# How many different recordings for same piece?



## Centropolis

I am wondering how many different recordings do you own for the same piece of music? In general, I assume it depends on what it is. I assume a few of you may have a number of Beethoven complete symphonies but maybe not something that's relatively less famous. Just wondering how you guys approach buying different recordings of something you already own.

Do you guys read a few reviews, or sample a few recordings, and then just buy the one you like?

The reason I ask is because yesterday for the first time, I bought a different recording of a piece of music I already own. I bought the Furtwangler Beethoven symphonies complete while I already own Karajan's 60's cycle on DG.

After listening to classical music for over 2 months now, I am starting to appreciate the differences in performers and also starting to notice the differences as well. I listened to completely different versions of a Beethoven piano sonata a couple of days ago and I was almost shocked at how a different interpretation can sound so different!


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## brotagonist

Centropolis said:


> I was almost shocked at how a different interpretation can sound so different!


It certainly can! I am finally playing my copy of the same Beethoven Symphonies set that you have. _What a difference_ to my Norrington set (that I have had for nearly 25 years)!

Unlike many collectors, I am still acquiring pieces that are new to my collection. Although I have quite a significant classical collection (about 65% of my total collection), I have yet to intentionally buy a second version of any music.

The aforementioned Beethoven set was a last ditch choice for some albums I had traded in. I recognized the dramatic contrast between it and the Norrington set when I made the swap, but my first thought was that duplicating _all nine symphonies_ was going a bit far, but I certainly don't have any lingering reservations now! I have a few other 'duplicates' that I ended up with, because albums with works I wanted contained a piece I already had. In the case of Beethoven's _Piano Sonata 21_, I have four versions, one by Brendel, one by Kempff, and two by Pollini, one of which is live. There are a few other such examples in my collection, but, so far, they are still quite rare.

Now that I am starting to feel that I have collected the_ core works_, alternate versions of my all-time favourite works are starting to look more attractive to me.

I mostly read reviews, play the samples, and choose the best one in the price range I am willing to pay for the particular work (some works and/or composers are more 'valuable' to me than others, although this often changes, as I become more familiar with a piece).


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## Art Rock

Usually I go for a single version of any work (that's just me). But I do have dozens of versions of Mahler's Das Lied von der Erde.


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## mchriste

I generally go for one version only as well, unless there are some widely different interpretations.

So for audio only I may have one HIP and one "modern" interpretation

One example off the top of my head, Vivaldi's Le Quattro Stagioni as performed by Europa Galante with Fabio Biondi has almost nothing in common with say the Boston Symphony Orchestra with Joseph Silverstein. Which one is better? I can't decide, I love them both.

For video (for operas) I'll sometimes get both a "classical" and a "regie" version IF I like both a lot. If I only like one approach, that's the one I'll get. Youtube and the local library are your friends here ;-)

But yeah, 90% of the time it's one piece=one interpretation. That's where I use talkclassical as a particularly good resource to help me uncover what could be the "best" version available. :tiphat:


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## ComposerOfAvantGarde

I dislike having many different recordings of the one piece. I like to get one or two very good recordings that I like a lot of each piece but no more otherwise I'd end up with so many CDs that I wouldn't listen to often enough. If I want to listen to a different recording I might go on YouTube just to check something out, but I don't often do this with works I already own recordings of.


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## JCarmel

Being Perfect, perfectly most of the time..I intuitively choose the best interpretation from 'the Off'... thereby negating the need for multiple purchases.


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## ptr

Did we not have a thread asking just this a few months ago? 
I think that I answeres; it must be something Mahler, as I have 20+ versions of DLVDE and several of the symphonies, but I might well be that Shostakovich Fourth Symphony is my top ringer at 37 versions (I just adore that sweet symphony!).
But I don't consider myself a completist, because I often neglect conductors versions that I previously have had poor innings with!

/ptr


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## Vesteralen

I have multiple versions of a lot of things. But, I've been collecting for more than 40 years. It happens.

I will get alternate versions for many reasons, good and bad:

- I'm not satisfied with the one I have
- I read a glowing review
- HIP versus traditional
- Favorite performer / orchestra / conductor comes out with a new one
- I like the cover art on the CD


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## Centropolis

mchriste said:


> So for audio only I may have one HIP and one "modern" interpretation


I think this is a good approach. I understand the basics of the differences between HIP and modern, but as a newbie, sometimes it's hard to determine whether a CD that I am looking at is which type. Sometimes I will read whether a recording is HIP or not on the web but most of the time, not sure where to find out this information.


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## moody

I'll give the answer I think I gave last time.
You don't normally feel satisfied with just one version of a Shakespeare play,you want to see various famous actors doing it.
A piece of music is the same,I want to see what various famous pianists to with the "Emperor" concert ,etc.


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## Itullian

i have many recordings of my favorite works. And while i have my favorites each adds its own insights.


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## realdealblues

Works that I truly love I usually own multiple copies of, unless there is a particular performance that completely satisfies me.

I have 7 complete cycles of Mozart's Symphonies and probably 100 recordings of random symphonies.

I have over 40 complete cycles of Beethoven's Symphonies now and probably, 50 recordings of random symphonies.

I have like 15 complete cycles of Mahler's Symphonies and some 200 random Mahler Recordings.

I love those works and listen to them all the time. Mozart's Piano Sonatas & Beethoven's Piano Sonatas I have countless sets of. I spend a lot of time with them.

Now I like Debussy & Ravel, but I'm not a huge listener to their Orchestral works. I have a Decca Dual CD Set of both composers (2 CD's of Each Composer) with Charles Dutoit and I'm completely content with those recordings. Now I have Ravel's Bolero from Leonard Bernstein and maybe a few other conductors whose recordings I tend to collect but I'm otherwise happy.

I also like to have a "Historical Recording", a "Modern Traditional Recording", a "Historically Informed Performance" and an "Oddball/Something Interesting" recording of each work.


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## bigshot

Dozens of everything here.

In general, beginners would do best to settle for just one recording and move on to something else. Once they've filled in a reasonably complete collection and have a little experience under their belt, they can dive in deeper.

One side suggestion... make note of the people who say they only own one recording of each work and remember that next time they recommend a recording to you. They might not be the best to listen to, becuase it's probably the only performance they've ever heard.


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## bigshot

mchriste said:


> But yeah, 90% of the time it's one piece=one interpretation. That's where I use talkclassical as a particularly good resource to help me uncover what could be the "best" version available.


There is more chance of bigfoot existing than a "best" version of a particular classical work.


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## Centropolis

Vesteralen said:


> - I like the cover art on the CD


Speaking of buying a CD based on the cover art, I picked up a copy of Karajan "The Planets" for $3 yesterday based solely on the cover with cool gold design and the word "Karajan" on it. Never heard of the music before.

http://www.amazon.ca/Karajan-Gold-P...379356558&sr=8-1&keywords=the+planets+karajan

I also bought Handel's Water Music and Music for Fireworks (2 separate CDs) for $3 each. There was also the Gould's Goldberg Variations (the last one he recorded I think) for $3. I didn't buy it because I've listened to the Bach Goldberg Variations and didn't like them. They're too short.


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## ShropshireMoose

I remember when I first started buying records the guilt I felt when purchasing something that I already had a recording of! Sometimes I'd justify it by "well I only had this in mono, so I ought to get a stereo recording of it", then eventually realised that having a wide variety of differing performances to listen to is one of the great joys of a decent library of recordings. 
In Birmingham in the early 1980s was a wonderful shop, Vincent's Classical Records. All of the stock, except for bargain LPs was on shelves behind the counter and you had to ask for what you wanted, everyone who worked there was very knowledgeable about music and records and it was a real joy to saunter up there (it was in a street with the wonderful name of Needless Alley) and see whether what you'd ordered last week had come in, and have a chat about what you might want to order next. One day I'd decided to get the Rachmaninoff 3rd Concerto, and wanted a version by Horowitz. There were two then available, the 1951 RCA Orch/Reiner or the 1978 NYPO/Ormandy. I said to the chap at the counter, "These both came out before I started buying the Gramophone, so I never saw any reviews of them, can you tell me which is the best version?" He smiled at me and said, "Mr. Rowland, you will find, if you read enough reviews that each of these recordings is the best version of the Rachmaninoff 3rd that has ever been made, and the worst version that has ever been made. You've really got to make up your own mind." And that, dear friends, is precisely what I've been doing ever since.


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## Vaneyes

moody said:


> I'll give the answer I think I gave last time.
> *You don't normally feel satisfied with just one version of a Shakespeare play,you want to see various famous actors doing it.
> *A piece of music is the same,I want to see what various famous pianists to with the "Emperor" concert ,etc.


Ralph Fiennes in The Tempest is enough for me. I'm not normal. :tiphat:


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## Don Fatale

Wagner's The Ring of the Nibelungen on vinyl.

(Looks up at shelf...) currently 8 LP box sets. Clearly it's a work I particularly enjoy listening to, but there's the physical aspect of these heavyweight sets as well. Many of the boxes and content are well-made and a pleasure to look at and handle.

Plus 5 or 6 LP versions of quite a few other operas, more by accident than design when buying job lots on Ebay.


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## JCarmel

Ralph Fiennes...an excellent actor but I just don't like him beyond his considerable thespian skills.....silly but there you go, we can't help these irrational likes & dislikes?
And I tend to remember how he got into considerable trouble with the cabin crew on a long-haul flight by joining The Mile High Club...with a lady he met on the plane. Hopefully, the lady didn't get into trouble!....but I thought how very wrong it was.......keeping all those people waiting to use the Loo?!!


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## Ukko

_Centropolis_:

"I also bought Handel's Water Music and Music for Fireworks (2 separate CDs) for $3 each. There was also the Gould's Goldberg Variations (the last one he recorded I think) for $3. I didn't buy it because I've listened to the Bach Goldberg Variations and didn't like them. They're too short."



I enjoyed several of the posts in this thread, but singled this out because it has... something; something pleasingly incongruous about it. Like 'I don't like the sky becauses sometimes it's blue.' Thanks, _Centropolis_.


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## Centropolis

Hilltroll72 said:


> _Centropolis_:
> 
> "I also bought Handel's Water Music and Music for Fireworks (2 separate CDs) for $3 each. There was also the Gould's Goldberg Variations (the last one he recorded I think) for $3. I didn't buy it because I've listened to the Bach Goldberg Variations and didn't like them. They're too short."
> 
> 
> 
> I enjoyed several of the posts in this thread, but singled this out because it has... something; something pleasingly incongruous about it. Like 'I don't like the sky becauses sometimes it's blue.' Thanks, _Centropolis_.


I don't know. It's like by the time I paid attention to the music it's already over. With classical music, somethings just don't work for me. Like really short pieces of music or (dare I say it) Bruckner symphonies. I just couldn't get into them. It's like Beethoven's symphonies gives me ups and downs and "a whole story". On the other hand, Bruckner's feels like a 30 minute of movie background music without a storyline. It's like I am supposed to create the story myself. Does that make sense?


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## bigshot

As you gain experience, you'll start to be able to see the architecture of Bruckner symphonies and the variety in variations.


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## Ukko

Centropolis said:


> I don't know. It's like by the time I paid attention to the music it's already over. With classical music, somethings just don't work for me. Like really short pieces of music or (dare I say it) Bruckner symphonies. I just couldn't get into them. It's like Beethoven's symphonies gives me ups and downs and "a whole story". On the other hand, Bruckner's feels like a 30 minute of movie background music without a storyline. It's like I am supposed to create the story myself. Does that make sense?


Yes, it does. Re the Goldbergs... they _are_ a set of variations, not separate 'vignettes', so a little listening experience lets you hear the similarities. Voila, it becomes one 'story' - told from different viewpoints; each 'viewpoint' adds to your understanding.

The Bruckner symphonies aren't my bag, I have difficulty tying the episodes together, but maybe hearing the symphony as a series of episodes would open them up for you. A book of related short stories.

Oh yeah - I much prefer to 'create the story myself'. "Program" music usually annoys me. This gives me another chance to type in 'Chacun à son goût'. (I used to use YMMV, but _PetrB_ has put the hex on that.)


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## Alydon

I think the answer should be, 'as many as possible,' as you can never tire or exhaust the never ending interpretations. but on a practical level I tend to rotate my collection so I try out various recommended recordings and to use that horrible phrase again, 'benchmark recordings,' or recordings which are 'classic.' Some just come along by chance, but you can't really have just one complete Beethoven piano sonatas or one WTC - you will probably want in time at least historical set and a good all round never set plus additional recordings. I did begin to question my sanity when I discovered once that I possessed ten recordings of the Elgar violin concerto, but then again, a well known TV presenter who is also an avid collector of music confessed to fifty - two recordings of the Brahms 2nd piano concerto - now that is pushing it!


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## brotagonist

Hilltroll72 said:


> I much prefer to 'create the story myself'. "Program" music usually annoys me.


+1

Instrumental music is open to personal interpretation. Let the music, not the pundits and biographers, speak.


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## techniquest

I love listening to different versions of a piece; and for my favourite works I have multiple recordings. For example, I have over 40 recordings of Mahler 2 (CD, DVD, vinyl, mp3) including the ones in 7 different Mahler complete symphonies box sets (Chailly, Segerstam, Sinopoli, Bertini, Bernstein (Sony), Tennstedt and an odd budget box with recordings mostly live from Slovenia).
I have several Shostakovich 13's, 5's, 12's, 11's; 5 Beethoven 6's + 4 complete symphonies box sets; 3 Wagner Ring Cycles (Solti, Neumann, Zagrosek) plus several highlights discs; 5 Symphonie Fantastiques; 5 Respighi Rome Trilogies; several Rachmaninov Symphonic Dances, and so on...


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## bassClef

50+ versions of The Rite of Spring - I must be mad.
20+ versions of Petrouchka 
8 versions of Mahler's 2nd, Mussorgsky's Pictures, and Sibelius' Finlandia & other tone poems - these are included on so many CDs!
7 versions of Carmina Burana (not ashamed of that)


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## ticovanzant

There are way too many different (good) interpretations of most works to confine one's self to just one version. And they just keep coming with new, young conductors such as Dudamel, Harding, etc.


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## Bulldog

I'm all for having many different versions of favorite works; the more intimate my knowledge of a particular work, the more I can detect and appreciate differences among interpretations. At any rate, I tend to have dozens of recordings of the same pieces; in the case of the Goldberg Variations, I have over 150 versions.


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## Blake

Centropolis said:


> I don't know. It's like by the time I paid attention to the music it's already over. With classical music, somethings just don't work for me. Like really short pieces of music or (dare I say it) Bruckner symphonies. I just couldn't get into them. It's like Beethoven's symphonies gives me ups and downs and "a whole story". On the other hand, Bruckner's feels like a 30 minute of movie background music without a storyline. It's like I am supposed to create the story myself. Does that make sense?


Bruckner requires a certain level of patience and openness. More-so than many other composers, I've found. However, once the veil has been pierced... the mountains appear, the clouds part, and the sun hits your face. A handful of great cycles are out there, but the one I keep recommending is Wand because it's just that good.


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## Copperears

Different recordings are great, because performance practices and musical goals change over time.

For instance, for me, I've found generally that earlier recordings tend to focus a lot more on the raw spine of a composition, so you are, especially if new to it, more likely to hear it as a motivated, clearly defined whole than you might in a later recording.

Later recordings, often neglected because they haven't achieved the necessary Greatness Reception Quotient, are often suffused with a lot more attention to what I'd call the inner details of the composition. The known and most familiar and crowd-pleasing elements are taken more for granted, and interest is focused instead on many of the more"secondary" qualities that might not be as apparent in an earlier recording.

This has a parallel in the evolution of recording technology; as it has improved and given more ability to capture such detail, it has supported this evolution in performance intention.

The increasing reliance upon live recordings I consider the latest stage of this evolution; the technology has become good enough to recede into the background and allow live explorations that balance both drive and detail in ways we haven't been able to hear before.

So, interestingly, my recommendation would be start with any piece with one of the earlier, critically-praised recordings. It will be easier to get, as a novice, the reasons why people like this music.

As your own familiarity with it grows, buy additional recordings to discover things you might not have heard yet in the recording(s) you have. Certainly repeated listens to any recording will do this, too, but it's always worthwhile to refresh your ears with a new recording when you think've gotten to the point where you've memorized every note.


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## bigshot

In art, the greatness usually isn't in the details. There are thousands of paintings in thrift stores with every leaf on every tree rendered out, but the museums have pictures that make bold, clear statements. Detail is easy. Keeping the focus on the spine of a work is very hard. It's easy to focus on the moment and forget how that moment fits in all the ones around it. In large scale works, like Mahler and Bruckner, focus on the architecture is vital.


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## LancsMan

Well I thought I had a pretty large CD collection at around 1,000 - but it seems compared to many here I've hardly got started.
I my own case six seems to be the maximum I have of the same piece.

In the case of Debussy's Prelude A L'Apres-Midi D'un Faune this is not deliberate choice - it's just a short piece that is as a fill up on several discs.

I can't account for my having 6 versions of Beethoven's Violin Concerto as it's certainly not one of my favourite Beethoven pieces.

However the fact I have six recordings of Bach's Goldberg Variations and Bartok's Piano Concerto No. 3  comes as no surprise as this is music I particularly love.

Even with my relatively modest collection I find I have to have a 'system' in determining what I listen to otherwise I'll forget so to re-listen to so many pieces.


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## Gilberto

Centropolis said:


> I listened to completely different versions of a Beethoven piano sonata a couple of days ago and I was almost shocked at how a different interpretation can sound so different!


That is why I have so many different Chopin recordings.

I have duplicates of some of my favorite Baroque composers and classical guitar material but most of all I love hearing a pianist I've never heard performing Chopin.

The first classical record I bought was Ormandy's Scriabin Poem of Fire, Poem of Ecstasy. When I went to update things to CD it wasn't available and the guy at the shop said I would love the Sinopoli CD. Same music but it was a different performance. I've heard those pieces over the years on the radio and it just isn't the same to me. I still don't think they released the Ormandy Scriabins on CD.


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## StlukesguildOhio

I have any number of alternate recordings/performances of those works of music that are dearest to me... or that I feel are truly central to my experience of "classical music":

Bach- Well Tempered Clavier
Bach- Goldberg Variations
Bach- Art of Fugue
Bach- cantatas
Mozart- Don Giovanni
Mozart- Cosi fan tutte
Mozart- Le Nozze di Figaro
Mozart- Requiem
Haydn- Die Schopfung
Beethoven- piano sonatas
Beethoven- the symphonies
Beethoven- the string quartets
Vivaldi- The Four Seasons
Biber- The Rosary Sonatas
Schubert- Winterreise
Schubert- Symphony 8
Brahms- The German Requiem
Wagner- The Ring
Wagner- Parsifal
Wagner- Tristan und Isolde
Strauss- Four Last Songs
Strauss- Salome
Strauss- Elektra
Mahler- Symphony 1
Mahler- Symphony 2
Mahler- Song of the Earth
etc...
etc...
etc...

Honestly, I think with experience that you will find that there is almost never such a thing as the single "best" or "definitive" recording/performance. The differences between Edwin Fischer, Glenn Gould, and Angela Hewitt performing Bach's Well Tempered Clavier can be quite enlightening... each bringing something unique... and brilliant... to the work of music. 

For those works that I have but a single recording/performance of I have relied upon assessments by critics and performers (conductors, singers, orchestras, ensembles) that I have come to trust over the years as a result of experience. There are any number of recordings in my collection, for example, that were purchased to replace recordings that I had purchased years ago... when I had little experience to go on in choosing which performers I would find most to my taste.


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## Jos

Guilty of having 14 renditions of Beethovens violinconcerto. Monoversion by Oistrakh with Cluytens conducting gets most plays but I like Milstein too, and he did his own cadenza!

Cheers,
Jos


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## Rangstrom

I'd rather pick up a cd of works by new (to me) composer, than buy another copy of Schubert's 9th even though it is one of my favorite works. Still, given different formats, bundling, couplings and performance practice it would be a challenge to have just one recording of a favorite composition. I would guess that over a long period of collecting LPs, RTRs, Cassettes, Cds, DVDs and SACDs I probably have 3 or four different versions of works that I consider core. What surprises me at times is how I end up, for example, with 23 versions of the Schubert 8th which is not one of my favorites.


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## Vaneyes

LancsMan said:


> Well I thought I had a pretty large CD collection at around 1,000 - but it seems compared to many here I've hardly got started.
> I my own case six seems to be the maximum I have of the same piece.
> 
> In the case of Debussy's Prelude A L'Apres-Midi D'un Faune this is not deliberate choice - it's just a short piece that is as a fill up on several discs.
> 
> I can't account for my having 6 versions of Beethoven's Violin Concerto as it's certainly not one of my favourite Beethoven pieces.
> 
> However the fact I have six recordings of Bach's Goldberg Variations and Bartok's Piano Concerto No. 3 comes as no surprise as this is music I particularly love.
> 
> Even with my relatively modest collection I find I have to have a 'system' in determining what I listen to otherwise I'll forget so to re-listen to so many pieces.


Lancs, 1,000 is a good size that will afford you easy listening. By easy listening, I mean you'll be able to make listening sweeps of the whole collection within a reasonable time-span. Having so many that you hardly if ever listen to many, is counter-productive IMO.

Culling turkeys, limiting extra recs. of the same work, and limiting "unknown composers" are good ways to keeping the collection "listenable". :tiphat:


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## bigshot

The best way to make my collection "listenable" is to listen to it more!


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## moody

Centropolis said:


> I am wondering how many different recordings do you own for the same piece of music? In general, I assume it depends on what it is. I assume a few of you may have a number of Beethoven complete symphonies but maybe not something that's relatively less famous. Just wondering how you guys approach buying different recordings of something you already own.
> 
> Do you guys read a few reviews, or sample a few recordings, and then just buy the one you like?
> 
> The reason I ask is because yesterday for the first time, I bought a different recording of a piece of music I already own. I bought the Furtwangler Beethoven symphonies complete while I already own Karajan's 60's cycle on DG.
> 
> After listening to classical music for over 2 months now, I am starting to appreciate the differences in performers and also starting to notice the differences as well. I listened to completely different versions of a Beethoven piano sonata a couple of days ago and I was almost shocked at how a different interpretation can sound so different!


Well, at least you can look upon Furtwaengler as an antidote to Karajan and that can't be bad.
As for your general question you've hit upon the answer,it depends on the piece of music.
I've got approximately thirty versions of Beethoven's "Emperor" Concerto because it is so fascinating to see what different artists do with it.
At first you can be guided by reputable critics,but there will come a time when you can tell for yourself.
It's all a voyage of discovery you know,but be careful because it can be an expensive one.

I'm going round the bend,I've answered this ages ago--why is it still meandering on ?
Luckily for me I haven't disagreed with myself which is a wonder !!!
It appears that this question is asked every few months because I refer to the last time in my earlier post here,
I'm off before I accidentally answer it again, Adieu !


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## Vaneyes

moody said:


> ....I've got approximately thirty versions of Beethoven's "Emperor" Concerto because it is so fascinating to see what different artists do with it....I'm going round the bend....


Gelber/Leitner?


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## moody

Vaneyes said:


> Gelber/Leitner?


Afraid not,I don't have anything of Mr.Gelber's.
y latest CD is Robert Casadesus/Concergebouw/Rosbaud--but I already had the LP.
I have the Casadesus/Mitropoulos as well,they are both wonderful performances.


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## realdealblues

moody said:


> I have the Casadesus/Mitropoulos as well


I assume that's the "Studio" version with New York.

I saw back in August that Audite released a "Live" recording with Casadesus/Mitropoulos with the Vienna Philharmonic. It was Historic Lucerne Performances or something, but it was paired with a Haskil/Klemperer performance of Mozart's Piano Concerto No. 20. I thought about checking it out but hadn't heard anything review wise about it.


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## moody

realdealblues said:


> I assume that's the "Studio" version with New York.
> 
> I saw back in August that Audite released a "Live" recording with Casadesus/Mitropoulos with the Vienna Philharmonic. It was Historic Lucerne Performances or something, but it was paired with a Haskil/Klemperer performance of Mozart's Piano Concerto No. 20. I thought about checking it out but hadn't heard anything review wise about it.


Yes,it's the studio recording. We don't see enough mention of Casadesus whether it be in French music or Beethoven ,which is terrific.


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## senza sordino

Only a few pieces do I own two different versions, concertos mostly with different soloists. Sibelius violin x2; Beethoven violin x2; Mendelsohn x2; Brahms violin and double x2. Beethoven symphonies 5, 6, 7, 8 and 9 two different versions, and Sibelius symphony #2 twice. I own nothing of three or more different versions. 

I'm still working on getting a collection of music that covers all the different pieces and composers, I like the variety of different pieces. (Correli to Ligeti)

I'm not sure I want lots of different versions of each piece. I don't always hear the differences between each version. Perhaps if I had fewer different composers in my collection. I'd get my variety by listening to different versions of fewer pieces.


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## SixFootScowl

I have:
About 30 Beethoven Ninths. 
About 10 or so Mussorgsky Pictures at an Exhibiton, but each is with instruments such as a brass version, a concerto version, a strings version, as well as the tradional versions. 
Five or six Beethoven Missa Solemnis. 
Several Fidelio Operas. 
Several Handel Messiahs.


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