Absolutely. I’m pleased to have been the unwitting starter of this thread where the music is being discussed, rather than audiophoolery. I will never have the depth of understanding that you guys have, but it’s good to know that it exists. I was listening yesterday to Record Review on the BBC’s Radio Three, and it was a delight in the “Building a Library” section to hear Mark Lowther comparing recordings of Bach’s seven keyboard concertos, BWV.1052 to BWV.1058. I must try and do that more often.
Maybe Mr. Leonard has rubbished something else you like? That would probably make a good thread.
The strange thing is that I have Mr. Leonard to thank for my interest in the MS. His review of the Klemperer encouraged me to listen to the Benedictus, which got me hooked. His disparagement of other versions, however, is unnecessarily rude.
That’s funny. The man has passion at least. Maybe there is a positive Leonard review of something you don’t like. That would probably make an equally interesting thread. Shame Classical reviews are not signed in roon because its awkward to pick them out without going to allmusic. Would really like to see some traction on that.
That programme cost me a fortune
Quite a coverage there! Would be curious to hear you preferences. Especially the live Gardiner.
I had the chance to attend one of these live Missa solemnis performances by Gardiner in Germany and I was absolutely thrilled. I adored the performances of Lucy Crowe and James Gilchrist.
In total, I prefer it to his Archiv recording.
Sounds like it’s time to dust off my credit card for that one.
I’m quit new to classical, so which one is that?
I’m not really a critical listener, so I will probably like the loudest best…and can enjoy them all
On your screenshot, it’s bottom left.
The thread started off with a very controversial review of a famous studio version by the same conductor more that 25 years ago. On your screenshot that’s top row, 6th left. That’s the one Klaus is comparing with. Many of us here are familiar with that older studio recording as it is very famous. I personally have not heard the newer live Gardiner, and probably several others here as well. So your comments would be interesting.
I’ve really been enjoying Herbert Blomstedt’s 2012 with Gewundhausorchester Leipzig. A modern recording that has lucidity, transparency and power. It’s on Tidal. Have you heard it @tripleCrotchet ?
The solo violin in the Sanctus/Benedictus is quite wonderful on this recording and the balance between orchestra, choir and soloist voices is adroit, sublime even.
Blomstedt is described as inheriting the brisk, clear presentation of Igor Markevitch. I don’t think he overly rushes here although he is quicker than some.
Of my favourites, it’s my go to for both emotion and sound quality so far. I can both “hear the score” and be moved by it.
I like this one a lot:
It’s less loud and less bombastic (is that english?) than most, therefore gives more detail.
Yes, bombastic is an English word. Which language did we steal it from this time ? English is such a magpie when it comes to taking words from other languages.
Bombastic is also a good word for one of the ways it is possible to spoil the MS. I think the Solti is both bombastic and syrupy in places. Having said that, I do like to feel the timpani in my body when called for; I don’t have that active bass for nothing !
This time I think we dutchies stole it from the english language, at least that’s what a well known dutch dictionary says.
I don’t have a Blomstedt but that is the second recommendation in this thread now so it is time to track one down I think!
As you’ll see above @Gerald_Richardson, after listening to it on Tidal I quite agree.
The above Tidal version (I see Tony linked the Kyrie from YouTube above) came with Genres “Soundtrack” and “Stage and Screen”. Classical metadata is in a sad state of affairs.
Tried to search for a download version to buy, but failed.
thanks for recommending this- just finished listening to it, and it is indeed quite special, and beautifully, naturally recorded.
This one’s from around the same time as the Gardiner, and was well received in Gramophone. It’s kind of the opposite of the Gardiner - and a nice contrast and counterpart to it.