Mostly good selections (with a couple of exceptions) and some Boulez novelties make this set worth consideration if you don't already have most of this material.
Too bad they didn’t include the fist movement of Mahler 10. That is a beautiful performance. It was recorded live during Boulez’s last appearances in Cleveland (I was there).
Thanks for this. This video series on these boxes are great for newer folks like me as an entry to some of these major composers. In your prior videos you sold me on two composers that seem to get a lot of criticism: Ozawa and Karajan.
‘Epode’ is the high point of ”Chronochromie” Boulez is pedestrian in comparison to atleast two alternatives, so possibly further confirms your take that early career Boulez is mostly better .Maybe not as well played but the BBCSo under Dorati play as if their lives depend upon it.
Hi Dave. I agree about the Ravel Piano concerts, and really like the set with Zimerman, but the left hand concerto there is with the LSO, which perhaps explains what went on with this box. This does not explain why Boulez did the two works twice on DG in such a short time - just mates with Aimard maybe? I recall reading your review of the Mahler 7 on your site, and it’s interesting to hear you have more time for it than that would suggest! Perhaps I should give it another try, I couldn’t get past the rather blandly recorded tenor horn at the start. On strange Boulez Mahler I did rather like the 9th for similar reasons you like this one - weird sort of deconstructed first movement, “quick” finale with Walter like timing (but oh so cold...) Strange that, apart from his own music, Boulez did so little in Cleveland and elsewhere of more contemporary music for DG. Some Ligeti, Birtwistle, and that seems about it! (Someone will correct me I’m sure). No more recent French work, even stuff coming out of IRCAM, no Jonathan Harvey etc. Main thing he seems to have gotten excited about in final years was Janacek!
The problem with the Ravel /Zimerman disc is that the Concerto for the Left Hand was recorded with the London Symphony Orchestra. Yes, I also find his Mahler 7, one of my favourite symphonies, very interesting, certainly different, and will listen to it once in a while, even it downplays the drama and turmoil inherent in the music. A very different approach. One that many Mahler devotees might object to.
I totally agree on Boulez’ Messiaen. Fabulous recordings, as are the Ravel concertos with Zimerman. Why they chose Aimard, who is a great pianist in much repertoire, is beyond logical. On the other hand, von Otter’s Sheherazade is my favorite among several recordings I have and I like the rest of that disc also.
I have a copy of a Boulez / Cleveland CD recording of the complete Firebird ballet (or is it Petrouchka) and the Rite of Spring. The main problem is that the whole disc sounds terribly quiet!! Very bizarre... That same combination in the Mahler 7 to which you refer is far better sonically, although i find the second Nachtmusik to be MUCH too fast...
A Boulez album I really like is his Scriabin “Poem of Ecstasy” with the Chicago Symphony. Such incredible clarity of the orchestral texture and grasp of the Modernist ethos.
Another stimulating posting. Not everybody likes Boulez Mahler but at least he has a distinct take and isn’t bland. Like you I think his 4 and 7 are very good.
@@DavesClassicalGuide I really think people see the names Boulez and Mahler and it colours their listening. I definitely consider his cycle one of the most consistent!
Wish they'd included his Berlioz Tristia - very impressive and lot less dispassionate and analytical than his Symphonie Fantastique with the same forces.
Too bad they didn’t include the fist movement of Mahler 10. That is a beautiful performance. It was recorded live during Boulez’s last appearances in Cleveland (I was there).
Thanks for this. This video series on these boxes are great for newer folks like me as an entry to some of these major composers. In your prior videos you sold me on two composers that seem to get a lot of criticism: Ozawa and Karajan.
I'm glad you find these helpful. Everyone has their strengths and weaknesses.
‘Epode’ is the high point of ”Chronochromie” Boulez is pedestrian in comparison to atleast two alternatives, so possibly further confirms your take that early career Boulez is mostly better .Maybe not as well played but the BBCSo under Dorati play as if their lives depend upon it.
The Cleveland Petrouchka will always be a favorite with trumpeters due to Michael Sachs’ fabulous Ballerina solo. Really the best recorded version.
Hi Dave. I agree about the Ravel Piano concerts, and really like the set with Zimerman, but the left hand concerto there is with the LSO, which perhaps explains what went on with this box. This does not explain why Boulez did the two works twice on DG in such a short time - just mates with Aimard maybe?
I recall reading your review of the Mahler 7 on your site, and it’s interesting to hear you have more time for it than that would suggest! Perhaps I should give it another try, I couldn’t get past the rather blandly recorded tenor horn at the start. On strange Boulez Mahler I did rather like the 9th for similar reasons you like this one - weird sort of deconstructed first movement, “quick” finale with Walter like timing (but oh so cold...)
Strange that, apart from his own music, Boulez did so little in Cleveland and elsewhere of more contemporary music for DG. Some Ligeti, Birtwistle, and that seems about it! (Someone will correct me I’m sure). No more recent French work, even stuff coming out of IRCAM, no Jonathan Harvey etc. Main thing he seems to have gotten excited about in final years was Janacek!
The problem with the Ravel /Zimerman disc is that the Concerto for the Left Hand was recorded with the London Symphony Orchestra.
Yes, I also find his Mahler 7, one of my favourite symphonies, very interesting, certainly different, and will listen to it once in a while, even it downplays the drama and turmoil inherent in the music. A very different approach. One that many Mahler devotees might object to.
I totally agree on Boulez’ Messiaen. Fabulous recordings, as are the Ravel concertos with Zimerman. Why they chose Aimard, who is a great pianist in much repertoire, is beyond logical. On the other hand, von Otter’s Sheherazade is my favorite among several recordings I have and I like the rest of that disc also.
It is interesting to watch Boulez's videos (here on youtube) about his classes with Messiaen. Worth checking out!
And let's not forget Boulez's Rite of Sprint with the ORTF Orchestra--one of the best ever!
Absolutely terrible. Is there nothing so dreadful that someone, somewhere, won't call it "the best ever?" I guess not.
Bravo Mr. Hurwitz!
Thanks Dave, a great video!
Very welcome
I have a copy of a Boulez / Cleveland CD recording of the complete Firebird ballet (or is it Petrouchka) and the Rite of Spring. The main problem is that the whole disc sounds terribly quiet!! Very bizarre... That same combination in the Mahler 7 to which you refer is far better sonically, although i find the second Nachtmusik to be MUCH too fast...
A Boulez album I really like is his Scriabin “Poem of Ecstasy” with the Chicago Symphony. Such incredible clarity of the orchestral texture and grasp of the Modernist ethos.
Try Maazel's with the Cleveland Orch. You may be surprised even more!
Will do, that’s a good piece.
Maazel is much better! Soulful and passionate. Thanks for the tip.
Another stimulating posting. Not everybody likes Boulez Mahler but at least he has a distinct take and isn’t bland. Like you I think his 4 and 7 are very good.
Glad you agree. I thought I was really going out on a limb there...
@@DavesClassicalGuide I really think people see the names Boulez and Mahler and it colours their listening. I definitely consider his cycle one of the most consistent!
@@UlfilasNZ In terms of his personal approach, I think you're right. The only question is how one responds to it.
Wish they'd included his Berlioz Tristia - very impressive and lot less dispassionate and analytical than his Symphonie Fantastique with the same forces.