# Multiple Recordings of the Same Work



## StlukesguildOhio (Dec 25, 2006)

This topic... "do you have multiple copies of the same work?"... has popped up from time to time. I don't wish to repeat this question, here, because I'll assume from having read any number of posts by our members that a great many of you do have more than one recording of favorite pieces. We had one former member... banned quite some time ago... who termed himself a "collector rather than a listener" and prided himself upon his ability to purchase nearly every known recording of a work of music that he admired. Obviously he had something of an unlimited source of income (an inheritance from a rich Daddy if I recall). I doubt if we have many members of a similar ilk. 

What I am after is some idea of what works or composers are so beloved by you that you would seek out multiple recordings or performances of these... and perhaps some idea as to why.

I am guilty of such behavior with regard to a number of works/composers which I shall admit to in due time. Right now I must head off to throw some burgers on the grill and then take care of some business. But I should be back in due time to check in on your responses.

:tiphat:


----------



## Taneyev (Jan 19, 2009)

I am more fond of players than to composers or works. In particular great string players from past century. Have a lot of CDs. by Oistrakh, Heifetz, young Menuhin, Kreisler, Rostropovich, Shafran and many others. and or course that involve several different versions of some works, even by the same player.


----------



## Krisena (Jul 21, 2012)

As a string player myself, I could have said the same thing Odnoposoff just did. The unlimited nuances between players is amazing.

I have a few recordings of the Sibelius violin concerto that I appreciate listening to played by different violinists and orchestras all the time. There are the wildly romantic ones and the more icy, cool ones. Me preferring the latter ones.


----------



## Ukko (Jun 4, 2010)

Interpretations make a difference - the recordings are not necessarily very close to identical. As _@Odnoposoff_ intimates, That is particularly true of string players. And there are technical considerations too; for instance, Cage's Sonatas/Interludes probably sound noticeably different in every recording, the 'preparation' having different effects for each piano.

And then there are the _collectors_, who are as strange in their way as _audiophiliacs._


----------



## pasido (Apr 2, 2012)

I just love that feeling after hearing ten pianists perform Schubert's D960 with generic tempo, and then listening to Richter for the first time.

Audacious performers keep classical music fresh.


----------



## HarpsichordConcerto (Jan 1, 2010)

Why? The essential reason is because piece X is amongst my favourite works and I am keen to explore different interpretations of it, and so as a non-musician, different nuances of the score might be apparent to me in ways I would not realise from just one recording.

Standard favourites from the Baroque and Classical / early Romantic. The single most number of repeats are probably the _Brandenburgs_, _Water Music_, _Fireworks Music_ etc. partly because there are just so many recorded HIP versions of it. I also have nearly all available versions of Handel's large scale works (operas and oratiorios) that are performed by period instrument groups, including DVD/Blu-ray. Beethoven symphonies (7 cycles) and piano concertos, Mozart piano concerto cycles (about 3 I think), operas, Haydn choral works, symphonies etc.

(At the other end, I have quite a number of CDs of 20th century music, perhaps more than folks might presume, but these are single examples of the works. I just happen not to discuss the music as much as I do with earlier periods).


----------



## BurningDesire (Jul 15, 2012)

lol I actually have 4 versions of John Cage's Suite for Toy Piano X3

3 are the original for toy piano, and one is an orchestral version by Lou Harrison. I'm not crazy about the piece (I do like it though), but it just happens to be on many Cage CDs. I guess its pretty easy to play, so if they have some room left on a disk, why not fill it with that? XD


----------



## violadude (May 2, 2011)

When there is so much music that I have not heard yet, and only limited finances, I don't feel I have the luxury of owning multiple recordings of the same piece. I usually just check youtube to hear some differing interpretations of the same piece.


----------



## BurningDesire (Jul 15, 2012)

Hilltroll72 said:


> Interpretations make a difference - the recordings are not necessarily very close to identical. As _@Odnoposoff_ intimates, That is particularly true of string players. And there are technical considerations too; for instance, Cage's Sonatas/Interludes probably sound noticeably different in every recording, the 'preparation' having different effects for each piano.


There's also pieces which are open to more interpretation than others, like many baroque, renaissance and older works where many things are variable in nature, and works that include improv, like Schnittke's Symphony No. 1 and Terry Riley's In C, and many of Frank Zappa's pieces he would rearrange and reorchestrate in various ways, combining them with others and adding improvisations to them.


----------



## Taneyev (Jan 19, 2009)

Krisena said:


> As a string player myself, I could have said the same thing Odnoposoff just did. The unlimited nuances between players is amazing.
> 
> I have a few recordings of the Sibelius violin concerto that I appreciate listening to played by different violinists and orchestras all the time. There are the wildly romantic ones and the more icy, cool ones. Me preferring the latter ones.


Good examples of the romantic type are any of Oistrakh, and for the cool ones, my favorite is Yuval Yaron.


----------



## crmoorhead (Apr 6, 2011)

I rarely get multiple recordings of works mainly because I have so much in my 'to listen' pile. Exceptions would be things that I may buy at a bargain even though I may have a recording already. I bought a few versions of various Beethoven symphonies, but also have 'doubles' of some Haydn symphonies. I usually only get repeat performances because it comes with a recording that includes something that I DON'T have already. I am quite a collector of composers' main works, so I end up a mix of boxed sets and individual discs. There is inevitably some overlap. 

When it comes to opera, I usually rely on one good audio only recording, but try to watch as many audio-visual recordings as I can. The alternative stagings of different operas as well as how the characters are played makes it very different, IMO. I also find singers (and combinations of singers) add their own very unique spin to a work, similar to what is being said about string players above.

The only thing that I can't 'get' multiple versions of are string quartets. I have a couple of doubles and the only difference I can usually discern are in the recording process. I don't think I have a bad ear, but I haven't yet been able to distinguish between recordings in chamber music in general in the same way as orchestral, choral or vocal pieces. Maybe I just have versions that are very close in terms of performance, or maybe I will gain more insight in time with repeated and careful listening. 

I have also, of late, become more interested in hearing recordings made under the direction of such-and-such conductor. This is usually as a result of watching documentaries on TV or reading about different artists.


----------



## StlukesguildOhio (Dec 25, 2006)

Odnoposoff... your answer surprised me in that while I certainly follow certain performers I never would have thought to place the performer above the composer. But at the same time... for one enamored by certain performers it certainly makes sense.


----------



## StlukesguildOhio (Dec 25, 2006)

HarpsichordConcerto- (At the other end, I have quite a number of CDs of 20th century music, perhaps more than folks might presume, but these are single examples of the works. I just happen not to discuss the music as much as I do with earlier periods).

Indeed I could say the same is true of myself. That is one of the things that is most frustrating in discussions with the usual Modern/Contemporary champions... the presumption that all those who fail to recognize that Ligeti and Xenakis are greater than Bach and Mozart have never listened to these composers. I actually have some 15 discs of Schoenberg's music, at least 10 or Berg (who I actually like quite a bit more), 2 Ernst Krenek, 4 Ligeti, 4 Morton Feldman, 7 by Takemitsu, 3 or 4 Messiaen, 3 by Joseph Schwantner, 2 by Stockhausen, 2 or 3 John Cage, as well as discs by Joseph Schwantner, Charles Ives, Steve Reich, Penderecki, Philip Glass, Terry Riley, John Adams, a box set of Giacinto Scelsi, Kaija Saaraiho, Tormis, Gubaidulina, Tan Dun, Kalevi Aho, Holmboe, Norgard, Górecki, Petitgirard, Piazzolla, tons of Bartok/Shostakovitch/Stravinsky/Prokofiev/Britten, Roger Sessions, David Lang, Jake Heggie, Ned Rorem, Pärt, Arturo Marquez, Daniel Catan, Langaard, Leonardo Balada, James MacMillan, Michael Daugherty, Stephen Hartke, George Crumb... and I could go on for half the page without even mentioning what I have on Spotify.


----------



## Sonata (Aug 7, 2010)

Count me in the "fewer versions" camp at the moment. My time for really listening to classical music is so limited these days, so I'd rather get to know one version really well, and explore other works altogether. Not to mention, I don't seem to have much of an "ear" for recognizing the nuances in different versions so far....I'm sure that may change the more I listen, but we'll see.

There are exceptions: if there is a work I really like, but say the audio quality is poor then I would certainly upgrade. I have two versions of every Mahler symphony, mainly because there was a 99 cent set on Amazon that I added as a supplement to my excellent box set, that I figured I would lose nothing by exploring these performances so cheaply. I also have two versions of Brahms' German Requiem: The double piano only version and full orchestral. I do also have a couple of highlights-only opera sets which I later ended up purchasing the whole opera in a different recording. But these are rare exceptions. It may change down the line, but I don't expect that to happen for many years.


----------



## StlukesguildOhio (Dec 25, 2006)

I probably have more than my fair share of recordings that are duplicates of a given piece of music. In some instances this was the result of seeking or stumbling upon (in reviews) a more highly praised ("better"?) interpretation. I also have multiple performances of certain favorite works within the core repertoire: Beethoven's symphonies, piano concertos, violin concerto, and piano sonatas; a good number of Haydn's piano sonatas, Brahms' symphonies and German Requiem. Beyond that there are a limited number of composers and works that I have set about to acquiring more than one... sometimes a lot more than one performance:

Schubert's _Winterreise_ My absolute favorite collection of lieder, I must have at least 8 recordings of this.

Bach... well Bach is God so you can never have too much. I have 4 or 5 recordings of the _WTC_, at least 8 of the _Goldberg Variations_, a couple box sets of the organ music, at least 5 or 6 variations on the _Art of Fugue_, several Brandenburgs, a couple recordings of the _St. Matthew Passion_ and among the endless discs of Bach's cantatas I certainly have some (140, 147, etc...) in at least 3 or 4 recordings. In the case of the cantatas I have found something of great merit in the recordings by Herreweghe, Suzuki, Gardiner, and Koopman so I have purchsed a number by each conductor. I also have a slew by older conductors... or singers such as Hans Hotter and Monica Koop.

My real obsession being vocal music, it is not surprising that it is among opera that I am the most driven by a passion to explore alternative performances. Specifically it is the operas of Mozart, Wagner, and Strauss where my collectors passion is at its worst. I must have at least 4 or more recordings of all of Mozart's greatest 4 operas (_Don Giovanni, Le Nozze di Figaro, Cosi fan tutte_, and _Die Zauberflote_). I have 5 recordings of _Tristan und Isolde_ (and there is at least one more I want), 3 of _Parsifal_, and 5 of the complete _Ring Cycle_... and there are at least 3 or 4 more there that I want... the Keilberth/Testament set first and foremost. I have almost every Strauss opera... and most of them in at least 2 versions... and probably at least 10 recordings of _The Four Last Songs_ (one of my absolute favorite works).

Having mentioned the _Four Last Songs_ I am reminded that I have a near equal passion for Mahler's _Das Lied von der Erde_

In the case of the operas and songs it is almost always due to a desire to explore alternative singers... although certainly I am nearly equally concerned with the conductors.


----------



## Sid James (Feb 7, 2009)

StlukesguildOhio said:


> ...Schubert's _Winterreise_ My absolute favorite collection of lieder, I must have at least 8 recordings of this.
> 
> ....


Isn't one depressing enough? Sorry can't help myself. This says more about me than you or anything else. I recognise it as a great work, but too depressing for my taste.

But answering the question, I prefer not to duplicate recordings. Unless I am not happy with the recording I get of something, which is rare. I go for interpretations that I'm likely to 'gel' with in the first place. I also like to go to live concerts, incl. performances of pieces I know, so that's another 'performance' I can compare what one I have/know with too. Only other time is if I get a cd with the same work on it as a coupling, this esp. happens with 2 cd sets. Maybe one work on that I already have, but the rest I don't, so on the whole I buy the set as I'm not duplicating too much.

The issue is also that a good deal of music I listen to, eg. Australian music, there is only one recording available of it (if you're lucky!). But our performers are very good, so I have had no problems with enjoying their interpretations of Aussie music.

I agree with Hilltroll (what his posts suggests to me, as well as those of other above) that it can make a bigger difference in certain types of repertoire. In terms of more 'Modern' musics this is certainly the case, eg. Schoenberg's 'Pierrot Lunaire' due to the speech-song element, recordings of that are not hard to tell apart, not even by a 'beginner.' It's very much like an acted role, that piece, as much as a musical piece (like cabaret which it was partly inspired by).

But I do like to compare recordings, incl. those owned by friends, if I can borrow them or listen to them together. Classical radio was also good for this when I was getting into classical more deeply, but I hardly listen to classical radio now.


----------



## StlukesguildOhio (Dec 25, 2006)

Isn't one depressing enough?

Depressing indeed! Especially if you listen to Hans Hotter's deep bass-baritone version. I just follow it up... after a prerequisite period of silence... with something a bit... "lighter"... Perhaps Johann Strauss or Offenbach or even Wagner.:lol:


----------



## Sid James (Feb 7, 2009)

StlukesguildOhio said:


> Isn't one depressing enough?
> 
> Depressing indeed! Especially if you listen to Hans Hotter's deep bass-baritone version. I just follow it up... after a prerequisite period of silence... with something a bit... "lighter"... Perhaps Johann Strauss or Offenbach or even Wagner.:lol:


Yeah well that's a good idea. In operetta, the guy gets the girl in the end. Champagne all round. Not so in 'Wintereisse'...and in Wagner they tend to both die . But I don't want to derail this thread...


----------



## StlukesguildOhio (Dec 25, 2006)

Actually... in the _Winterreise_ he just wishes he were dead... having lost the love of his life. He ends in contemplating the poor organ grinder or _Der Leiermann_






My absolute favorite song of the cycle... if not the whole of Schubert's oeuvre. It's so stark... and unexpected in contrast to the rest of the cycle due to its modal sound.


----------



## samurai (Apr 22, 2011)

I resolved when I started listening in a serious way to classical that I would *never, ever *"waste money" on buying duplicate versions of the same work. However, I have found that as I got somewhat deeper into this genre that a particular conductor--or style of instrument, i.e. HIP--may well make a difference in how a paricular piece sounds and is conveyed to the listener. Thus, I have different cycles of Beethoven and Sibelius, as well as two different treatments of _*Fantasia on a Theme of Thomas Tallis *_*by *Vaughan Williams, as well as two versions of Copland's, _Appalachian Sprong, Rodeo and Billy the Kid _suites. In keeping with this practice of mine to hear favorite works as rendered by different conductors and orchestra, I have just ordered HVK's and the Berliner Philharmoniker's reading of Shostakovich's *Tenth Symphony, *although I already own the Petrenko and RLPO'S version of same. So much for my original resolution! Yet--as another poster so aptly put it--when one likes a particular work, it can be very interesting and rewarding to hear different treatments of it. So I have assuaged my guilt, and no longer consider it to be a "waste of money". :scold:


----------



## Andreas (Apr 27, 2012)

I don't have that many duplicates, with three main exceptions: the Bruckner Ninth, the Beethoven Ninth and Brahms' Third and Fourth (they usually come together). Of these symphonies I have around a dozen each.

I'm not sure whether I seek the perfect recording of these works, because there isn't one of course. It's probably because there are many conductors that I like very much, and, given the popularity of those symphonies, chances are that they have recorded them at one point or another, so I get interested in checking out their take on them.


----------



## emiellucifuge (May 26, 2009)

Limited funds mean I am quite careful and thorough when buying recordings, however there have been two composers who Ive indulged in and bought multiple recordings.

The first is Dvorak where I have two or more recordings of some of the string quartets and symphonies.
The other is Wagner; I have 3 recordings of each of his last 4 symphonies, except Die Meistersinger, of which I have 4.

Its a great luxury but it really allows for a much richer experience of the piece.


----------



## ComposerOfAvantGarde (Dec 2, 2011)

I think the most recordings of the same works I have are four of Vivaldi's Four Seasons, three of Rodrigo's Concierto de Aranjuez and three of Beethoven's 9th symphony.


----------



## PlaySalieri (Jun 3, 2012)

For me - it is key Mozart works - notably the Requiem - the great symphonies - the operas, some of the piano concertos.


----------



## HarpsichordConcerto (Jan 1, 2010)

StlukesguildOhio said:


> Indeed I could say the same is true of myself. That is one of the things that is most frustrating in discussions with the usual Modern/Contemporary champions... the presumption that all those who fail to recognize that Ligeti and Xenakis are greater than Bach and Mozart have never listened to these composers. I actually have some 15 discs of Schoenberg's music, at least 10 or Berg (who I actually like quite a bit more), 2 Ernst Krenek, 4 Ligeti, 4 Morton Feldman, 7 by Takemitsu, 3 or 4 Messiaen, 3 by Joseph Schwantner, 2 by Stockhausen, 2 or 3 John Cage, as well as discs by Joseph Schwantner, Charles Ives, Steve Reich, Penderecki, Philip Glass, Terry Riley, John Adams, a box set of Giacinto Scelsi, Kaija Saaraiho, Tormis, Gubaidulina, Tan Dun, Kalevi Aho, Holmboe, Norgard, Górecki, Petitgirard, Piazzolla, tons of Bartok/Shostakovitch/Stravinsky/Prokofiev/Britten, Roger Sessions, David Lang, Jake Heggie, Ned Rorem, Pärt, Arturo Marquez, Daniel Catan, Langaard, Leonardo Balada, James MacMillan, Michael Daugherty, Stephen Hartke, George Crumb... and I could go on for half the page without even mentioning what I have on Spotify.


I think that is a very healthy sample of 20th century music, perhaps even more than some of the more enthusiastic members here who are loudly pro-20th century? My latest include the complete symphonies of Schnitkke and Holmboe.

Anyway, back on topic, some of my latest repeats are as follows, mainly "core" repertoire (don't expect me to buy repeats of fringe material  )

Clarinet concertos by Louis Spohr (a new release)









Oboe concertos by CPE Bach


----------



## StlukesguildOhio (Dec 25, 2006)

Let me know what you think of the Spohr. I absolutely love the clarinet... and considering the quality of some of the work written for the instrument from Mozart on, it seems I'm not alone in this. Too bad Bach didn't have the clarinet.


----------



## Philip (Mar 22, 2011)

I have _all_ recordings of the Bach lute suites.


----------



## ComposerOfAvantGarde (Dec 2, 2011)

Philip said:


> I have _all_ recordings of the Bach lute suites.


Is Göran Söllscher better than ones on an actual lute? And what about Nigel North? He's done a recording hasn't he?


----------



## presto (Jun 17, 2011)

Analyzing particular performances against each other leaves me cold.
I’m certainly not into this, I don’t even have one version of a Beethoven symphony!
Reason being they are broadcasted so much on the radio (BBC Proms at the moment) and they turn up in concerts programmes all the time. 
I much rather spend my time widening my understanding and knowledge of the vast repertory beyond just the “Masterpieces.”
Life is too short!


----------



## Art Rock (Nov 28, 2009)

For the most part I agree with presto - but I do have a lot of recordings of a few selected works, notably Mahler's Das Lied von der Erde, Mahler's 4th symphony, Bach's Goldberg variations (different instrumentations) and Mussorgsky's Pictures at an exhibition (different instrumentations).


----------



## Philip (Mar 22, 2011)

ComposerOfAvantGarde said:


> Is Göran Söllscher better than ones on an actual lute? And what about Nigel North? He's done a recording hasn't he?


Söllscher's guitar sounds almost like a regular classical guitar with very soft treble and deeper bass. Nigel North is very good on the lute (only Bach lute recording i have...) but his boxset doesn't include my favourite suites BWV 996 and BWV 997!


----------



## joen_cph (Jan 17, 2010)

Here in Copenhagen at least, collecting *LP*s as well will make you feel like a milionnaire, since they go for down to 0,5 Euro, sometimes even as regards box sets; sales of CDs go down to 1,5 Euro too. So financing isn´t much of a problem, but I suppose that in the end, the few record dealers will loose interest in such low-profit business, so the current state of affairs might not last.

It has become a rule that I own multiple collections of the works belonging to well-known repertoire, sometimes others too, though rarely in 8-10 versions or more.

Recently I´ve been expanding my Ravel and Debussy collections quite a lot, and I think minor Stravinsky works are next.


----------



## Vesteralen (Jul 14, 2011)

I'm not averse to getting duplicates of certain works, though space limitations usually mean I cull my collection of duplicates every now and then and keep only my favorites.

As others have said, I will sometimes, in my liking for particular performers/conductors keep a duplicate performance more for the artist than the work. I have a number of Szell and Steinberg recordings, for example, which are duplicated in other recordings and boxed sets, but that I wouldn't part with.

The only works that pop immediately into mind of which I have multiple recordings that are not necessarily performer/conductor driven are the Schumann and Brahms symphonies. I've never found one set of these that satisfies me perfectly on every level, so I just enjoy the good features of several.


----------



## Taneyev (Jan 19, 2009)

I thing I've said before that I've 12 versions of Brahm's third violin sonata. But not so much for the work (which I love), but for the players. Major part are rare historical recordings, like Milstein-Horowitz or Rubinstein-Kochanski.
I believe I've 7 recordings of the Kreutzer, and similar for Tchaikovsky's violin concerto, for same reasons.


----------



## ComposerOfAvantGarde (Dec 2, 2011)

Philip said:


> Söllscher's guitar sounds almost like a regular classical guitar with very soft treble and deeper bass. Nigel North is very good on the lute (only Bach lute recording i have...) but his boxset doesn't include my favourite suites BWV 996 and BWV 997!


I believe he didn't record those two because he said they aren't very suited to the lute. I find this strange because those two were the only lute suites with newly composed music, the other two being arrangements. My guitar teacher told me I should look into Nigel North's recordings.


----------



## BurningDesire (Jul 15, 2012)

ComposerOfAvantGarde said:


> I believe he didn't record those two because he said they aren't very suited to the lute. I find this strange because those two were the only lute suites with newly composed music, the other two being arrangements. My guitar teacher told me I should look into Nigel North's recordings.


To me its odd to think something isn't suited for the instrument it was _written_ for by a great composer.... but then again I feel the same way towards Couperin and his music on harpsichord, which despite my love of harpsichord, I think its way better suited for the piano. (or maybe Couperin meant for it to be played on clavichord, which could achieve different dynamics, among other expressive capabilities)


----------



## Manxfeeder (Oct 19, 2010)

What got me back into classical after a 20-year hiatus was hearing Erik Satie's Gnoissiene No. 5. I became fascinated with this composer. For a while I collected every recording I could find just to see what different performers could do with these pieces. There weren't that many, they were short and easy to remember, so through that, I got a good sense of how different performers can make the same piece unique to themselves. So I consider that education.

If I connect with a piece, I tend to collect different interpretations. But I've never been as intentional as I was with Satie.


----------



## ComposerOfAvantGarde (Dec 2, 2011)

BurningDesire said:


> To me its odd to think something isn't suited for the instrument it was _written_ for by a great composer.... but then again I feel the same way towards Couperin and his music on harpsichord, which despite my love of harpsichord, I think its way better suited for the piano. (or maybe Couperin meant for it to be played on clavichord, which could achieve different dynamics, among other expressive capabilities)


There's actually some controversy as to whether they were written for the lute or lute harpsichord.


----------



## Vaneyes (May 11, 2010)

The "excess" are also performers, interps, performances I admire. Usually, recorded sound must be very good or better, and stereo.

Mahler, two to three recs of everything. Many recs of D. Scarlatti, FJ Haydn, LvB, Scriabin Piano Sonatas. Some extra solo piano for Debussy and Rachmaninov. 

For most works, I've listened or bought, then culled and kept one rec that I like the most. This has kept the collection at a manageable level for relistening, not to mention storage.


----------



## Hausmusik (May 13, 2012)

violadude said:


> When there is so much music that I have not heard yet, and only limited finances, I don't feel I have the luxury of owning multiple recordings of the same piece. I usually just check youtube to hear some differing interpretations of the same piece.


I'm with violadude these days---with YouTube and Spotify it is less necessary to spend a lot of money to hear different interpretations. But it was not ever thus. I spent quite a lot of money collecting Don Giovannis and Mozart 40s back in my college days.

The works I do have the most versions of tend to be chamber works, as here even very subtle differences in interpretation by individual players can be quite impactful and will reward really careful, focussed listening.


----------



## samurai (Apr 22, 2011)

I agree with both of you re: the virtues of *Spotify and YouTube *in saving one money, and yet there is still something quite intangible--yet so rewarding--about actually owning--and feeling it in one's hands--the physical cd of a work which one really admires. I guess that's why I'm destined to never have a lot of money, especially now that I am retired and have that much more time to devote to listening--and buying!


----------



## bigshot (Nov 22, 2011)

That's kind of why I like internet radio better than Spotify. I want to own something if I pay for it. I get lots of enjoyment out of internet radio, plus the advantage of hearing things I'm *not* looking for.


----------

