I'm on the Bernstein recording playing bass trombone. What an amazing experience it was, especially doing the 2 other pieces! I think the "Music for strings and brass" was praised by Gramophone as the best recording of that piece
Sorry, I was thinking of the NYP recording. I ment to comment that I picked up the IPO recording my first summer at Tanglewood Music Festival, and it was the soundtrack of my summer 👍
Thank you so much for giving attention to Hindemith and his currently somewhat neglected œuvre. I bought the Steinberg BSO version in the early 1980s when I was a teenager (on vinyl naturally, and so I still have it lying around somewhere, surely all scratched to death) and man, it just got burned into my brain. It was so stunning that I was hooked forever on Hindemith. Nothing ever compared to it again. And it’s always nice when I find that “my” first recording is considered by many to be the best, since one’s first recording is like one’s native language: it takes a big effort to replace it with another, and no matter how much you may try, you revert to it.
The original DG lp of the Steinberg-BSO performance has one of my favorite album covers ever - a greatly enlarged detail of the Temptation of St. Anthony showing the monsters in all their grotesque glory, reproduced in incredibly vivid colors, which beautifully complement the bright "yellow peril" DG banner. Worth the price of the record! As an undergraduate I toured parts of central Europe by bicycle; one of the highlights of the trip was making a detour to Colmar to see the Isenheim altarpiece.
Thank you for sharing the results of your research into the inspiration and creation of "Mathis der Maler," it's initial reception, and Hindemith's subsequent departure from Germany. It was very illuminating and helpful to place the work in it's larger historical context. I also love this beautiful piece of music, it is profoundly moving and very well-crafted with the craftsmanship truly serving the emotional/musical message. I concur that some works of Hindemith can sound academic, however, this work and a number of others show he could draw upon a larger emotional palette when desired and yet still sound like himself. It was nice to hear your recommendation of the Steinberg BSO DG recording as your top pick. The particular recording has been my favorite for many years. Keep up the great work!
I recall an anecdote I read years ago concerning Hindemith and Otto Klemperer.Klemperer had been hospitalized with one of his legions of health problems and would have to have someone substitute for him to conduct Beethoven`s Ninth.Walter Legge was visiting Klemperer at the hospital and Klemperer requested that Legge let Hindemith conduct the Ninth.Legge said sorry-not going to happen.Klemperer hung his head down and with moist eyes said that it was heartless of Legge to turn down his one request that would mean a lot to his spirits.Against his better judgment,Legge relented and got Hindemith to conduct.Predictably,the concerts were a disaster.Some days later,Legge came back to visit Klemperer at the hospital and bring him a box of chocolates.As Legge came down the hall he could hear loud talking and laughter coming from Klemperer`s room.The door was half open so Legge paused briefly before coming in and could hear Klemperer saying(in between roars of laughter) ''Hindemith!!!??-just think of it!!Paul Hindemith conducting Beethoven`s Ninth!!!???''Klemperer had wanted to be sorely missed in his absence.Legge was livid and left with the box of chocolates.He had been duped.
I'm very pleased that you have such high praise for my 2 favourite recordings of 'Mathis': the Blomstedt and the Steinberg/Boston SO. Just one small point of interest re the latter, I first got to know it via the DG LP/vinyl, which has an incredible dynamic range without distortion. I am 99% sure that on the CD, the overwhelming power ( on LP) of the last few bars of the 1st movement, have been 'compressed'; unbelievable for a CD, which is supposed to have a wider dynamic range than an LP! if you have access to the LP, 'have a listen' to it and see (hear!) if you agree. best wishes, Tony
Many Thanks for this survey. I fell in love with this symphony thanks to my first musical encyclopedia; in the last pages there was the section "Masterpieces" with an historical panorama from 15th century to the end of 20th century, and with a little of musical analysis and excerpts of every composition. Among them there was Mathis der Maler Symphony, and the first cd recording that I bought of this Symphony was a Naxos cd with Franz Paul Decker and the New Zealand Symphony Orchestra...really very good!
Blomstedt has been my reference version ever since it was issued. In the LP days I also loved Steinberg’s BSO and Ormandy’s Columbia recordings, the latter which I have on a Sony budget CD along with Szell’s Sym. Metamorphosis and the Walton Hindemith Variations. I have now added a new recording of Mathis, etc. with Paavo Jarvi and the Frankfurt Radio Sym on Naive, which I really like and that you reviewed positively on Classics Today.
Steinberg / Boston is on Spotify, in the Pittsburgh Symphony folder, stuck to the back of a bunch of the latter’s works. A very clean, beautiful recording.
Those of us who grew up in Los Angeles in the late 1960s might remember that RKO Channel 9 used to use the finale as their theme music for the Six O'Clock News. They also used that Bartok Celeste and Orchestra piece as the theme for their late afternoon "Million Dollar Movie."
In the Mat 2023 issue of BBC Music Magazine Matis der Maler symphony is the Building a Library selection. The Horenstein recording is their "One to avoid" for the same reason that you gave here,
Speaking of Steinberg, I was surprised to see that DG just released a Beethoven 9 box with Pittsburgh that I assume is a reissue of the old Command Classics recordings. I wonder how well these have held up? (hint, hint).
One ot my favourite to date on your channel.Hindemith was such an influential composer. Tippett for instance, albeit allied with more buoyant rhythmic language.
Re the Horenstein/LSO recording: I was playing in the LSO on that and I must say, I don't remember the 3rd movement being as mechanical and 'chuggy' as you suggest... I must have a listen to it now nearly 50 years later; maybe I was just overawed by the power of the music at the time! Tony
I would check it out. As a percussionist who spend my live at the back of the orchestra, I know that there's no connection between my memory of a performance and what it sounded like out front.
Everyone who loves this symphony should hear the complete opera, which I consider THE great 20th century operatic masterpiece. The finest recording is Kubelik on EMI, which I consider unsurpassable. (I know....as my mom used to say, famous last words.)
David Hurwitz I have both the EMI issue on LP (purchased when in college circa 1983) when I found it at a fine record outlet in Houston, and later bought the CD issue when it was issued. I don’t remember any Sills Traviata, but my memory could be faulty. It may have been on the Angel issue and not the EMI. By the way, I love Sills’ Traviata.
Meine Referenz ist Rafael Kubelik mit dem Sinfonieorchester des Bayrischen Rundfunks (das 2. Top-Orchester in Deutschland). Sie gehören als Vorspiele zur Gesamtaufnahme der Oper mit Dietrich Fischer-Dieskau als Mathis.
Under historical performances, I'd add Guido Cantelli's NBC Symphony recording on Testament. Well played and extremely detailed. Cantelli was a dedicated Hindemith conductor; the last performance he ever gave in the US was of the Concert Music with the NYPhil in 1956 (now commercially available on Pristine Classical).
May I add the beautifully conceived proportioned and exciting Constantin Silvestri with the Philharmonia Orchestra. Very well recorded for its time coupled with Bartok's Divertimento for Strings.
Dear Dave: once more the "consensus" emerges!! I have ten versions of the Mathis der Maler Symphony, including of course Hindemith (DGG), Silvestri, Ormandy, Monteux, Herbert Kegel (a great conductor!), Karajan and Sawallisch. Plus, of course again, Blomstedt and Steinberg. Now I must advocate for Horenstein: I tend to disagree with you concerning him; I am convinced his approach is valid and effective (for me, that is). But such is the glory of true masterpieces: admitting different interpretations! But on the top: Blomstedt (I saw him conducting Mathis with the NYPO at the Avery Fisher Hall) and Steinberg. Sawallisch is very good in my opinion. Thanks again!
Hi Dave thank you very much for this wonderful lesson in history, and the recommendations; I added them to my playlist “Hurwitz recommendations “ btw I discovered that I have your Mahler’s and Shostakovich’s books; since I have many books, only now made the connection. Your Sibelius book is on its way from Amazon. Gabriel from IL.
Very enjoyable journey through part of the oeuvre of one of my favorite composers. My only quibble is where you say that a particular recording (I think you were referring to Bernstein/Israel Philharmonic) was dry, which suited the music "because, let's face it, Hindemith's music IS a little dry".......academic, yeah sometimes; cerebral, usually; but dry? Nahhhh. The reason why a dry recording very light on reverb suits his music is because it's HEAVILY contrapuntal. This is true for all densely contrapuntal music. Halls with lots of reverberation are the kiss of death for composers like Hindemith.
FYI, there is a "box set" available on iTunes, for the ridiculously low price of ten bucks, called William Steinberg: Germany's Greatest Conductor. All recorded with the Pittsburgh Symphony. Mathis der Maler is on it, as well as a bunch of repertoire items from Mozart, Beethoven, Rachmaninoff, Strauss, Tchaikovsky, etc. The only rarities are a Bloch concerto grosso and Symphony #3 by Ernst Toch. The sound quality overall is quite good.
My first exposure to Mathis der Maler was in a concert way back when and I spent decades on a quest for the perfect recording. The quest has ended... this is indeed the ne plus ultra of Mathis der Malers (for me, anyway). Dave, you've already covered the Metamorphosis and Kammermusik, any chance of reviewing the other symphonies (at least Harmonie der Welt and the symphony in E-flat)? I'm too old to embark on another quest....
Hi David! Great series of talks, but very bad for my wallet! I was wondering what you think of Sawallisch/Philadelphia on EMI in this work? The sound is great, the orchestra sumptuous and as for the performance, to me it sounds a bit too teutonic, if you see what I mean. Compared to Blomstedt's lean and mean San Francisco rendition, there's a certain massiveness that I'm not sure belongs to the music
Another great video, thanks, Dave. And just ordered the Boston/Steinberg on vinyl! Would love to watch/hear your thoughts on early music composers, perhaps Josquin or Gesualdo? Cheers!
Dave, Sawallisch made a Hindemith CD with the Philadelphia Orchestra - Mathis Der Maler, Symphonic Metamorphosis, and Nobilissima Visione. What do you think of it?
Eugene Ormandy, magnificent as he is with Philadelphia, is even better on Orfeo in a live performance with Bavarian Radio. THRILLER BOTH PLAYING AND INTERPRÉTATION
Wonderful series, David! It's a enjoyable music appreciation course. You've got me collecting albums again and seeking out your recommendations. The Steinberg is a too rough for me in the sound of the brass and woodwinds. The digital transfer made the strings sound harsh.. What did you think of the Abaddo DG recording? How about the Paavo Jarvi recording with Frankfurt Radio Symphony?
@@DavesClassicalGuide thanks. I'll check out the Jarvi. I think I mixed up Steinberg versions. It's the Pittsburgh version I dislike. Haven't heard the Boston version yet.
Hmm in most cases, the Portsmouth symphony orchestra playing Schoenberg's Gurrelieder is more appealing than anything Hindemith ever wrote but I'll give it a go!
@@DavesClassicalGuide I'm just catching up on a few of your videos... Watching MacDowell at the moment 😊 I remember reading your review of the Silvestri box some time ago but thought of specifically asking about MdM here in this video's comments...
Good evening, Dave. I'm a big fan of yours and it pains me to make this comment. You quite properly praise Steinberg's recording. However, you gratuitously take a swipe at Leinsdorf for taking the post of music director of music director of the Boston Symphony instead of the allegedly more deserving Steinberg. Well, sir, I regret to say that you are in error as to your history. Steinberg was not in competition with Leinsdorf. After Leinsdorf left, Steinberg did become music director of the Boston Symphony but he retained his position in Pittsburgh. His primary loyalty remained with the Pittsburgh Symphony and after only a very few years Steinberg resigned from Boston to devote full time to Pittsburgh. As much as you dislike Leinsdorf, you will have to admit that he was a giant in comparison to Ozawa, whose appointment and interminable retention was the biggest mistake in the history of the Boston Symphony. How different the history of the orchestra would have been if they had hired the far better qualified Michael Tilson Thomas instead. I eagerly await your reply on all these matters.
First of all, I do not dislike Leinsdorf. I think he was a programming genius, for one thing, and I admire a lot of what he did. I disagree with you completely about Ozawa, who I think was a fine conductor, certainly not inferior to Leinsdorf, although I agree he overstayed his welcome. As to the situation with Steinberg, I do know that RCA had a hand in Leinsdorf's coming to Boston, although I take you at your word that the circumstances may not have been as nefarious as I might have implied.
I'm on the Bernstein recording playing bass trombone. What an amazing experience it was, especially doing the 2 other pieces! I think the "Music for strings and brass" was praised by Gramophone as the best recording of that piece
Would love to hear that, Micha.
Bass trombone fantasy on the album! you sound amazing on it brother.
My favorite recording and the brass are GLORIOUS!
I always felt that Mr. Joe Novotny was the greatest underappreciated orchestral tuba players.
Sorry, I was thinking of the NYP recording.
I ment to comment that I picked up the IPO recording my first summer at Tanglewood Music Festival, and it was the soundtrack of my summer 👍
Badass ! Thank you for your service ❤️🙏
Thank you so much for giving attention to Hindemith and his currently somewhat neglected œuvre. I bought the Steinberg BSO version in the early 1980s when I was a teenager (on vinyl naturally, and so I still have it lying around somewhere, surely all scratched to death) and man, it just got burned into my brain. It was so stunning that I was hooked forever on Hindemith. Nothing ever compared to it again. And it’s always nice when I find that “my” first recording is considered by many to be the best, since one’s first recording is like one’s native language: it takes a big effort to replace it with another, and no matter how much you may try, you revert to it.
The original DG lp of the Steinberg-BSO performance has one of my favorite album covers ever - a greatly enlarged detail of the Temptation of St. Anthony showing the monsters in all their grotesque glory, reproduced in incredibly vivid colors, which beautifully complement the bright "yellow peril" DG banner. Worth the price of the record!
As an undergraduate I toured parts of central Europe by bicycle; one of the highlights of the trip was making a detour to Colmar to see the Isenheim altarpiece.
Thank you for sharing the results of your research into the inspiration and creation of "Mathis der Maler," it's initial reception, and Hindemith's subsequent departure from Germany. It was very illuminating and helpful to place the work in it's larger historical context. I also love this beautiful piece of music, it is profoundly moving and very well-crafted with the craftsmanship truly serving the emotional/musical message. I concur that some works of Hindemith can sound academic, however, this work and a number of others show he could draw upon a larger emotional palette when desired and yet still sound like himself. It was nice to hear your recommendation of the Steinberg BSO DG recording as your top pick. The particular recording has been my favorite for many years. Keep up the great work!
The Steinberg/Boston recording is by far my favorite. Magnificent, yes! Konzertmusik too! For the Symphonic Metamorphosis Bloomstedt is terrific.
I recall an anecdote I read years ago concerning Hindemith and Otto Klemperer.Klemperer had been hospitalized with one of his legions of health problems and would have to have someone substitute for him to conduct Beethoven`s Ninth.Walter Legge was visiting Klemperer at the hospital and Klemperer requested that Legge let Hindemith conduct the Ninth.Legge said sorry-not going to happen.Klemperer hung his head down and with moist eyes said that it was heartless of Legge to turn down his one request that would mean a lot to his spirits.Against his better judgment,Legge relented and got Hindemith to conduct.Predictably,the concerts were a disaster.Some days later,Legge came back to visit Klemperer at the hospital and bring him a box of chocolates.As Legge came down the hall he could hear loud talking and laughter coming from Klemperer`s room.The door was half open so Legge paused briefly before coming in and could hear Klemperer saying(in between roars of laughter) ''Hindemith!!!??-just think of it!!Paul Hindemith conducting Beethoven`s Ninth!!!???''Klemperer had wanted to be sorely missed in his absence.Legge was livid and left with the box of chocolates.He had been duped.
Hindemith was a great composer, not a great conductor.
I'm very pleased that you have such high praise for my 2 favourite recordings of 'Mathis': the Blomstedt and the Steinberg/Boston SO. Just one small point of interest re the latter, I first got to know it via the DG LP/vinyl, which has an incredible dynamic range without distortion. I am 99% sure that on the CD, the overwhelming power ( on LP) of the last few bars of the 1st movement, have been 'compressed'; unbelievable for a CD, which is supposed to have a wider dynamic range than an LP! if you have access to the LP, 'have a listen' to it and see (hear!) if you agree. best wishes, Tony
The Bernstein recording is knockout! Thanks for recommendation. The Steinberg recording is great and I've had it for years! Yes, Steinberg is the guy!
Many Thanks for this survey. I fell in love with this symphony thanks to my first musical encyclopedia; in the last pages there was the section "Masterpieces" with an historical panorama from 15th century to the end of 20th century, and with a little of musical analysis and excerpts of every composition. Among them there was Mathis der Maler Symphony, and the first cd recording that I bought of this Symphony was a Naxos cd with Franz Paul Decker and the New Zealand Symphony Orchestra...really very good!
Yes, it is.
Blomstedt has been my reference version ever since it was issued. In the LP days I also loved Steinberg’s BSO and Ormandy’s Columbia recordings, the latter which I have on a Sony budget CD along with Szell’s Sym. Metamorphosis and the Walton Hindemith Variations. I have now added a new recording of Mathis, etc. with Paavo Jarvi and the Frankfurt Radio Sym on Naive, which I really like and that you reviewed positively on Classics Today.
Steinberg / Boston is on Spotify, in the Pittsburgh Symphony folder, stuck to the back of a bunch of the latter’s works. A very clean, beautiful recording.
Those of us who grew up in Los Angeles in the late 1960s might remember that RKO Channel 9 used to use the finale as their theme music for the Six O'Clock News. They also used that Bartok Celeste and Orchestra piece as the theme for their late afternoon "Million Dollar Movie."
In the Mat 2023 issue of BBC Music Magazine Matis der Maler symphony is the Building a Library selection. The Horenstein recording is their "One to avoid" for the same reason that you gave here,
Speaking of Steinberg, I was surprised to see that DG just released a Beethoven 9 box with Pittsburgh that I assume is a reissue of the old Command Classics recordings. I wonder how well these have held up? (hint, hint).
There you are. You got me hooked on Hindemith. Joined ClassicsToday a minute ago. Mission accomplished ;)
Thank you!
I owe my love of Hindemith to Dave. I bought the 3CD Blomstedt set on the basis of his recommendation and have never looked back.
One ot my favourite to date on your channel.Hindemith was such an influential composer. Tippett for instance, albeit allied with more buoyant rhythmic language.
The BSO recording was my first.
Got it in college...what wonderful memories.
Re the Horenstein/LSO recording: I was playing in the LSO on that and I must say, I don't remember the 3rd movement being as mechanical and 'chuggy' as you suggest... I must have a listen to it now nearly 50 years later; maybe I was just overawed by the power of the music at the time! Tony
I would check it out. As a percussionist who spend my live at the back of the orchestra, I know that there's no connection between my memory of a performance and what it sounded like out front.
Everyone who loves this symphony should hear the complete opera, which I consider THE great 20th century operatic masterpiece. The finest recording is Kubelik on EMI, which I consider unsurpassable. (I know....as my mom used to say, famous last words.)
I remember the LPs vividly; one of them contained the third act of the Sills Traviata.
David Hurwitz I have both the EMI issue on LP (purchased when in college circa 1983) when I found it at a fine record outlet in Houston, and later bought the CD issue when it was issued. I don’t remember any Sills Traviata, but my memory could be faulty. It may have been on the Angel issue and not the EMI. By the way, I love Sills’ Traviata.
Yes! I love the opera! The Kubelik is so wonderfully performed and with a great singing cast!
Meine Referenz ist Rafael Kubelik mit dem Sinfonieorchester des Bayrischen Rundfunks (das 2. Top-Orchester in Deutschland). Sie gehören als Vorspiele zur Gesamtaufnahme der Oper mit Dietrich Fischer-Dieskau als Mathis.
Under historical performances, I'd add Guido Cantelli's NBC Symphony recording on Testament. Well played and extremely detailed. Cantelli was a dedicated Hindemith conductor; the last performance he ever gave in the US was of the Concert Music with the NYPhil in 1956 (now commercially available on Pristine Classical).
Agreed! Thanks for mentioning it.
Yes! I would add Monteux has a broadcast recording with the Philadelphia Orchestra that i think is fantastic too, albeit in sonically limited stereo.
May I add the beautifully conceived proportioned and exciting Constantin Silvestri with the Philharmonia Orchestra. Very well recorded for its time coupled with Bartok's Divertimento for Strings.
Absolutely!
Dear Dave: once more the "consensus" emerges!! I have ten versions of the Mathis der Maler Symphony, including of course Hindemith (DGG), Silvestri, Ormandy, Monteux, Herbert Kegel (a great conductor!), Karajan and Sawallisch. Plus, of course again, Blomstedt and Steinberg. Now I must advocate for Horenstein: I tend to disagree with you concerning him; I am convinced his approach is valid and effective (for me, that is). But such is the glory of true masterpieces: admitting different interpretations! But on the top: Blomstedt (I saw him conducting Mathis with the NYPO at the Avery Fisher Hall) and Steinberg. Sawallisch is very good in my opinion. Thanks again!
Hi Dave thank you very much for this wonderful lesson in history, and the recommendations; I added them to my playlist “Hurwitz recommendations “ btw I discovered that I have your Mahler’s and Shostakovich’s books; since I have many books, only now made the connection. Your Sibelius book is on its way from Amazon. Gabriel from IL.
Thank you!
Very enjoyable journey through part of the oeuvre of one of my favorite composers. My only quibble is where you say that a particular recording (I think you were referring to Bernstein/Israel Philharmonic) was dry, which suited the music "because, let's face it, Hindemith's music IS a little dry".......academic, yeah sometimes; cerebral, usually; but dry? Nahhhh. The reason why a dry recording very light on reverb suits his music is because it's HEAVILY contrapuntal. This is true for all densely contrapuntal music. Halls with lots of reverberation are the kiss of death for composers like Hindemith.
Like I said, it's a little dry,
FYI, there is a "box set" available on iTunes, for the ridiculously low price of ten bucks, called William Steinberg: Germany's Greatest Conductor. All recorded with the Pittsburgh Symphony. Mathis der Maler is on it, as well as a bunch of repertoire items from Mozart, Beethoven, Rachmaninoff, Strauss, Tchaikovsky, etc. The only rarities are a Bloch concerto grosso and Symphony #3 by Ernst Toch. The sound quality overall is quite good.
I love both of Steinberg’s… the Boston one is “the one” for me but the Pittsburgh version is really terrific
Just because someone needs to be that guy, the Blomstedt set is still available, and can be downloaded from Presto Classical for only $21!
My first exposure to Mathis der Maler was in a concert way back when and I spent decades on a quest for the perfect recording. The quest has ended... this is indeed the ne plus ultra of Mathis der Malers (for me, anyway). Dave, you've already covered the Metamorphosis and Kammermusik, any chance of reviewing the other symphonies (at least Harmonie der Welt and the symphony in E-flat)? I'm too old to embark on another quest....
Coming soon...
Question:Hindemith conducting Hindemith in a release from DG(including an interview of the composer). Thoughts?
Hi David! Great series of talks, but very bad for my wallet! I was wondering what you think of Sawallisch/Philadelphia on EMI in this work? The sound is great, the orchestra sumptuous and as for the performance, to me it sounds a bit too teutonic, if you see what I mean. Compared to Blomstedt's lean and mean San Francisco rendition, there's a certain massiveness that I'm not sure belongs to the music
I think you've described it exactly, but it is a fine disc generally. The rest is personal taste.
Not a fan of this recording at all. I remember having high hopes for it when it came out yrs ago, but it was incredibly disappointing.
Another great video, thanks, Dave. And just ordered the Boston/Steinberg on vinyl! Would love to watch/hear your thoughts on early music composers, perhaps Josquin or Gesualdo? Cheers!
Josquin or Gesualdo? What's not to love? If only they had written for the tam-tam, we'd be in business.
Dave, Sawallisch made a Hindemith CD with the Philadelphia Orchestra - Mathis Der Maler, Symphonic Metamorphosis, and Nobilissima Visione. What do you think of it?
Excellent.
@@DavesClassicalGuide How do the Sawallisch recordings compare to the Blomstedt, Bernstein and Steinberg recordings of Hindemith orchestral works?
What do you think of the Sawallisch/Philadelphia on EMI? It’s been my primary Mathis der Maler for years, but I do love the Steinberg/BSO too.
Sawallisch is very good in that music too.
Eugene Ormandy, magnificent as he is with Philadelphia, is even better on Orfeo in a live performance with Bavarian Radio. THRILLER BOTH PLAYING AND INTERPRÉTATION
Wonderful series, David! It's a enjoyable music appreciation course. You've got me collecting albums again and seeking out your recommendations.
The Steinberg is a too rough for me in the sound of the brass and woodwinds. The digital transfer made the strings sound harsh.. What did you think of the Abaddo DG recording? How about the Paavo Jarvi recording with Frankfurt Radio Symphony?
Jarvi is very good, Abbado not so much.
@@DavesClassicalGuide thanks. I'll check out the Jarvi. I think I mixed up Steinberg versions. It's the Pittsburgh version I dislike. Haven't heard the Boston version yet.
@@EthanMatthes Boston is the one to get.
Hmm in most cases, the Portsmouth symphony orchestra playing Schoenberg's Gurrelieder is more appealing than anything Hindemith ever wrote but I'll give it a go!
What do u think of Regers orchestral works?
Some lovely, some awful, unsurprisingly
I like the Mozart and Böcklin variations!
What do you make of Silvestri's recording?
Check out my review of the Silvestri box on ClassicsToday.com.
@@DavesClassicalGuide I'm just catching up on a few of your videos... Watching MacDowell at the moment 😊 I remember reading your review of the Silvestri box some time ago but thought of specifically asking about MdM here in this video's comments...
Good evening, Dave. I'm a big fan of yours and it pains me to make this comment. You quite properly praise Steinberg's recording. However, you gratuitously take a swipe at Leinsdorf for taking the post of music director of music director of the Boston Symphony instead of the allegedly more deserving Steinberg. Well, sir, I regret to say that you are in error as to your history. Steinberg was not in competition with Leinsdorf. After Leinsdorf left, Steinberg did become music director of the Boston Symphony but he retained his position in Pittsburgh. His primary loyalty remained with the Pittsburgh Symphony and after only a very few years Steinberg resigned from Boston to devote full time to Pittsburgh. As much as you dislike Leinsdorf, you will have to admit that he was a giant in comparison to Ozawa, whose appointment and interminable retention was the biggest mistake in the history of the Boston Symphony. How different the history of the orchestra would have been if they had hired the far better qualified Michael Tilson Thomas instead. I eagerly await your reply on all these matters.
First of all, I do not dislike Leinsdorf. I think he was a programming genius, for one thing, and I admire a lot of what he did. I disagree with you completely about Ozawa, who I think was a fine conductor, certainly not inferior to Leinsdorf, although I agree he overstayed his welcome. As to the situation with Steinberg, I do know that RCA had a hand in Leinsdorf's coming to Boston, although I take you at your word that the circumstances may not have been as nefarious as I might have implied.
Thank you for your reply. I promise to keep on listening to your erudite and witty reviews!
David Hurwitz OK