# Purchasing Criteria: Conductor OR Performer?



## Padawan (Aug 27, 2009)

Let's say you have heard a piece/work and you're ready to purchase it. Is your most important criteria the *conductor* or the *orchestra/performer*? I know for some of you, neither one of these factor into your decision and that's fine but I'm asking if it's the conductor or the orchestra/performer.

Moderators if this thread exists somewhere else. Please delete this one.


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## Mirror Image (Apr 20, 2009)

Padawan said:


> Let's say you have heard a piece/work and you're ready to purchase it. Is your most important criteria the *conductor* or the *orchestra/performer*? I know for some of you, neither one of these factor into your decision and that's fine but I'm asking if it's the conductor or the orchestra/performer.


For me, I think both the conductor and the orchestra play a crucial role in deciding what purchase to make. Of course with some purchases I have made, I never heard of the orchestra before, like for example: the National Symphony Orch. of Ukraine, I never heard a note from this orchestra until I made some purchases of Naxos recordings. Come to think of it, I had never heard of a lot of the conductors on Naxos either with the exception of a few like Antoni Wit or Marrin Alsop. Sometimes you just want to take a chance and I have certainly taken a lot of chances with Naxos recordings, because many times I'm not familiar with the conductor or the orchestras, but their label, as you may or may not know, features a ton of obscure composers and they offer the recordings at very low prices probably some of the best classical deals you'll get will be on the Naxos label.

Anyway, other than Naxos' large roster of conductors and orchestras, I'm much more familiar with the larger and more well-known orchestras that are featured on the larger labels like Deutsche Grammophon, Decca, Philips, Chandos, and EMI. But sometimes just because it's say the London Symphony Orchestra playing and Sir Colin Davis conducting doesn't make that recording a recipe for success. I've heard many (thank goodness I've never bought) recordings where there's a big name conductor and orchestra and their performance is just weak and uninspired. It pays to research the conductors and orchestras before you buy a recording, because not every conductor is good at playing say Bruckner, so it's good to research Bruckner's music and see what critics and fans have said about which conductors are the best.

Making a purchase without hearing the whole recording is a gamble, especially on the Internet, but I think with some good solid research under your belt, you'll be able to figure out what recording you would like to get.

By the way, if you ever need any help deciding on a purchase, especially in regards to Romantic and early C20th composers, then let me know. I'll be glad to help you.


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## david johnson (Jun 25, 2007)

i lean a little toward the performing ensemble.

dj


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## Aramis (Mar 1, 2009)

I never really cared about orchestra. When I want to purchase a symphony/symphonies set I care only about conductor, because I don't think that regarded conductor would pick up wrong orchestra for serious recording. As for other forms, which icludes performers like pianists or other instrumentalists, they are the most important thing for me. And like I said before, I don't think that regarded solists would like to play with bad conductor/orchestra when it comes to performance which is going to be relased.


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## Mirror Image (Apr 20, 2009)

Aramis said:


> I never really cared about orchestra. When I want to purchase a symphony/symphonies set I care only about conductor, because I don't think that regarded conductor would pick up wrong orchestra for serious recording. As for other forms, which icludes performers like pianists or other instrumentalists, they are the most important thing for me. And like I said before, I don't think that regarded solists would like to play with bad conductor/orchestra when it comes to performance which is going to be relased.


As I said, the conductor and orchestra could be very well known and highly regarded, but this doesn't guarantee an automatic 5-star rating. Many times you have a conductor or orchestra stepping out of their comfort zones and the results are less than good.


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## Padawan (Aug 27, 2009)

> By the way, if you ever need any help deciding on a purchase, especially in regards to Romantic and early C20th composers, then let me know. I'll be glad to help you.


Thanks for the offer.



> I never really cared about orchestra. When I want to purchase a symphony/symphonies set I care only about conductor, because I don't think that regarded conductor would pick up wrong orchestra for serious recording. As for other forms, which icludes performers like pianists or other instrumentalists, they are the most important thing for me. And like I said before, I don't think that regarded solists would like to play with bad conductor/orchestra when it comes to performance which is going to be relased.


I can understand your reasoning but orchestra is a very important criteria for me.


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## Mirror Image (Apr 20, 2009)

Aramis said:


> I never really cared about orchestra. When I want to purchase a symphony/symphonies set I care only about conductor, because I don't think that regarded conductor would pick up wrong orchestra for serious recording. As for other forms, which icludes performers like pianists or other instrumentalists, they are the most important thing for me. And like I said before, I don't think that regarded solists would like to play with bad conductor/orchestra when it comes to performance which is going to be relased.


You're wrong. The orchestra are just as important as the conductor and anyone who thinks otherwise is wrong.


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## Aramis (Mar 1, 2009)

Mirror Image said:


> You're wrong.


Thank you, sit down.



> The orchestra are just as important as the conductor and anyone who thinks otherwise is wrong.


I said that I usually trust conductor in his choice, not that orchestra isn't important.


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## Mirror Image (Apr 20, 2009)

Aramis said:


> Thank you, sit down.


 Whatever, Aramis.


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## Rondo (Jul 11, 2007)

For me, if it's an orchestra I like and have become accustomed to hearing, conductors really don't seem to matter _quite_ (emphasis noted) as much. For some select orchestras (Berlin, London Symphony, Concertgebouw, Vienna) I have selected a number of conductors in my purchases over the years. However, for some that isn't really the case. For instance, the only recordings of the Columbia Symphony I own (and probably ever will) are those conducted by Bruno Walter.


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## Padawan (Aug 27, 2009)

> For me, if it's an orchestra I like and have become accustomed to hearing, conductors really don't seem to matter quite (emphasis noted) as much. For some select orchestras (Berlin, London Symphony, Concertgebouw, Vienna) I have selected a number of conductors in my purchases over the years. However, for some that isn't really the case. For instance, the only recordings of the Columbia Symphony I own (and probably ever will) are those conducted by Bruno Walter.


My thinking is similar. I tend to have many pieces recorded by the Berlin Philharmonic Orchestra, Academy of St Martin in the Fields, London Philharmonic Orchestra, Chicago Symphony Orchestra and Vienna Philharmonic Orchestra. But then sometimes, I look for some of my favorite conductors: Daniel Barenboim, Carlos Kleilber, Zubin Mehta and many others.


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## World Violist (May 31, 2007)

Ideally, both...

If pressed, conductor, as the really great conductors tend to make even lesser orchestras really fine. Thus, it's almost a non-issue for me.


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## Padawan (Aug 27, 2009)

World Violist said:


> If pressed, conductor, as the really great conductors tend to make even lesser orchestras really fine.


Hmmm, I may have to take that into consideration since I can't get some of my favorite conductors to move to another country to conduct my favorite orchestras.


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## StlukesguildOhio (Dec 25, 2006)

First and foremost... its the composer. That being out of the way, the selection of the performers includes the conductor, the orchestra, and the solists. Perhaps first and foremost to me (although not always) are the soloists. There are recordings I have chosen because of an outstanding performer (be it Maria Callas, Itzkah Perlman, Renee Fleming, Luciano Pavarotti, etc...) in spite of the orchestra and conductor being less than well known. Of course... the ideal is the talented or even outstanding performer working with a top notch conductor and orchestra... and one does recognize that in most cases the best soloists aren't likely to be recording with an orchestra that they imagine is going to show them in a less than ideal light. I honestly believe that after considerations of soloists I lean toward the choice of conductor over orchestra. As others have already suggested the strongest conductors rarely make the choice to record with a sub-standard orchestra... or one that is not suited to the music, while in many cases they are able to coax surprisingly brilliant performances out of a group that has a less than top tier reputation. There are conductors I have a preference for and others not and with a little experience one develops a bit of a sense about where a given conductor's strengths lie. There are those who are marvelous with earlier music or historically informed performances who may not be a first choice for grand romantic symphonies... and vise-versa. I think that the only time I would base a choice upon the orchestra is in the case in which there are no choices of a conductor whose reputation I know and whose work I admire in performance of a given work... and seriously, I might consider the quality of the recording label to an equal degree in this situation. Of course this all only concerns orchestral recordings... in the instance of smaller group performances (quartets, quintets, etc...) it is again the solists who are of prime concern after the composer.


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## Guest (Sep 5, 2009)

They are all important in orchestral, A top orch by a top conductor is an odds on favorite but not a guarantee, check out the reviews.
In St Qt it has to be the Quartet 1st. actual now I come to think of it in all Chamber it has to be the performing artist 1st.
I am surprised that the composer is even questioned as you are not very likely to purchase a CD of a composer you don't like.


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## Padawan (Aug 27, 2009)

> I am surprised that the composer is even questioned as you are not very likely to purchase a CD of a composer you don't like.


I can't speak for everyone else, but I only buy music of composers that I like.


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## Very Senior Member (Jul 16, 2009)

Padawan said:


> I can't speak for everyone else, but I only buy music of composers that I like.


That could change quite soon if you hang about on places like this much longer. Once you have acquired all the music you know you like, you then start buying stuff you think you might like. Among this lot you will find some material you do like and some you don't. The next stage is to follow recommendations for composers whose work is unkown to you but which is highly favoured by one or two vociferous members. At this stage the risk of failure starts to become more severe, but you'll probably find some way to convince yourself that it's great.

The slippery slope continues thus. When you've spent so much that you can't afford a loaf of bread, or if you find yourself tripping up over CD cases as you fumble your way to switch off the TV, this should act a signal that you have probably gone too far. You have definitely gone too far if you're silly enough to be conned into buying unknown material by stuff by still-living composers. No-one in their right mid does that unless they have a vested interest in their careers (nod, wink). Instead, you tape it off the radio, that is if you can find an "alternative" radio station daring enough to be bothered with it.


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## Guest (Sep 6, 2009)

I will add to the above post, do not pay money for music that you have not heard,


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