For me, Giulini is one of the greats. Some of his recordings like Brahms 1 with LA or Bruckner 8 with Vienna are really the gold standard. It's not really true that he was not interested in contemporary music. He did it, albeit sparingly. In Los Angeles, I heard him do a knockout performance of William Schuman's 3rd Symphony. and he also premiered several works like Ezra Laderman's 4th Symphony. His performance of Webern's Six Pieces was also stunning. Much to my surprise, he also conducted Shostakovich's 14th Symphony a few times. He was supposed to do it in LA but he became ill and they brought in the young Simon Rattle to give up his spring break as a student at Oxford and take over.
I heard him do Mahler 10 in L.A. in '78 (Also LvB PC4 with Arrau on the program) and Brahms 4 in '83. Admired his suave, more relaxed way with things in the later 19th-early 20th repertoire. Beethoven too reserved, IMO. At latter concert, went backstage to see if I could get an autograph, which he gracious did. He was talking to Werner Klemperer ("Colonel Klink") at the time.
I sang in performances and recordings in the 70's with Giulini: unrepeatable experiences, lifetime highs, I count myself most fortunate to have seen and heard music with him.
For some reason, Giulini used to come to Paris once a year to conduct the Orchestre de Paris and it was each time a "love at first sight" affair with the musicians. For me no one at the time was making that orchestra sing the way Giulini was able to do it.
I'd agree that some of Giulini's late recordings are underwhelming, but these (or most of them at any rate) were made after his wife's illness ended his tenure in LA and sent him back to Europe, never to conduct in America again. But I did see him frequently in Chicago during his time as Principle Guest Conductor, and those were some of the most intense (not "spiritual") musical performances I've ever experienced. I knew musicians in the orchestra, and they adored him, not because he was humble or priestly, but rather because he made them feel as if they were all creating the music together. Granted, not every performance was on the same exalted level, but the ones that worked for me---and there were many---are still seared into my memory. His Bruckner 8th, for example. Sometimes that intensity didn't translate into great recordings, and sometimes it did. He brought the LA to Chicago several times, and it was clear he was building something very special there, his first real tenure as a music director (not counting those two years in Vienna). But then his wife fell ill, and everything changed. BTW, I too often chaffed at his repertory. how often he repeated the same works, and had a dream list of works I would have loved to hear him conduct, starting with the complete Berlioz Romeo and Juliet (and not just the orchestral music, which he did with the CSO). And I love the CSO Brahms 4th that was done impromptu, in a single take. They'd just finished recording something else (I forget what) and had extra time. So scores were sent for, distributed; he raised his baton, and that's exactly what we hear.
Thanks very much for this insightful analysis of Giulini. I completely agree about the Don Giovanni. It is still a marvel after all these years. I never understood the criticisms about Waechter. Maybe he wasn't always silky smooth, but neither was the Don. Thanks too for the recognition of his Tchaikovsky 6th. It is one of my very favorite recordings of the piece, elegant and extremely moving and for early stereo it still sounds wonderful. It seems to be forgotten today sadly.
Well the answer is, as he always said, that he could only conduct the music he felt in his soul, and he was a very sensitive and kind of ethereal human being. In his last years he found comfort in his music for his heavy familiar sufferings. But as a Christian (he was deeply and authentically religious) he knew that suffering is a educational experience. When his beloved wife fell ill he said "why me?". Then, he understood that the right answer was "why not me?". You have to listen to his Bruckner 9th, his Verdian Requiem (one of his last concerts: at Lingotto, Turin, in 1998), his Missa Solemnis and also his never abandoned Brahms (especially the "extreme" symphonies, the First and the Fourth ones) to catch this spirit of Giulini. I think his live performances, also on disc, suited him best. He didn't like to "edit" too much.
@@frankstein9982 I think it's normal and human when sad things happen in life to ask himself or God "why is this happening to me?". Then you move from lamentation to gratitude. That's what he meant.
Wonderful critique of CMG. I grew up playing his Angel recording of Le Nozze di Figaro as a boy of 13 and even yesterday played it on CD for the millionth time. His Rossini overtures also are another fav of mine as I played that record to death. That was the disc which introduced me to my lifelong love of Rossini operas and choral works.
His early classic recording of L'Italiana in Algeri must have opened a lot of ears to the marvels of Rossini outside the Barber. Along with Gui's Comte Ory from Glyndebourne/EMI
I saw CMG with LAPO in London twice in the late 1970s. The Eroica and Pathetique were magnificent in a rather studied fashion, leaving me impressed rather than moved. His Falstaff at Covent Garden was a similar experience. Despite this I would rate his two recordings of Bruckner 8 with the VPO (DG) and BPO (Testament) amongst the most all encompassing versions of this great work, with a slight preference for the live BPO version.
Lucky me to have heard Giulini many times in Amsterdam. To start: my introduction to Falstaff in the Holland Festival. Why he stopped conducting opera's almost completely was his dissatisfaction with the mise-en-scene. Jean Decroos, first cellist of the Concertgebouw Orchestra made his family attend all rehearsals. I remember Brahms 4, also Roméo et Julliet by Berlioz where the Concertgebouw Orchestra sounded quite different. About Callas: each year he was in church for the mess on the day she died. Integrety: Walter Legge had no longer use of the Philharmonia Orchestra and tried to pull Giulini in this. He refused and kept conducting them, support them. Many favorites; Debussy La Mer and Nocturnes with the Philharmonia, Berlioz' R&J with the Concertgebouw O. (I think it is in a box of the orchestra). All others that are mentioned. I agree about the slow performances in his later years, but didn't experience them live thus. He will always stay for me as the finest, together with Carlos Kleiber and Claudio Abbado. Abbado i LOVE most, especially his last decenium.
During a WFMT CSO retrospective years ago, the host, when discussing CMG’s CSO recording of “Pictures,” said that “Giulini puts a gold frame around each picture.” A good description.
His was the first recording of Tchaikovsky's 6th Symphony that I liked. This was mainly because he kept the third-movement March peppy all the way through to the end, without a pompous slow-down at the final reappearance of the main theme. His Nozze di Figaro has spoiled me, to some extent, for most other versions. I will find beautiful things in others, but always feel wistful for his.
Ok. So I became an insider to classics today. and I know it’s not a great reason, but I did it to see your top 10 Giulini recordings. Of course there are many other better reasons to be an insider. The website looks awesome. And I really am getting a bit tired of Gramophone. I won’t be an idiot and say what’s on your list. I will only say, without saying whether it’s on your list or not, that the Giulini Mahler 9 with Chicago is definitely one of the top 5 desert island CDs of my life. I can’t live without it. I know it’s not the favorite of many people for Mahler 9, but for me, it is one of the most moving and transforming recordings I’ve ever heard. Best to you Mr. Hurwitz.
Giulini is one of my favorite conductors. I would highlight two recordings in particular - Brahms' Fourth Symphony with the Chicago Symphony Orchestra and Bruckner's Second Symphony with the Vienna Symphony.
I literally never heard anything as thrilling as his Rossini Stabat Mater. AS for refinement, I have described his Traviata prelude to Act I as the greatest German symphony movement you never heard.
Thanks for a sympathetic and truthful look at my favourite (maybe) conductor. I guess I would say intense rather than serious, but I think we both mean the same thing; I always thought he'd be wearing for orchestras to work with regularly but great for occasions, and since that's how he ran his career I guess he might have too... The two observations I'd add: how unexpectedly he proved to be able to 'train up' the LAPO into a really world-class orchestra - not what you'd expect from his fastidious approach; and the surprises in his repertoire (never recorded commercially but available in live soundchecks) like Webern, Busoni, etc from his earlier rep years. Clearly those latter weren't what he wanted to be remembered for, of course. Damn: now I'm going to have to subscribe properly to catch up on those conductor 'best ofs'... 🙂
Hi Dave, good video. I have several of the late Sony recordings. His Sony Mozart requiem is so smooth so,,,placid, so almost, ok dull. His la scala Beethoven cycle, same thing except for the erotica, which manages to be, interesting even at the slow tempo. Nothing shows his duality better than his 2 Beethoven 9ths. The earlier London one, while measured in tempo is gripping, dramatic, and carved klemperer like from stone. Well recorded also. His later Berlin 9th, while simular in concept, and tempo is smooth, rounded and yes a bit dull. Yet somehow he was a good Bruckner conductor, I think his Chicago ninth is excellent, even better then his vienna (i know apostasy!). Well, I may break down and subscribe, more to read in my bunker! Paul
I don't know what your list includes yet, but I would definitely include Giulini's "Don Carlo". His "Das Lied von der Erde" from Berlin (DG) is easily his best Mahler recording. Although, I do have a soft spot for his Chicago Mahler 1 on EMI (Boulez is better in the finale, but I don't like his fast scherzo). I like Giulini's Chicago Bruckner 9th very much too (EMI). Both that B9 and his Vienna one are quite good - among the best. I like his L.A. Brahms 1 (John Cerminaro on Pricipal horn), but his later Vienna Brahms cycle is super slow. I love his Vienna Bruckner 8 for the first three movements, but the finale could have used a bit more cogency, and a Karajan or Wand like coda. His Vienna Bruckner 7 is marred by unexpected harsh sound quality. Few people seem to know that Giulini used Mahler's 'retuschen' for his Schumann "Rhenish" Symphony (I like it). I should get to know Giulini's early Philharmonia recordings better than I do.
I don't know why but Giulini Vienna Bruckner 8 while good never captured my soul, but his live recording with Berlin Phil has, IMO is part of his Greatest recordings even if it was not critically appreciated.
Thank you. I have been curious about him and wanted a proper introduction. I look forward to hearing your follow up videos and hearing what he achieved. I also wonder about Fritz Reiner.
I heard Giulini and the LA Phil several times at Carnegie Hall in the 1980s and there were times when things got rather drowsy, but there were times when the music did "levitate" and become very beautiful, especially a Bruckner's Ninth. I read somewhere that when Giulini was recording the Mahler Ninth with Chicago, he wasn't interested in hearing playbacks of the music. The engineers had to persuade him to come and listen to the third movement while the orchestra was on break, and "Oh!" the surprised maestro said, "that's much too slow!" So he went out and redid the third movement (in one take, I think) that was faster, though still slower than the norm. I'm reminded of hearing that in some conductors the performance they are hearing in their head is not necessarily the performance the musicians are actually making. I think you've alluded to this in your past talks, and perhaps it would be good subject as a stand alone lecture (if you haven't done it already and I've missed it)
since few and few year,the lp of giulini conduct beethoven pastoral on angel records is on a tablet like a painting in my music room...oh i love this recording...! is so beautiful...! when he recorded the same work for dgg...i am so desapointed by the performance...i don,t know what happen with this .....the magic no operated....?
A very perceptive overview. I heard Giulini conduct Falstaff at Covent Garden and it was wonderful, especially the last scene. I also had a friend who played violin in the LAPhil, through the Giulini/Salonen/Dudamel years, and he LOVED playing under Giulini (he hated Salonen, liked Dudamel a lot, but Giulini was the gold standard). I wish Warner would do a properly remastered box of all the Giulini EMI recordings. In the meantime, I have been debating whether to acquire the London Years box: I have many of these recordings on LP, but not all - I love 'em. If only Warner and Universal etc. would emulate Sony and do these boxes properly (eg. Bruno Walter, Eugene Ormandy etc.). One of my favorite boxes of late has been the Peter Serkin collection - have you heard it?
Your question regarding Giulini's recordings - spiritual or dull? - reminded me of the scandal in the early 1970s when the Boston Symphony demanded that the music critic for the Boston Globe, Michael Steinberg, be banned from covering its concerts because he had mocked Giulini's performances of Brahms' Fourth. Steinberg had the audacity to compare Giulini's conducting style to comedian Danny Kaye's. Giulini's tormented facial expressions, deep knee bends, and overall conveyance of tragic suffering left Steinberg in stitches. That review unfortunately stayed with me through the years when I watched Giulini conducting the LA Phil, always wondering . . . .
On record, Giulini for me was fascinating to listen to once, then maybe again a few years later. Definitely a conductor for UA-cam rather than collecting. His Chicago DG Mahler 9; Los Angeles Beethoven 3; the EMI Chicago Brahms 4; and so on truly revealing but at the same time sterile. I guess I have found most of his recordings to be observations on a work rather than a performance of it.
@@DavesClassicalGuide I would say that Giulini's recordings are both observations on a work, AND performances of it. I love his Sony recording of Beethoven's Eroica.
I heard him do the Bach B minor Mass in Chicago in the late 60s. It was a light, smooth, laid back performance. I was disappointed, probably because the last live B minor Mass I had heard was Karl Richter and the Munich Bach Orchestra and Chorus in Washington DC. Polar opposites!
While it was Giulini who rescued Don Giovanni for me from the dour grip of Klemperer many decades ago, I have no doubt that the greatest mismatch of conductor and work on record is Giulini's utterly humorless and completely uncomprehending smothering of Verdi's Falstaff. The mismatch of the youthful, sparkling and energetic 80 year old's opera and the old before his time 68 year old conductor is remarkable. Giulini even denied Verdi had written a comedy which would have infuriated the composer. Admittedly Colin Davis' trudge through the piece on RCA runs Giulini's a close second.
For me, Giulini is one of the greats. Some of his recordings like Brahms 1 with LA or Bruckner 8 with Vienna are really the gold standard. It's not really true that he was not interested in contemporary music. He did it, albeit sparingly. In Los Angeles, I heard him do a knockout performance of William Schuman's 3rd Symphony. and he also premiered several works like Ezra Laderman's 4th Symphony. His performance of Webern's Six Pieces was also stunning. Much to my surprise, he also conducted Shostakovich's 14th Symphony a few times. He was supposed to do it in LA but he became ill and they brought in the young Simon Rattle to give up his spring break as a student at Oxford and take over.
I heard him do Mahler 10 in L.A. in '78 (Also LvB PC4 with Arrau on the program) and Brahms 4 in '83. Admired his suave, more relaxed way with things in the later 19th-early 20th repertoire. Beethoven too reserved, IMO. At latter concert, went backstage to see if I could get an autograph, which he gracious did. He was talking to Werner Klemperer ("Colonel Klink") at the time.
The greatest conductor I ever heard live, along with Gunter Wand
I sang in performances and recordings in the 70's with Giulini: unrepeatable experiences, lifetime highs, I count myself most fortunate to have seen and heard music with him.
Thank you. I greatly enjoy the Giulini recodings I have. His Verdi Requiem is one of my favorites. I have always liked his Bruckner 9 with the CSO.
For some reason, Giulini used to come to Paris once a year to conduct the Orchestre de Paris and it was each time a "love at first sight" affair with the musicians. For me no one at the time was making that orchestra sing the way Giulini was able to do it.
I'd agree that some of Giulini's late recordings are underwhelming, but these (or most of them at any rate) were made after his wife's illness ended his tenure in LA and sent him back to Europe, never to conduct in America again. But I did see him frequently in Chicago during his time as Principle Guest Conductor, and those were some of the most intense (not "spiritual") musical performances I've ever experienced. I knew musicians in the orchestra, and they adored him, not because he was humble or priestly, but rather because he made them feel as if they were all creating the music together. Granted, not every performance was on the same exalted level, but the ones that worked for me---and there were many---are still seared into my memory. His Bruckner 8th, for example. Sometimes that intensity didn't translate into great recordings, and sometimes it did. He brought the LA to Chicago several times, and it was clear he was building something very special there, his first real tenure as a music director (not counting those two years in Vienna). But then his wife fell ill, and everything changed. BTW, I too often chaffed at his repertory. how often he repeated the same works, and had a dream list of works I would have loved to hear him conduct, starting with the complete Berlioz Romeo and Juliet (and not just the orchestral music, which he did with the CSO). And I love the CSO Brahms 4th that was done impromptu, in a single take. They'd just finished recording something else (I forget what) and had extra time. So scores were sent for, distributed; he raised his baton, and that's exactly what we hear.
That Chicago story was with Levine, and the leftovers from Mahler 3 sessions (I believe). I could be wrong, but I never heard it about Giulini.
Thanks very much for this insightful analysis of Giulini. I completely agree about the Don Giovanni. It is still a marvel after all these years. I never understood the criticisms about Waechter. Maybe he wasn't always silky smooth, but neither was the Don. Thanks too for the recognition of his Tchaikovsky 6th. It is one of my very favorite recordings of the piece, elegant and extremely moving and for early stereo it still sounds wonderful. It seems to be forgotten today sadly.
Well the answer is, as he always said, that he could only conduct the music he felt in his soul, and he was a very sensitive and kind of ethereal human being. In his last years he found comfort in his music for his heavy familiar sufferings. But as a Christian (he was deeply and authentically religious) he knew that suffering is a educational experience. When his beloved wife fell ill he said "why me?". Then, he understood that the right answer was "why not me?". You have to listen to his Bruckner 9th, his Verdian Requiem (one of his last concerts: at Lingotto, Turin, in 1998), his Missa Solemnis and also his never abandoned Brahms (especially the "extreme" symphonies, the First and the Fourth ones) to catch this spirit of Giulini. I think his live performances, also on disc, suited him best. He didn't like to "edit" too much.
@@frankstein9982 I think it's normal and human when sad things happen in life to ask himself or God "why is this happening to me?". Then you move from lamentation to gratitude. That's what he meant.
Wonderful critique of CMG. I grew up playing his Angel recording of Le Nozze di Figaro as a boy of 13 and even yesterday played it on CD for the millionth time. His Rossini overtures also are another fav of mine as I played that record to death. That was the disc which introduced me to my lifelong love of Rossini operas and choral works.
His early classic recording of L'Italiana in Algeri must have opened a lot of ears to the marvels of Rossini outside the Barber. Along with Gui's Comte Ory from Glyndebourne/EMI
I saw CMG with LAPO in London twice in the late 1970s. The Eroica and Pathetique were magnificent in a rather studied fashion, leaving me impressed rather than moved. His Falstaff at Covent Garden was a similar experience. Despite this I would rate his two recordings of Bruckner 8 with the VPO (DG) and BPO (Testament) amongst the most all encompassing versions of this great work, with a slight preference for the live BPO version.
Lucky me to have heard Giulini many times in Amsterdam. To start: my introduction to Falstaff in the Holland Festival. Why he stopped conducting opera's almost completely was his dissatisfaction with the mise-en-scene. Jean Decroos, first cellist of the Concertgebouw Orchestra made his family attend all rehearsals. I remember Brahms 4, also Roméo et Julliet by Berlioz where the Concertgebouw Orchestra sounded quite different. About Callas: each year he was in church for the mess on the day she died. Integrety: Walter Legge had no longer use of the Philharmonia Orchestra and tried to pull Giulini in this. He refused and kept conducting them, support them. Many favorites; Debussy La Mer and Nocturnes with the Philharmonia, Berlioz' R&J with the Concertgebouw O. (I think it is in a box of the orchestra). All others that are mentioned. I agree about the slow performances in his later years, but didn't experience them live thus.
He will always stay for me as the finest, together with Carlos Kleiber and Claudio Abbado. Abbado i LOVE most, especially his last decenium.
Thanks for the Giulini summary - conductor for whom I have embarrassingly few recordings.
During a WFMT CSO retrospective years ago, the host, when discussing CMG’s CSO recording of “Pictures,” said that “Giulini puts a gold frame around each picture.”
A good description.
His was the first recording of Tchaikovsky's 6th Symphony that I liked. This was mainly because he kept the third-movement March peppy all the way through to the end, without a pompous slow-down at the final reappearance of the main theme. His Nozze di Figaro has spoiled me, to some extent, for most other versions. I will find beautiful things in others, but always feel wistful for his.
Ok. So I became an insider to classics today. and I know it’s not a great reason, but I did it to see your top 10 Giulini recordings.
Of course there are many other better reasons to be an insider. The website looks awesome. And I really am getting a bit tired of Gramophone.
I won’t be an idiot and say what’s on your list.
I will only say, without saying whether it’s on your list or not, that the Giulini Mahler 9 with Chicago is definitely one of the top 5 desert island CDs of my life. I can’t live without it. I know it’s not the favorite of many people for Mahler 9, but for me, it is one of the most moving and transforming recordings I’ve ever heard.
Best to you Mr. Hurwitz.
Love his Pictures at an Exhibition with the. CSO: great sound, great conducting, great playing.
Giulini is one of my favorite conductors. I would highlight two recordings in particular - Brahms' Fourth Symphony with the Chicago Symphony Orchestra and Bruckner's Second Symphony with the Vienna Symphony.
The Bruckner is excruciatingly dull and indifferently played. The Brahms is much better.
@@DavesClassicalGuide Bruckner sounds slow with him ...
I literally never heard anything as thrilling as his Rossini Stabat Mater. AS for refinement, I have described his Traviata prelude to Act I as the greatest German symphony movement you never heard.
Thanks for a sympathetic and truthful look at my favourite (maybe) conductor. I guess I would say intense rather than serious, but I think we both mean the same thing; I always thought he'd be wearing for orchestras to work with regularly but great for occasions, and since that's how he ran his career I guess he might have too... The two observations I'd add: how unexpectedly he proved to be able to 'train up' the LAPO into a really world-class orchestra - not what you'd expect from his fastidious approach; and the surprises in his repertoire (never recorded commercially but available in live soundchecks) like Webern, Busoni, etc from his earlier rep years. Clearly those latter weren't what he wanted to be remembered for, of course. Damn: now I'm going to have to subscribe properly to catch up on those conductor 'best ofs'... 🙂
Hi Dave, good video. I have several of the late Sony recordings. His Sony Mozart requiem is so smooth so,,,placid, so almost, ok dull. His la scala Beethoven cycle, same thing except for the erotica, which manages to be, interesting even at the slow tempo.
Nothing shows his duality better than his 2 Beethoven 9ths. The earlier London one, while measured in tempo is gripping, dramatic, and carved klemperer like from stone. Well recorded also. His later Berlin 9th, while simular in concept, and tempo is smooth, rounded and yes a bit dull. Yet somehow he was a good Bruckner conductor, I think his Chicago ninth is excellent, even better then his vienna (i know apostasy!). Well, I may break down and subscribe, more to read in my bunker!
Paul
Anybody know why (to my knowledge at least) he never conducted one note of WAGNER??
I don't know what your list includes yet, but I would definitely include Giulini's "Don Carlo". His "Das Lied von der Erde" from Berlin (DG) is easily his best Mahler recording. Although, I do have a soft spot for his Chicago Mahler 1 on EMI (Boulez is better in the finale, but I don't like his fast scherzo). I like Giulini's Chicago Bruckner 9th very much too (EMI). Both that B9 and his Vienna one are quite good - among the best. I like his L.A. Brahms 1 (John Cerminaro on Pricipal horn), but his later Vienna Brahms cycle is super slow. I love his Vienna Bruckner 8 for the first three movements, but the finale could have used a bit more cogency, and a Karajan or Wand like coda. His Vienna Bruckner 7 is marred by unexpected harsh sound quality. Few people seem to know that Giulini used Mahler's 'retuschen' for his Schumann "Rhenish" Symphony (I like it). I should get to know Giulini's early Philharmonia recordings better than I do.
I don't know why but Giulini Vienna Bruckner 8 while good never captured my soul, but his live recording with Berlin Phil has, IMO is part of his Greatest recordings even if it was not critically appreciated.
Thank you. I have been curious about him and wanted a proper introduction. I look forward to hearing your follow up videos and hearing what he achieved.
I also wonder about Fritz Reiner.
I heard Giulini and the LA Phil several times at Carnegie Hall in the 1980s and there were times when things got rather drowsy, but there were times when the music did "levitate" and become very beautiful, especially a Bruckner's Ninth. I read somewhere that when Giulini was recording the Mahler Ninth with Chicago, he wasn't interested in hearing playbacks of the music. The engineers had to persuade him to come and listen to the third movement while the orchestra was on break, and "Oh!" the surprised maestro said, "that's much too slow!" So he went out and redid the third movement (in one take, I think) that was faster, though still slower than the norm. I'm reminded of hearing that in some conductors the performance they are hearing in their head is not necessarily the performance the musicians are actually making. I think you've alluded to this in your past talks, and perhaps it would be good subject as a stand alone lecture (if you haven't done it already and I've missed it)
There are some great recordings in the Sony box set: Dvorak 7 or Schubert 9 for example.
since few and few year,the lp of giulini conduct beethoven pastoral on angel records is on a tablet like a painting in my music room...oh i love this recording...! is so beautiful...! when he recorded the same work for dgg...i am so desapointed by the performance...i don,t know what happen with this .....the magic no operated....?
That's what happens sometimes.
A very perceptive overview. I heard Giulini conduct Falstaff at Covent Garden and it was wonderful, especially the last scene. I also had a friend who played violin in the LAPhil, through the Giulini/Salonen/Dudamel years, and he LOVED playing under Giulini (he hated Salonen, liked Dudamel a lot, but Giulini was the gold standard). I wish Warner would do a properly remastered box of all the Giulini EMI recordings. In the meantime, I have been debating whether to acquire the London Years box: I have many of these recordings on LP, but not all - I love 'em. If only Warner and Universal etc. would emulate Sony and do these boxes properly (eg. Bruno Walter, Eugene Ormandy etc.). One of my favorite boxes of late has been the Peter Serkin collection - have you heard it?
Yes I have.
You did not tell us what the 10 best recordings are
Yes, I did. You weren't paying attention to what the video is and where to find them--and why it's called a "preview."
Your question regarding Giulini's recordings - spiritual or dull? - reminded me of the scandal in the early 1970s when the Boston Symphony demanded that the music critic for the Boston Globe, Michael Steinberg, be banned from covering its concerts because he had mocked Giulini's performances of Brahms' Fourth. Steinberg had the audacity to compare Giulini's conducting style to comedian Danny Kaye's. Giulini's tormented facial expressions, deep knee bends, and overall conveyance of tragic suffering left Steinberg in stitches. That review unfortunately stayed with me through the years when I watched Giulini conducting the LA Phil, always wondering . . . .
It's funny; as a kid -- before I knew anything about conducting -- I thought Danny Kaye was good at it.
@@OuterGalaxyLounge Incidentally, Giulini knew Danny Kaye and regarded him as a friend.
@@OuterGalaxyLounge Danny Kaye WAS good at it! . . . it was no joke.
On record, Giulini for me was fascinating to listen to once, then maybe again a few years later. Definitely a conductor for UA-cam rather than collecting. His Chicago DG Mahler 9; Los Angeles Beethoven 3; the EMI Chicago Brahms 4; and so on truly revealing but at the same time sterile. I guess I have found most of his recordings to be observations on a work rather than a performance of it.
That's an interesting perspective. I can see how you might feel that way.
@@DavesClassicalGuide I would say that Giulini's recordings are both observations on a work, AND performances of it.
I love his Sony recording of Beethoven's Eroica.
Is he somehow the same like Sinopoli in this sense?
I heard him do the Bach B minor Mass in Chicago in the late 60s. It was a light, smooth, laid back performance. I was disappointed, probably because the last live B minor Mass I had heard was Karl Richter and the Munich Bach Orchestra and Chorus in Washington DC. Polar opposites!
While it was Giulini who rescued Don Giovanni for me from the dour grip of Klemperer many decades ago, I have no doubt that the greatest mismatch of conductor and work on record is Giulini's utterly humorless and completely uncomprehending smothering of Verdi's Falstaff. The mismatch of the youthful, sparkling and energetic 80 year old's opera and the old before his time 68 year old conductor is remarkable. Giulini even denied Verdi had written a comedy which would have infuriated the composer.
Admittedly Colin Davis' trudge through the piece on RCA runs Giulini's a close second.
Iphegenia in Brooklyn...now there's an obscure reference!