supposed to enhance DVDs. I could stretch the pic to 16:9, but it only made it look worse. The sound quality was good, but not even close to near that of the Abbado Lucerne performance. Barenboim seems more analytical then anything else. The rondo finale has a slow paced tempi building to the climaxes and then seems to excitedly rush through them, an interesting take, but not nearly as impactful as the raw and emotional overflow in Abbado's. It almost knocked me out seeing it for the first time, as opposed to just hearing it.


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## Weston

I have few Sony releases of George Szell conducting Beethoven symphonies from the 90s. They are supposed to be extraordinary, but he seems to be phoning these in to me. No passion. Maybe it's supposed to be a mature approach, but Beethoven only lived to be my age, and I still have plenty of passion.


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## realdealblues

Weston said:


> I have few Sony releases of George Szell conducting Beethoven symphonies from the 90s. They are supposed to be extraordinary, but he seems to be phoning these in to me. No passion. Maybe it's supposed to be a mature approach, but Beethoven only lived to be my age, and I still have plenty of passion.


I feel the exact opposite about Szell, but feel the same way almost word for word about Gardiner's Beethoven Symphonies.


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## Copperears

I wish Melodiya's 1968 recording of Prokofiev's The Stone Flower had been a little more full-bodied.


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## billeames

Hello,

Like DavidA Bruckner 9th Barenboim, not inspired in my opinion. Beethoven Symphonies Harnoncourt, gave away 12 years ago, but now am more tolerant of them as I have new speakers with better bass and resolution. Karajan Beethoven cycle in 1980's, but booklet was very informative. Beethoven Symphonies Norrington. Handel Messiah Berius on Carus, not enough energy. Bruckner 6th Barenboim, too rushed. Many Brahms first symphonies, including Karajan 1977. Mahler 5th Zubin Mehta on London. Mahler 8th, Haitink Concertgebouw. Wagner Ring Cycle Levine (singing), Haitink (singing too). Maybe more later. 

Bill


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## nightscape

MacLeod said:


> That's a tricky one. Having been prompted by the BBC Proms to buy my own copy of Shostakovich's 11th Symphony, I've struggled to find one with the 'right' bells at the end. I'm listening to the recommended Petrenko/RLPO (2009) and the bells seem somewhat anaemic in comparison to those in the Proms version: too far back in the mix until the final notes.


I'm not aware of a recording that sounds quite like the performance from the BBC Proms. I can't claim to have heard every recording, though 

The score calls for tubular bells, the percussionists there are using mostly true bells at the end, which give off a much higher end sound. Also, the BBC Proms version, which is performed nicely, is sort of one-dimensional in terms of tempo.

I'm quite fond of the Haitink version with Concertgebouw. Bells sound quite lovely and the balance with the orchestra is good.


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## Haydn man

Looking back to purchases that have disappointed me have been either 
1 Poor quality recordings e.g. Elgar Violin Concerto Kennedy/Handley Great performance typical EMI recording of the time
2 The opposite e.g. Jane Glover's late Mozart which seemed so bland to me but I am determined to try again (25th anniversary of purchase this year)


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## mtmailey

I used to have such albums or cds but tossed them in the trash or give them up.They may sound low,to much hiss or it would be in mono which does not sound good.


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## EDaddy

Love the performances; Can't get beyond the horrendous, hyper-distorted peaks.
Not really fond of distortion vocals!


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## EDaddy

Was also super disappointed with Szell's Essential Classics version of Beethoven's 5th. The recording is fine but what a lame duck, no balls performance. I mean, come on! The 5th has to have thunder and lightning bolts in the right places. None of that in this recording. 

And I LOVE his Eroica (also on Essential Classics). Brilliant! Go figure.


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## bigshot

Weston said:


> I have few Sony releases of George Szell conducting Beethoven symphonies from the 90s. They are supposed to be extraordinary, but he seems to be phoning these in to me. No passion.


Szell is all about precision, not passion.


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## moody

bigshot said:


> Szell is all about precision, not passion.


My favourite complete set !!


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## apricissimus

bigshot said:


> Szell is all about precision, not passion.


Or maybe his passion is expressed differently than other people's.


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## bigshot

Passion is about letting your hair down and not worrying about crossing ts and dotting is. Szell had a reputation for being a precisionist. Not that that is a bad thing. It creates its own energy. But it isn't the same as passion.


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## Itullian

bigshot said:


> Passion is about letting your hair down and not worrying about crossing ts and dotting is. Szell had a reputation for being a precisionist. Not that that is a bad thing. It creates its own energy. But it isn't the same as passion.


I think it can be. I think Giulini is very passionate and yet very polished.


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## Guest

I love the Szell Essential Classics cycle. It was my first. The 3rd, in particular, is incredible.

For me, the most hyped/most disappointing for me is the Solti/Mahler 8th. One of my first Mahler recordings, and really soured me on the 8th for a long time. Not until I got the Nagano/HM recording (I think that is right) have I come to appreciate the 8th. I still go back to Solti's from time to time to see if it has grown on me - nope.


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## Whistler Fred

I've heard favorable reviews of Sir Neville Marriner rendition of Respighi's _Airs and Ancient Dances_, so I bought my copy and found it matter-of-fact to the point of drabness. Odd, because I like Sir. Marriner's _The Birds_ and _Bottecelli Pictures_. My favorite A&AD is by Ireland National Symphony conducted by Ricci Saccani on Naxos.


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## SergeOfArniVillage

Charles Ives Sonatas for Piano and Violin, Hilary Hahn and Valentina Lisitsa. Unfortunately, the acoustics of the recordings are so dry, it makes both of these divine musicians sound like amateurs. (What happened?) Ives' music is harsh and jagged, and it requires a good recording to enjoy.

The Rachmaninoff Concertos by Lisitsa are pure gold, though, highly recommended.


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## GriffinPlays

Gould's recording of The Goldberg Variations, it seems as though (at least I think) that he puts a little too much emotion, almost making it feel like a romantic set of variations, but you should be told I have not been pleased with many recordings..


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## billeames

Many many. Most notable is Beethoven symphonies Abbado DG 2002. Surprised! Levine and Haitinking (some bad singing, sorry). Norrington and Karajan 1980's Beethoven symphonies BUT the Karajan booklet excellent. I regret selling it for that reason. Mozart Symph 25-41 Krips. Orff Carmina Burana Jochum DG. Some Naxos (pre Petrenko Shost 8th, Rossini Overtures Benda, execution nowhere near Marriner, Reiner, Giulini, Muti, and poor value for money when they could have put all of it on 3 CD's like Marriner. Abbado Tchaikovsky Sony has been spotty in my opinion.

Maybe I will post more later. 

Bill


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## Vaneyes

GriffinPlays said:


> Gould's recording of The Goldberg Variations, it seems as though (at least I think) that he puts a little too much emotion, almost making it feel like a romantic set of variations, but you should be told I have not been pleased with many recordings..


Emotion? Bad on him.


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## regnaDkciN

bigshot said:


> Szell is all about precision, not passion.


When I was first getting into classical music as a teen, reviews in _High Fidelity and Stereo Review_ suggested that Szell/Cleveland were the ultimate interpreters of Haydn and Mozart, so I wound up getting several of their records of both composers' symphonies. I found them utterly boring -- so much so that I dismissed the instrumental works of both composers (I still loved Mozart's operas) as merely "powdered-wig music" for literally decades, until I heard other performances, both HIP and full-orchestra, that contained the fire I found so lacking in the Szell/Cleveland recordings.

I have since come to the conclusion, paradoxical as it may seem, that Szell and his forces are better in later, more-romantic music. I find his Beethoven, Dvorak, Sibelius, etc. wonderful. I now think that Szell, as you put it above, is better in repertoire that already contains the passion, and where the problem is that most performers fail to emphasize precision. OTOH, in works from the classical period, with their more-restrained emotional temperature, Szell's precision merely makes the works seem superficial and without substance -- as I put it above, "powdered-wig music." YMMV


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## Manxfeeder

regnaDkciN said:


> Szell's precision merely makes the works seem superficial and without substance -- as I put it above, "powdered-wig music." YMMV


It is amazing after all these years of this thread's existence how many lines are drawn around Szell. Maybe that's a sign of greatness; it forces you to make a decision.

I guess I should add, I'm pretty much a Szell fanboy. But I don't like what he did with Bruckner.


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## Oldhoosierdude

I was horribly disappointed in van Immerseel's Beethoven Symphony cycle. I had heard one symphony and liked it so I bought the set but the more I listened the less I liked. Got rid of it.


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## Animal the Drummer

Gardiner's "Christmas Oratorio" - all the technique in the world, but the soul of a sewing-machine.


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## Allegro Con Brio

Animal the Drummer said:


> Gardiner's "Christmas Oratorio" - all the technique in the world, but the soul of a sewing-machine.


And for that matter his relatively recent cantata cycle. I certainly applaud anyone who records them all - no mean feat - let alone perform them all on a single tour! - and his very interesting thoughts on the cantatas, but I find his interpretations of them surprisingly bland and soulless. As far as I've heard tempi aren't particularly fast compared to other HIPsters like Koopman, but everything just seems underplayed and undersung. However, his B Minor Mass and St. Matthew, though certainly acquired tastes, are very good.

There are many highly-recommended recordings I have been disappointed by, but on the other side of the Bach spectrum I'll mention Karl Richter. I'm a big fan of "old school" performances but I cannot for the life of me see what people love about his passions and cantatas (the B Minor Mass is fairly enjoyable). Stodgy, inflexible, indifferent, with dated sound and choral singing that always sounds like shouting.


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## wkasimer

Re Gardiner:



Allegro Con Brio said:


> As far as I've heard tempi aren't particularly fast compared to other HIPsters like Koopman, but everything just seems underplayed and undersung. However, his B Minor Mass and St. Matthew, though certainly acquired tastes, are very good.


Actually, I think that "underplayed and undersung" applies to both of his St. Matthew recordings.



> There are many highly-recommended recordings I have been disappointed by, but on the other side of the Bach spectrum I'll mention Karl Richter. I'm a big fan of "old school" performances but I cannot for the life of me see what people love about his passions and cantatas (the B Minor Mass is fairly enjoyable). Stodgy, inflexible, indifferent, with dated sound and choral singing that always sounds like shouting.


I completely agree. Recommendations for Richter's 1958 Saint Matthew are baffling to me.


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## DavidA

wkasimer said:


> I completely agree. Recommendations for Richter's 1958 Saint Matthew are baffling to me.


I must confess that Richter's 1958 St Matthew has always had a place in my affections maybe because I learned the work from it and was astounded from the first chord. True some of the soloists leave something to be desired but the whole thing has a reverential awe about it.


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## DavidA

The recording to me that was a waste of money was Chailly's Beethoven symphonies. For all the virtuosity of the playing and the brilliant recording they just sound plain rushed. There is no way Beethoven's orchestra (mainly amateur remember) would have played them at that speed no matter what the metronome.


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## Geoff48

Over sixty years of collecting music I’ve collected quite a few records and CDs which have been a disappointment. Like many of my generation I find that conductors tended to be more individual many years ago whilst now they seem to be much of a muchness concentrating on virtuosity and often difficult to distinguish from their fellows. Which is why it may seem perverse to nominate Celibidache as the conductor I find almost always a disappointment. I never saw him live and fully accept that in the context of live music he may have been impressive but on record his lack of tension is something I find difficult to accept. And occasionally I wish he would include repeats in his first movements of symphonies.
I decided to buy a box of his live recordings on Amazon, fortunately very cheaply and second hand, in an attempt to try and see what made him tick. Still no wiser I’m afraid.
One label which used to disappoint me on a regular basis was Membran. Now I accept that old 78s are never going to sound modern. But I disliked intensely their remastering to remove all hiss when the side effect was draining the life from the orchestra. I would have thought that the prospective purchaser of great recordings of the past would have preferred the hiss to be ameliorated but not eliminated completely.
To be fair to the company now that the fifty year copyright rule gives them access to the wonderful recordings of the fifties and sixties the remastering seems much better and they do give access to some great recordings at minimal cost in their 10 cd sets.


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## Allegro Con Brio

Allegro Con Brio said:


> And for that matter his relatively recent cantata cycle. I certainly applaud anyone who records them all - no mean feat - let alone perform them all on a single tour! - and his very interesting thoughts on the cantatas, but I find his interpretations of them surprisingly bland and soulless. As far as I've heard tempi aren't particularly fast compared to other HIPsters like Koopman, but everything just seems underplayed and undersung.


Going to have to eat my words as I've listened to several cantatas from Gardiner since and have warmed to them. "Bland" is maybe somewhat accurate - everything is very middle-of-the-road - but not soulless at all. Good, uplifting music-making.

Other recordings I've been disappointed by are some very acclaimed recordings that top the recommendation lists of most critics and even many listeners. Colin Davis's RCO Symphonie Fantastique - love the recorded sound but no recording has really sold me on this symphony yet and this certainly isn't one of 'em. Reiner's Scheherazade and Bartok Concerto for Orchestra - maybe some of the finest orchestral playing on record but utterly heartless. And Fricsay's Beethoven 9 - a bland interpretation in dated sound though the finale is very well done.


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## Merl

I have a pile of Holst Planets recordings. I paid quite a few quid out on the recording below after it had several rave reviews online. However, after buying it I was surprised at how very average a recording this is. I don't know what I expected (Gardiner is rarely dull in my experience) but what I didn't expect was a very ordinary performance. Strangely enough I listened to this last week for the first time in years and yet again I was left feeling that the whole thing was all a bit 'beige'. I'll keep it (because I spent a lot of money on it at the time) but compared to Dutoit, Ozawa, Handley, Groves, etc it's really pretty unmemorable.


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## Knorf

I had a few Vladimir Ashkenazy recordings I picked up because of advocacy from The Penguin Guide. I remember in particular a dull as dishwater Beethoven 7. I ditched them all. Whatever those recordings were doing for the Penguin reviewers, they didn't work for me.


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## starthrower

Carmina Burana by Levine / CSO I assumed would be a blockbuster but it didn't get me excited.

I had that Ashkenazy Beethoven 7 ages ago. I gave it away.


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## Kiki

Alban Berg's Violin Concerto played by Isabelle Faust and Claudio Abbado and his Orchestra Mozart. All reviews I've read were singing praises for it. But when the CD finally arrived through the post, I'm afraid I found it overly masculine and unsubtle, conveying no trace of sadness, and it sounds particularly impassive in the first half of the first movement. Mutter, Kremer, Chung, Capuçon, Krasner and others have given me, to different degrees, a much more satisfying listening experience. What is it that people found so great about this recording? I'd be curious to know.


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## realdealblues

Kiki said:


> Alban Berg's Violin Concerto played by Isabelle Faust and Claudio Abbado and his Orchestra Mozart. All reviews I've read were singing praises for it. But when the CD finally arrived through the post, I'm afraid I found it overly masculine and unsubtle, conveying no trace of sadness, and it sounds particularly impassive in the first half of the first movement. Mutter, Kremer, Chung, Capuçon, Krasner and others have given me, to different degrees, a much more satisfying listening experience. What is it that people found so great about this recording? I'd be curious to know.


The Berg Violin Concerto isn't a work I "get" or "enjoy" so I can't help you there. But the Isabelle Faust/Abbado Beethoven Violin Concerto recording on that disc always gets the rave reviews but I think her earlier recording of the Beethoven Violin Concerto with Jiri Belohlavek and the Prague Philharmonia blows it out of the water!


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## Oldhoosierdude

Merl said:


> I have a pile of Holst Planets recordings. I paid quite a few quid out on the recording below after it had several rave reviews online. However, after buying it I was surprised at how very average a recording this is. I don't know what I expected (Gardiner is rarely dull in my experience) but what I didn't expect was a very ordinary performance. Strangely enough I listened to this last week for the first time in years and yet again I was left feeling that the whole thing was all a bit 'beige'. I'll keep it (because I spent a lot of money on it at the time) but compared to Dutoit, Ozawa, Handley, Groves, etc it's really pretty unmemorable.
> 
> View attachment 142402


Agreed.........


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## Kiki

realdealblues said:


> The Berg Violin Concerto isn't a work I "get" or "enjoy" so I can't help you there. But the Isabelle Faust/Abbado Beethoven Violin Concerto recording on that disc always gets the rave reviews but I think her earlier recording of the Beethoven Violin Concerto with Jiri Belohlavek and the Prague Philharmonia blows it out of the water!


I'm probably less critical of the Beethoven on this disc. I found it "cuddly" in most parts. Not necessary a bad (or good) thing. It certainly isn't the kind of stuff that will bring the house down. On the other hand, I do like Faust's refrained use of vibrato, but that's a personal preference. Have to confess I haven't heard the Faust/Bělohlávek version. Something to listen to this weekend on Spotify then. Thanks for the tip!


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