Ooh, this will be a good series. I'll especially be looking forward to The Boston Symphony, The Czech Philharmonic, The Vienna Philharmonic, The Philharmonia Orchestra, and the Philadelphia Orchestra.
Just reminded myself of Silvestri's French overtures disc with this fine orchestra. Now time to reacquaint myself with their Symphonie Fantastique, again with Silvestri. Great to see such an informative talk on an orchestra!
Hi David, your talks have broaden my horizons as to what is really out there in terms of composers, compositions, artists and ensembles. Recently I acquired the Andre Cluytens complete mono and stereo sets from Erato via digital download at a price that I couldn't believe my eyes (30 British Pounds = 40USD) per set. I've been going through it and found Cluytens recorded alot with the Paris Conservatory Orchestra. Please can you go through those two box sets like you have done recently with the Ormandy, Szell and Walter sets. Thank you.
Great talk David. One slight particular effect lost since those old days is the "stereo-effect" of placing first and second violins on opposite sides of the stage. Now, for ease of conducting and violinists' coordination both 1st & 2nd sections are almost always placed on the conductor's left. Does this make a noticeable effect on the sound? Perhaps yes, perhaps not. But since we no longer live in the age of mono recordings - from where this practice originated in since it provided improvements in sound quality and clarity for those types of recordings - it's overdue that we should probably go back to the historical arrangement of 1st & 2nd violin sections positioned opposite each other.
The Woodwinds and Brass use traditional French instruments and the difference to German style instruments is quite evident. This is especially noticeable by the bassoons. Also there are Cornets along with the trumpets.And a French Tuba is an octave higher than the Contrabass Tuba and is much more slender.
Very interesting series - and the opportunities are endless. I always thought that my favorite Paris Conservatoire recording was die Callas a Paris - but then I found that those recodrings were by Orchestre National de la Radiodiffusion Française!
The Jewels of Wolf-Ferrari!!! Conducted by Nello Santi. The orchestra is the star of the show, and this recording has never, and will never be equaled.
One of my teachers, Michel Garcin-Marou, told me that L'Orchestre de Paris was forced by recording companies to hire Myron Bloom, the great Cleveland 1st Horn to join Garcin-Marrou as a Co-1st . The Parisians were forced to Change just as Classical Music was declining.
Interesting. I read a long time ago that Barenboim had invited Bloom to Paris and the students at the Conservatoire were adamant about having him teach there.
Thanks for sharing your knowledge of music David.I love your oppinions and comments .What I would like to know is what is your serious music system you listen to when commenting on various works of music? keep up the good work.Thank you.
@Lynda Dean: Much to many listener's thwarted curiosity and continuing chagrin, Dave will recommend recordings, but never audio equipment. Yes, just revealing his gear *_would_* constitute a recommendation, and that's just not his _metier_ .
@@apointofinterest8574 Unless somebody reviews audio equipment for a living and is regularly swapping out speakers and components and evaluating new equipment as it's coming out, about all they can say is what they have and how they think it compares to other equipment they've heard and/or owned in the past. There are too many variables, including budgets and listening rooms, which are going to vary widely.
Oh, nice. I have a superficial idea of what the orchestras sound like...Chicago (brass!)...Cleveland (strings! Precise!)...Philadelphia (strings ! Lush!) ....and repertoire....Boston "the best French orchestra in the world"....haven't found anyone who really goes in depth. I love this Chanel and classics today website even if it may Cost my retirement savings
Nice! Concertgebouw and Vienna orchestras should be interesting. Also Orchestre de la Suisse Romande. P.S. Would love to know how and why an otherwise idiomatic sounding orchestra was famously made sometimes to sound ordinary. P.S. 2 Also sometimes an orchestra is simply lucky to be dealt an "audiophile" recordings deal so it may become legendary without actually being so. See in the past the spectacular Mercury Living presence records, today maybe Reference Recordings...
Dear Dave. You mentioned the conductor Andre cluytens but mis pronounced his name as my Belgian friends would say. It should be pronounced as claytenz. It is like our Hungarian friend frenec fricsay which you have gotten your tongue around as frerech fricshay which my Hungarian friends say is correct. Well who knew but them. All best.
Good Lord, not again! You are very late to this discussion. I have heard it pronounced many ways, by many people, and have gotten tons of advice on this channel, none of it consistent. For every friend of yours who says one thing, I have a dozen to say another, and I couldn't care less. So I will thank you not to correct my pronunciation again. As long as you know who I'm talking about, it's fine.
i'm sure your read the ''memorys'' of berlioz....and in this memory,berlioz talk about a execution of beethoven symphonies ( conducting by habeneck) at the conservatoire,with a cut ( it's thrue...?) in music by a man call caltiblaze.....berlioz of course is very choquing ( is a critical music to...) by this ''destruction'' of beethoven symphonies.....but i'm sure you know the complete story.....the bad execution of the first premiere of berlioz requiem conducted by habeneck,discribed by berlioz in this memory is suppose to be a fake story.....
…but Dave? NYPO was founded in 1842, that’s give 180 years of uninterrupted tradition and PCO had „just” 139. It is not the longest continuously operating orchestra in the world…
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Ooh, this will be a good series. I'll especially be looking forward to The Boston Symphony, The Czech Philharmonic, The Vienna Philharmonic, The Philharmonia Orchestra, and the Philadelphia Orchestra.
Just reminded myself of Silvestri's French overtures disc with this fine orchestra. Now time to reacquaint myself with their Symphonie Fantastique, again with Silvestri. Great to see such an informative talk on an orchestra!
I'm really thrilled. A talk about one of my most cherished orchestras, wearing my favourite t-shirt (the side-pocket one).
This is going to be sooo much fun! Budgeting now to subscribe...Gotta get a couple of those t-shirts, too!
Thank you!
Hi David, your talks have broaden my horizons as to what is really out there in terms of composers, compositions, artists and ensembles. Recently I acquired the Andre Cluytens complete mono and stereo sets from Erato via digital download at a price that I couldn't believe my eyes (30 British Pounds = 40USD) per set. I've been going through it and found Cluytens recorded alot with the Paris Conservatory Orchestra. Please can you go through those two box sets like you have done recently with the Ormandy, Szell and Walter sets. Thank you.
Great talk David. One slight particular effect lost since those old days is the "stereo-effect" of placing first and second violins on opposite sides of the stage. Now, for ease of conducting and violinists' coordination both 1st & 2nd sections are almost always placed on the conductor's left. Does this make a noticeable effect on the sound? Perhaps yes, perhaps not. But since we no longer live in the age of mono recordings - from where this practice originated in since it provided improvements in sound quality and clarity for those types of recordings - it's overdue that we should probably go back to the historical arrangement of 1st & 2nd violin sections positioned opposite each other.
Hi Dave, may I suggest you do a "Tennstedt best recordings" talk?
Sure. Let me think about it.
@@DavesClassicalGuide Looking forward to it!
@@DavesClassicalGuide And I hope you include Tennstedt's live BBC Brahms 3 & Beethoven 7 in your list!
The Woodwinds and Brass use traditional French instruments and the difference to German style instruments is quite evident. This is especially noticeable by the bassoons. Also there are Cornets along with the trumpets.And a French Tuba is an octave higher than the Contrabass Tuba and is much more slender.
Very interesting series - and the opportunities are endless. I always thought that my favorite Paris Conservatoire recording was die Callas a Paris - but then I found that those recodrings were by Orchestre National de la Radiodiffusion Française!
Also active in Paris during the final years of the Conservatoire orchestra were the Colonne and Lamoureux orchestras and the Cento Soli orchestra.
The Jewels of Wolf-Ferrari!!! Conducted by Nello Santi. The orchestra is the star of the show, and this recording has never, and will never be equaled.
One of my teachers, Michel Garcin-Marou, told me that L'Orchestre de Paris was forced by recording companies to hire Myron Bloom, the great Cleveland 1st Horn to join Garcin-Marrou as a Co-1st . The Parisians were forced to Change just as Classical Music was declining.
Interesting. I read a long time ago that Barenboim had invited Bloom to Paris and the students at the Conservatoire were adamant about having him teach there.
Thanks for sharing your knowledge of music David.I love your oppinions and comments .What I would like to know is what is your serious music system you listen to when commenting on various works of music? keep up the good work.Thank you.
I will not discuss audio equipment. I don't think it's relevant. However anyone listens is fine, as long as they listen.
@@DavesClassicalGuide Agree. The serious music system is my two ears, and, through them, my heart.
@Lynda Dean: Much to many listener's thwarted curiosity and continuing chagrin, Dave will recommend recordings, but never audio equipment. Yes, just revealing his gear *_would_* constitute a recommendation, and that's just not his _metier_ .
@@apointofinterest8574 That and the fact that I listen on four or five different "systems" depending on where I am and other contingent circumstances.
@@apointofinterest8574 Unless somebody reviews audio equipment for a living and is regularly swapping out speakers and components and evaluating new equipment as it's coming out, about all they can say is what they have and how they think it compares to other equipment they've heard and/or owned in the past. There are too many variables, including budgets and listening rooms, which are going to vary widely.
Oh, nice. I have a superficial idea of what the orchestras sound like...Chicago (brass!)...Cleveland (strings! Precise!)...Philadelphia (strings ! Lush!) ....and repertoire....Boston "the best French orchestra in the world"....haven't found anyone who really goes in depth. I love this Chanel and classics today website even if it may
Cost my retirement savings
Nice! Concertgebouw and Vienna orchestras should be interesting. Also Orchestre de la Suisse Romande.
P.S. Would love to know how and why an otherwise idiomatic sounding orchestra was famously made sometimes to sound ordinary.
P.S. 2 Also sometimes an orchestra is simply lucky to be dealt an "audiophile" recordings deal so it may become legendary without actually being so. See in the past the spectacular Mercury Living presence records, today maybe Reference Recordings...
Dear Dave. You mentioned the conductor Andre cluytens but mis pronounced his name as my Belgian friends would say. It should be pronounced as claytenz. It is like our Hungarian friend frenec fricsay which you have gotten your tongue around as frerech fricshay which my Hungarian friends say is correct. Well who knew but them. All best.
Good Lord, not again! You are very late to this discussion. I have heard it pronounced many ways, by many people, and have gotten tons of advice on this channel, none of it consistent. For every friend of yours who says one thing, I have a dozen to say another, and I couldn't care less. So I will thank you not to correct my pronunciation again. As long as you know who I'm talking about, it's fine.
i'm sure your read the ''memorys'' of berlioz....and in this memory,berlioz talk about a execution of beethoven symphonies ( conducting by habeneck) at the conservatoire,with a cut ( it's thrue...?) in music by a man call caltiblaze.....berlioz of course is very choquing ( is a critical music to...) by this ''destruction'' of beethoven symphonies.....but i'm sure you know the complete story.....the bad execution of the first premiere of berlioz requiem conducted by habeneck,discribed by berlioz in this memory is suppose to be a fake story.....
…but Dave? NYPO was founded in 1842, that’s give 180 years of uninterrupted tradition and PCO had „just” 139. It is not the longest continuously operating orchestra in the world…
But what I said was that it was the longest continuous orchestral tradition dating back to the classical period.
@@DavesClassicalGuide a -ok! I misunderstood you