My choices for the best living conductors are: 1. Riccardo Chailly - Chailly has consistently shown warmth, color, and insight to composers from Brahms to Varese and Zemlinsky. He demonstrates that modern music need not be harsh or clinical. 2. Zubin Mehta - Mehta is still underrated for his scope and passion. His Turandot will never be topped, and his Bartok has a flow that other conductors can’t match. 3. Yan-Pascal Tortelier - His Hindemith, Dutilleux, and Karlowicz put him in an esteemed position, and I have no doubt his Roussel and Florent Schmitt will only enhance his standing. 4. Neeme Jarvi - He has done more for Scandinavian and Baltic music than any other conductor, but his Rachmaninov and Taneyev are just as wonderful. His Busoni set for Chandos is vital. 5. JoAnn Falletta - Simply put, she is currently the greatest American conductor. Even her early recordings with the Long Beach Symphony are great. For me, one can’t say enough about her Griffes recording on Naxos. I have forgiven her for Tyberg. 6. Lothar Zagrosek - No conductor has done more to shine the light on the “Decadent” composers of the pre-War years. His recording Frank Martin’s Der Cornet (Orfeo), Schreker’s Die Gezeichneten, and Braunfels’ Die Vogel are important. 7. Riccardo Muti - As Ormandy’s successor, Muti maintained the rich string sonority that had been established (although RCA didn’t provide ideal venues for recording). My Scriabin box is a treasure. 8. John Mauceri - Not apology need be offered for his love of Broadway and film music, which he does better than most, but his recording of Korngold’s Das Wunder der Heliane exposed a lost masterpiece. 9. Leonard Slatkin - Slatkin has does as much for American composers as Gerard Schwartz, but with a special sensitivity. When I was exposed to his Vaughan-Williams set, it was a revelation. 10. Antoni Wit - Wit is the master of Slavic music because he knows how to skirt the line between lavish tone and erudite interpretation. His Szymanowski is better than Rattle’s and his Lutoslawski is peerless.
My personal list: Manfred Honeck - most of his recordings (Dvorak 8 !) Ivan Fischer - most of his recordings (Philips / Channel) Paavo Järvi - Beethoven - Schumann - Nielsen - most of his Telarc-recordings Herbert Blomstedt - the reliable old man - no bs Daniel Barenboim - ups and downs - Ups: - Beethoven (Staatskapelle Berlin) - Schumann (Staatskapelle Berlin) - Bruckner (Chicago) - Furtwängler 2 - Saint-Saens 3 Riccardo Chailly - Mahler - Strawinsky - Bruckner (7 !) - many others Christoph von Dohnanyi - Brahms - Mendelssohn-Bartholdy - Dvorak - Bartok - Schumann Riccardo Muti - Tchaikovsky - Scriabin - Mozart I‘m not sure about John Eliot-Gardiner. He made some great recordings, but many are dated. But I like him. Greetings from Northern Germany
Honeck was a personal surprise. Listened to his Hamburg recording of Ein Hildenlaben and became intrigued. Have been following his Pittsburg stint ever since and he’s turned that orchestra into one of world’s best.
I’ve been fortunate to have performed under the batons of three conductors on your Top Ten list: JoAnn Falletta, Leonard Slatkin and Andrew Litton - all were wonderful work with.
Both Slatkin and Serebrier have guest-conducted the US Marine Band and I provided transcriptions for both concerts. Slatkin was surprisingly pleased with the transcription of the Prokofiev 3rd Piano Concerto, and I made the transcriptions of both, Serebrier’s Carmen Symphony and the Ginastera Estancia Suite.
My list... Seiji Ozawa - Recordings such as the French music (Ravel cycle, Franck, et al), Tchaikovsky, Brahms and Mahler in Boston are FABULOUS - Although there are some droopiness in his Saito Kinen recordings, some are great, such as the Brahms Michael Tilson Thomas - In addition to Mr Hurwitz's remarks, his Copland with the SFSO is also fabulous Herbert Blomstedt - His SFSO recordings are overall great; Sibelius, Strauss and Nielsen are especially wonderful - His Beethoven and Dvorak with the Staatskapelle Dresden is also great; no nonsense Leonard Slatkin - Mr Hurwitz mentioned most of what I think! Can't understand why he is not known that much here in Japan Riccardo Chailly - Hits and misses (OFC, but his heavy, grand music making sometimes got the better of him, such as in his Brahms) - Mahler!! -Stravinsky!! His Rite of Spring...OMFG Daniel Barenboim - Generally got duller as he aged, like almost all others. His earlier recordings are one of the best in their respective pieces - Some examples; Bruckner, Saint-Saens 3, Schumann in Chicago, Beethoven in Staatskapelle Berlin Christoph von Dohnanyi - Dvorak, Brahms, Schumann (Cleveland), Brahms/Schoenberg (VPO) Manfred Honeck - Most of his Pittsburgh recordings are jaw-dropping, especially... - Mahler 1,3 - Bruckner 9 - Brahms 4 Riccardo Muti - Tchaikovsky cycles (I think both of them are great) - Scriabin, Mahler 1, Symphonie Fantastique, Pictures, Firebird... Basically all the late analog recordings in Philadelphia - Schumann in Vienna, R.Strauss in Berlin is also great Honourable mention Zubin Mehta - Again, like Barenboim and (to some extent) Ozawa, his legacy is sometimes overshadowed by his dull, late recordings mostly in Israel and Berlin - His LA recordings are a pile of treasures - His NY Mahler 5 is smoking
Could Riccardo Muti be included? And, on a somehow more specialized area, Phillipe Herreweghe can also be considered. The record legacies of both conductors are, for my standards, really impressive.
Muti and Cherubini, yay! Whoever done it better - IF done it at all! (Well, a lack of comparison may be the reason for doubt. And in "standard" repertoire Muti has sometimes been "outplayed". Maybe it is good that people like Kuchar and Serebrier et al. make a point of exploring a repertoire not beaten to death, instead of indulging in the quests of Nelsons or, erm, Thielemann.) P. S.: I know it is a "daring" proposition, Dave, but how about doing a list of "10 most inconsequential - not to use WORST - conductors of present day"? I can fathom several strong favorites from earlier reviews, but shouldn't they take the extra lashing unless they come to their senses and stop feeling they are more important than the music?..
On a second thought, I am aware that "worst" CAN be consequential enough, so far as discrediting a certain music altogether... so maybe the WORST it is, not to mince words.
I agree that Herreweghe should be seriously considered. How many today can conduct everything from Lassus to Bach to Stravinsky? Such musical intelligence, such a feeling for beauty, and such modesty.
Muti probably the greatest Verdi interpreter of this century and his recordings of the music Of scriabin the reference recordings and of course mozart For me there is no other conductor living that comes close To riccardo Muti Is recording history is pretty Fantastic
I have followed these talks since the beginning of the first lockdown in 2020. You have helped introduce new conductors to me, which has shaped my listening experience immeasurably. Here is my smallish list: Manfred Honeck, Brahms 4, Shostakovich 5 Paavo Jarvi, Beethoven 3/8, Deutsche Kammerphilharmonie Bremen Herbert Blomstedt, Everything Theodore Kuchar, Mussorgsky, Pictures at an Exhibition Michael Tilson Thomas, Mahler Cycle A native to the SF Bay Area, I have also been lucky to hear both Blomstedt and Thomas in concert. Kuchar and Honeck are additions directly from my listening here. Thank you again for those.
Really enjoyed your list! Glad to see that there was somebody in their 40s that made it.. I would like to make a case for one of my favorites.. Lief Segerstam... Some of his choices can be eccentric and maybe he's not always the best but my gosh when he's hitting on all cylinders he's as good as anybody and point out that many of his recordings have shown up on some of your 10 best lists :-)
His Scheherazade with the Sinfónica de Galicia here in UA-cam is truly outstanding, at the level of Kondrashin I'd say. Besides, the camera work is quite good (something which is sadly unfrequent in these kind of video recordings).
I would like to add that I have much appreciation for some young conductors who don't have a big discography yet (if they're interested in creating one by the time at all...): Teddy Abrams, momentarily the very versatile and inspiring MD of the Louisville Symphony Orchestra, and Klaus Mäkelä with the Oslo Philharmonic, who shows a wonderful clarity and dignity, seems to be humble and dedicated. I'm looking forward for their future development and maybe wonderful recordings coming up in the next years...
Hi David, I really enjoyed this video. I've always rated Andrew Litton as a conductor and an extremely accomplished pianist. I have just purchased his recordings of the Rachmaninov symphonies ....all I can say is WOW ...another great find based on your recommendation. The recording quality is also top notch. The violin sections are realistically balanced ...this is one of my pet hates, a lot of recordings have extremely forward and fizzy string sections. Just to end...these recordings easily hold their own against the usual suspects. Thanks , cheers Ian ( Leicester, UK).
Hi Dave-thank you for fabolous talk :-) My list with explanations: 1. Paavo Järvi /Beethoven cycle, Cincinnati recordings/ 2. Manfred Honeck /Mahler PSO recordings, Shostakovich, Dvorak with PSO/ 3. Herbert Blomstedt /Strauss SF recordings, Sibelius SF / 4. Antoni Wit /Penderecki Naxos recording, Lutosławski Naxos / 5. Daniel Barenboim /Bruckner CSO recordings/ 6. Łukasz Borowicz /Panufnik CPO recordings, Nowowiejski Dux recording/ 7. Riccardo Muti /Tchaikovsky PO recordings, Respighi PO recordings/ 8. Leonard Slatkin /Shostakovich RCA recordings, Vaughan Williams RCA recordings / 9. Seiji Ozawa /Ravel DG recordings/ 10. Teodor Currentzis /Tchaikovsky recordings / Thank you :-)COL
I love this! I agree with four of your choices: Manfred Honeck, Esa-Pekka Salonen, Herbert Blomstedt, and Leonard Slatkin. I would add these six: John Eliot Gardiner, Vladimir Fedoseyev, Vasily Petrenko, Klaus Mäkelã, Sakari Oramo, and Hans Graf. I could cite ten more, but will bow to the parameters you set forth. Here is my list of one representative recording for each of these musical geniuses, and boy, that wasn't easy! Honeck: Dvorak:Symphony No. 8. Salonen: Stravinsky: The Rite of Spring (L.A. Philharmonic). Blomstedt: Sibelius: Symphony No. 1. Slatkin: Tchaikovsky: Swan Lake. Gardiner: Monteverdi: Vespers, 2nd recording. Fedoseyev: Tchaikovsky: Swan Lake. V. Petrenko: Shostakovich: Symphony No. 10. Mäkelä: Sibelius: Symphony No. 4. Oramo: Sibelius: Finlandia. Graf: Mozart: Symphony No. 39. As you can see, I am a huge fan of Sibelius and Tchaikovsky's Swan Lake. Thanks for the opportunity to opine. P.S. I didn't know Vladimir Jurowski's conducting until you brought his name to my attention. Since then, I see what you mean: he is unquestionably the real deal! P.P.S. Could you also do one of these for pianists? (I am a pianist). Cheers!
Grateful to you, Dave, for your conductor "takes" and for your enthusiasm. I'm also enjoying the variety of responses. I'll try to include a few conductors whose recordings I have enjoyed over the years. Incidentally, when you mentioned the wonderful Herbert Blomstedt at 94, Christoph von Dohnanyi is closing in on 93 and still going strong. My List: 1. David Alan Miller - for his wonderful service to American composers such as Morton Gould - Concerto for Orchestra, String Music, etc., V. Thomson - Cello Concerto and Filling Station, Daugherty - Trail of Tears, Joan Tower - Sequoia, Strike Zones with Dame Evelyn Glennie, Ivory and Ebony, and Don Gillis - Sym. 5, 10 and Shindig, etc.. 2. Jukka Pekka-Saraste - for his two fine Sibelius Symphonies cycles, Lindberg, Stravinsky, etc. 3. Edo de Waart - for his Rachmaninov (with Zoltan Kocsis), Saint-Saens Sym. 3, Mahler Symphonies, etc. 4. Enrique Batiz - for his wonderful service to Mexican composers (a beautiful area of composers and music all its own) and composers of central and South America and Spain; also his Respighi - Pines, Rachmaninov Symphonic Dances, etc.. 5. Gerard Schwartz - for his marvelous cd surveys of American composers like Howard Hanson, Paul Creston, Roy Harris, David Diamond, Charles Tomlinson Griffes, etc..Especially his championing of Alan Hovhaness' music. 6. Jacek Kaspszyk - wonderful Polish conductor - for his recordings of Wieniawski, Szymanowski, Shostakovich, Gorecki, etc.. 7, Sir Andrew Davis - for his many beautiful recordings of music especially by English composers such as Ralph Vaughan-Williams, Handel (2 Messiahs - I like the earlier Toronto Sym. earlier recording more), Elgar, Delius, etc.. 8. Geoffrey Simon - for his gorgeous recordings of Respighi's Church Windows (best Archangel Michael), Debussy, Ravel, Borodin and Bloch's Sacred Service. 9. Ari Rasilainen - for his beautiful Kurt Atterberg Symphonies cycle, Sinding - Symphonies, Tuukkanen's Sea Symphony, Ahmed Saygun's Symphonies and Sallinen's symphonies - more recently Pejacevic's Symphony in F 10. Yoel Levi - for his wonderful Telarc recordings of Mahler's Symphonies and several other composers.
I agree with! Blomstedt, Salonen, Slatkin, Jurowski. Wonderful all. I also want to add Barenboim obviously (eg Wagner - unsurpassed, also his Beethoven is extraordinary) On the early music front (I know your views) I'd add Herreweghe, Minkowski, Kuijken...but they don't have the same kind of range I agree. But I question your statement that the music 'plays itself'.
Agree on Honeck. I’ve heard enough of him to put him on my list. The Brahms 4 you recommended is amazing. And I’m never disappointed with a Blomstedt recording - his Beethoven 3 was terrific.
I haven't been listening to classical music for that long, only about 5 years, but one name I'd like to add is Ivan Fischer: sure, he does a lot of standard repertoire, but I think he's an excellent musician, his Mahler cycle, for example, is, in my opinion, mostly excellent. Besides that I wholly agree with Jurowski, Slatkin, TIlson Thomas, Salonen and Blomstedt being fabulous conductors. Some real surprises in here too for me!
I enjoyed your discussion of Susanna Malkki's coruscating Bartok CD and I certainly respect your desire to hear her in more recording venues, but she has already captured me heart, soul, and aging intellect. The conductors I grew up with and are still favorites include Silvestri, Fricsay, and Szell. They simply almost always delivered the goods. Mostly brisk tempos, clean articulation, fidelity to their sense of the composer's vision, but something more as well. When they conducted it was always and only about the music. Utter absorption in the music, assured of their interpretive insights, but otherwise free of ego once they lifted the baton. Susanna Malkki expressed it best when she said of her own conducting, " I am only free when I forget about myself." That is when she can merge with the polyphonic voices of the orchestra and still guide them with perfect emotional cohesion. something Szell also mastered as he trained his orchestra. It used to crack me up when critics of the time kept pigeon-holing Szell as an emotionless automaton simply because he clearly knew the difference between sentiment and sentimentality. I have all of Malkki's CDs and everything else I could find on UA-cam: a languid Mahler 4th that seems somehow to fuse the rare best of Mengelberg with Kletzki, an elfin but still moving Bizet Symphony in C, a rhythmically interesting La Mer, a performance of the Turangalila Symphony that indicates a strong kinship with the composer, a wonderful CD of the enchanting music of Arvid Kleven, bracing accompaniments with violinist Leila Josefowicz, an effervescent and rocking exploration of Ives Second Symphony, a fine Symphonie Fantastique with the L.A.. Philharmonic. Her deep identification with Sibelius is brought to compelling and idiomatic life in a performance of his Second Symphony that rivals Szell and Monteux in her decidefly unromantic release of all the works darker and more burnished colors. Susanna Malkki consistently moves me, scrubs the barnacles off the basic repertoire, embraces contemporary music with deferential insight (she even finds the musicality in the second tier stuff), and always seems able to find her way into the composer's sound world, so dedicated is her love of what she is doing. I agree there are many fine and even gifted conductors around now, but like today's movie directors, they have many hundreds of predecessors to have learned, borrowed, and stolen from. I think Susanna Malkki is an original, really comfortable in her own skin, humble in spirit, strong on the podium, and performing right now at a level of excellence I haven't seen (or heard) for a long time..
Álvaro Cassuto is one of my favourites. I had the pleasure of meeting him personally. What an amazing person and musician. He has founded three orchestras in Portugal. The Portuguese Symphony Orchestra, the Algarve Orchestra and the Nova Filarmonia Portuguesa (which was the best one - it was dismantled due to politics) His Beethoven recordings with the Nova Filarmonia Portuguesa are amazing. They are characterized by such sobriety and awareness. He really has a old of the orchestra in is every move. His recordings of Portuguese music are amazing as well. My favorite is the recording on Naxos with the Royal Liverpool Philharmonic Orchestra where they recorded Vianna da Motta's Symphony to the Homeland. That's superb! The balance that he is able to bring forth is just phenomenal!
Very interesting topic and one I rarely consider. I love your list...I've been listening to the Telarc/Slatkin/St. Louis discs in my collection and they are great! He has continued to do first class work for decades since these were made. Kuchar had me with those Dvorak Tone Poems on Brilliant Classics! I would add: Neeme Jarvi-his Chandos records with the Scottish National-and some recent winners with the OSR on Chandos. Riccardo Muti-His big box is consistently great even though I feel he's on low flame these days (at least on record). Antoni Wit-his Naxos recordings are all fabulous, especially Szymanowski, Janacek, Dvorak choral works.
At 16:19 Theodore Kuchar is my pick of the greatest living conductors. So many discs, especially on Naxos, and so many wonderful composers represented! And all recorded with panache, energy, enthusiasm, and love for the music and his performers!
An excellent list with which I have no quibble. I love the accomplished Naxosians like Kuchar, Serebrier, Faletta, Slatkin, and Serebrier, and might add Marin Alsop in the same vein for outstanding performances of diverse repertoire by often lesser-known ensembles. I have to have Neemi Jarvi for his lifetime achievement, especially in Russian repertoire like Prokofiev and Shostakovich. Ivan Fischer I’d invite to my party too, primarily for his Mahler. I don’t listen to much Dohnanyi, but for his Mendelssohn among so much else in core and quasi-core repertoire, he deserves to named one of the greatest living conductors.
I attended many years of Salonen concerts in LA. After some initial reserve on the part of some very traditional patrons, the audiences absolutely loved him. He is very funny, very dry humor, and self-effacing.
By the time I'd gotten my thoughts together, Dave had already posted a follow-up video dedicated to other viewers' "10-Best-Living-Conductors" choices. So I'll keep my comments re. this video brief and save my observations about the omissions for the companion video: 1. Blomstedt and Honeck are far and away my favorite living conductors. Indeed, they're just about the only living conductors whose recordings I consciously go out of my way to acquire, regardless of the particular repertoire. (Well, I've bought a fair number of Neeme Jarvi recordings over the years as well, and was surprised at his absence here, but am glad to see him acknowledged in the follow-up video.) 2. Dave, you assert that "great conducting is not a thing of the past." That may well be so; I don't deny that many of today's guys & gals are just as technically proficient as those greats who no longer walk among us in the flesh. However, at the same time, for the most part, I miss the utter individuality and quirkiness that marked the likes of Stokowski, Beecham, Klemperer, et al. Although I don't crave eccentricity of its own sake, I freely admit to living in the past, and I mostly prefer the conductors of a bygone era. (What can I say--I'm a dinosaur and a curmudgeon!)
A very fine list. Great to see JoAann Falletta in there, and she deserves it (amazing Glière, Schreker, Holst Respighi, and lots of unusual repertoire besides). I'd have included Antoni Wit in lieu of Honeck though. I love his Dvorak 8th (my favourite version of the piece) and his Brahms 4th, but overall I think Wit's achievements are more worthy of praise than Honeck's. Wit has done wonders in less familiar waters (Lutoslawski, Penderecki, Szymanowski), as well as in Messiaen's "Turangalila" and in Bruckner (3rd) and in Mahler (8th) + a brilliant Janacek "Glagolitic Mass/Sinfonietta" package, to boot. Finally, I love Segerstam's Sibelius renderings and Petrenko's Shostakovich symphonic cycle, but I understand why you've not included them in this list.
I agree with you, Wit is just great and never makes a bad recording. The worst he gets is good, but often he is very good and frequently outstanding. The works you named by him are all top class and everyone should buy them if that reportoire is their thing.
Well then, here is my list, but I only come up with eight. Two of them coincide with your list. One of my favorites I know to be hated by you wholeheartedly, but it's what it is - I happen to admire his interpretations! - Michael Tilson Thomas - Mahler Symphonies, Copland 3rd - Herbert Blomstedt - Hindemith (Mathis der Maler, Symphonic Metamorphoses with the San Francisco Symphony Orchestra), Sibelius Symphonies, Beethoven Missa Solemnis - Theodor Currentzis - Tchaikovsky 5th + 6th, Mozart Requiem and Don Giovanni, Beethoven symphonies (yeah, I find them overwhelmingly convincing, exciting, surprising...) - Marin Alsop - Barber orchestral works (great job for an important but often neglected repertoire!), Leonard Bernstein, John Adams, Roy Harris symphonies (wonderful American composer!) - René Jacobs - Mozart symphonies with Freiburg Baroque Orchestra (esp. Jupiter, never heard so convincingly before or after, this recording shows that even this solemn symphony truly is operatic/dramatic music), Mozart Operas (esp. Cosi fan tutte), Reinhard Keiser Croesus (baroque opera), Bach oratorios & concerts (with Akademie für Alte Musik Berlin) - Alan Gilbert - Mahler Symphonies, Messiaen (Des Canyons aux étoiles), Carl Nielsen concertos and symphonies, new stuff: Magnus Lindberg, Anders Hilborg, Sebastian Currier - Jos van Veldhoven/The Netherlands Bach Society - Bach cantatas and oratorios - Vasily Petrenko - Richard Strauss Tone poems, Scriabin Symphonies and other orchestral works, Stravinsky ballets, Elgar Symphonies and Enigma Variations, Shostakovich Symphonies, mostly with Oslo Philharmonic, a great orchestra
In no particular order: Chailly: His Mahler cycle and his recording of the Turangalila. If he’s still alive he’s gotta be on the list. Barenboim: His cycle of Schumann and the Beethoven Symphonies are reference recordings to me. If you think he’s fallen off lately (and he largely has) one should check out some decent new recordings of Elgar and Dvorak Cello Concerto. Paavo Jarvi: A great Beethoven cycle and some stellar work for Telarc and Virgin. I also think his new Schmidt cycle is worthy of reappraisal. Salonen: I’m not gonna mention any specific concerts but being from LA and seeing him Live many times, he’s the real deal. Prokofiev Romeo and Juliet. Bartok Concerto for Orchestra. Nielsen and my personal favorite Rite. Jurowski: He just recorded my favorite Mahler 4. Came outta nowhere. Also a great Tchaikovsky cycle. He also does some off-standard repertoire, e.g. Honegger. Honeck: Major points for making some of the best sounding recordings today. The Beethoven and the recent Brahms 4. Wow. Dausgaard: I like many of his recordings from Seattle. Plus much of his work in Sweden. He’s interpretively a bit quirky (in a good way) to me too like in some recent Bruckner recordings. Kuchar: the Prokofiev Cycle and Shchedrin’s Carmen Suite, plus some fun recordings with the Janacek Phil. Neeme Jarvi: he’s still alive. Some of my favorite Prokofiev and Shostakovich recordings. But above all I really love his recordings of Stenhammer. Blomstedt: I’m not as big of a fan of his Beethoven or Brahms. However he’s gotta be on the list for his recordings of Sibelius, Nielsen and Strauss. Also maybe the best 3 Disc Set of Hindemith on the planet.
A formidable list well argued. Honorable mentions I'd include would be Riccardo Muti at least for his fine Tchaikovsky cycle with the Philharmonia and Marin Alsop for her Barber and Dvorak on Naxos.
The grand old ones: Blomstedt and Dohnanyi - both still active and what a recording legacy! The period people: Jacobs (his Monteverdi, his Bach and his da Ponte cycle are all fabulous) and Pinnock - often forgotten & close call with Herreweghe, but I prefer the former for his instrumental recordings and for his very great Haydn and Mozart. I just don't know what he is up to nowadays... The specialists: Wit for anything choral, Cambreling for modern French and Avantgarde music The three great old record industry collapse survivors: Chailly, N. Järvi and Muti - all three still potentially excellent in anything you throw at them, and always with musicality and personality and a record portfolio to support any claim of greatness The Up and Comers: Vasily Petrenko and Theodore Kuchar - Petrenko has a great future ahead provided he sticks to his enormous musicality shown in his work in Liverpool, and Kuchar has yet to make a bad recording working with not really grand cru orchestras in Eastern Europe - but just listen to his Prokofiev, his Nielsen, his Ma Vlast and his Shostakovich Dance music discs to know what kind of artist you are dealing with.
Like you, I've been listening for a while, though not as broadly or deeply. Your ten choices are all well chosen, well deserved, and well described. I'm especially pleased by the inclusion of Falletta and Jurowsky. I know Serebrier, Ives apart, as an excellent conductor of Chadwick as well as of Glazounov. Regarding my own choices, we obviously differ in musical taste: When I have played and listened closely to, say, 10 versions of a particular orchestral work in as close to blindfold conditions as I can manage, a recording by Barenboim usually ends up as one of the ones that impresses me most. His Schumann and Beethoven and Bruckner cycles with the Staatskapelle Berlin are full of finely-gauged nuance and are musical in a way I find involving (I did not always hear his performances that way; in fact, they used to grate). Jochum, for one, can sound utterly mechanical (kapellmeisterisch) in comparison. Another conductor whose performances I always look forward to hearing is Christoph Eschenbach. His Tchaikovsky 4 with Philadelphia made me hear the first movement in a new way. That didn't happen with his Tchaikovsky 5 and 6, but they too are very well done. Speaking of Tchaikovsky 6, for me no performance cuts as deeply as that by Teodor Currentzis with Music Aeterna. He hasn't recorded enough yet, though, to qualify for a listing under your rules. Another conductor who has not recorded enough to qualify is Pavel Kogan. Yet I turn again and again to his Rachmaninoff orchestral cycle, despite having many fine and better produced alternatives to choose from. After Kogan's reading, the Third Symphony in particular sounds boring in the hands of most other conductors. But objectively speaking, the whole cycle sounds significantly different from any one else's, whether that fits one's personal taste or not. Kogan also has produced exceptional recordings of Tchaikovsky and Shostakovich -- so good in fact that I am inclined to place him in my top ten on the basis of quality, even if goddess Fortuna has intervened so unkindly on the issue of quantity. Like many others I'm watching to see what happens with Santuu-Matias Rouvali in London, based on the strength of his Sibelius with the Gothenburg Symphony. It's kind of sad that Marin Alsop did not make your list. I don't know of a recording of hers to match Ms. Falletta in, say, Gliere or Schmitt, but on the other hand Ms. Falletta has not yet entered the German mainstream sweepstakes, where memories are long and female conductors typically feel a need to don ceremonial beards, as Hatshepsut did. In short, it's a tough game to play, and it may color one's conducting reputation (good, but not top 10) beyond the bearded repertoire.
I was listening to your critique of Bychkov's Mahler 2nd with the Czechs and wondering if liked many living conductors. One short search and I find you do like plenty of them. It's remarkable you seem to have a video for just about anything related to Classical music. Thank you for your great channel.
For my money some of the best conducting done today, by some of the most interesting arm-waving personalities happens in the field of ancient music. I think one would have to include some of those figures in the list, especially since they have amassed quite impressive discographies. (and yes, the conductor, or charismatic leader man/woman/person can be equally important in say a Bach cantata than in a Mahler symphony). So here's my list of 10 living conductors still doing good stuff today: Esa-Pekka Salonen: he's been around for a long time now and still is one of the most exiting conductors around. I would cite his Stravinsky (all of it is 'de rigeur'), Bartok, Ligeti, Mahler 6, Bach transcriptions, Sibelius, Lutoslawski and Strauss Elektra (on DVD) as some of his best work. Such a pity he isn't recorded more frequently in recent years. Manfred Honeck: he hasn't recorded a huge amount, and you can disagree with some of his choices, but his interpretations are always fresh, interesting and clearly thought through. And he makes his orchestras play amazingly! Philippe Herreweghe: maybe a personal choice, since he shaped my musical upbringing more than any other artist, but I can't see anyone else who delivers consistently excellent performances/recordings of a repertoire ranging from Lassus and Victoria to Stravinsky (an outstanding Symphony of Psalms and Requiem Canticles). His Bach is simply the best ever and on the whole his batting average throughout is quite stunning. Jordi Savall: one of the great musical explorers of our time. He has revived so much neglected repertoire and to this day continues making music with the same vitality, warmth and curiosity. Recently he has even conquered Beethoven (and quite well!), but his best work is in French music (Rameau Suites, Marin Marais (Alcyone!)), Bach, Biber and the more traditional Spanish music. William Christie: Yes, his repertoire maybe more limited (French Baroque, Handel and some Bach mostly, though he has done pretty excellent Haydn and Mozart), but his influence in putting all this marvellous music back on the map and in coaching new generations of players cannot be overestimated. Plus, the recordings stand the test of time: Handel's Messiah, Rameau and Lully opera's... (and he's definitely got the ego and dictatorial tendencies to be considered a proper conductor) Vladimir Jurowski: nothing to add to DH's appreciation. He's great! Riccardo Muti: his best work definitely lies in the past (though his recent Shostakovich 13 was great), but he did give us reference recordings of Verdi (opera's and Requiem), Tchaikovsky and generally just a lot of really excellent recordings of a broad repertoire. Daniel Barenboim: I personally feel he has recorded too much, and his best work may lie behind him as well, but he's still the greatest living Wagner conductor and many of his recordings still lead the pack: Beethoven, Wagner (obviously), some early Bruckner, Saint-Saens 3... Simon Rattle: yes, I stand by my choice! Many of his recordings are really good (Gershwin, Adams, Szymanowski, Nutcracker, Pelléas, Rachmaninov etc.) and he's one of the great communicators of our time: outreach projects, the Digital Concert Hall. More than any other conductor today he knows how to reach a broader public. Also, he wouldn't have his pick among the world's greatest orchestra's if he didn't have his chops. Riccardo Chailly: he just does a lot of very different things really well: Beethoven, Mahler, Stravinsky, Italian opera (great Rossini), lighter stuff (Fellini, Shostakovich suites, Gershwin), Berio, Zemlinsky...
I disagree about early music conductors. Most of that repertoire does not even ask for a conductor at all. The music tends to be simple, indeed rudimentary in terms of leadership requirements (intentionally so), and while some try to turn that repertoire into "conductor's music" they are rarely successful. In most circumstances the less they do, the better it sounds. You just wind it up and let it go.
Intersection with your list are 1. Blomstedt (I actually love his late Brahms, the texture ad balance are just gorgeous) 2. Manfred Honeck (no need more comment) 3. Jurowski (agree, his is exciting as hell) Some I'm not sure because they don't record much or lack consistency 4.Gustavo Gimeno, good DSCH 1, Mahler 4, Ravel D&C, disappointing in the rest, but I follow him 5. Robin Ticciati, excellent recordings of Berlioz, distinctive in Brahms and Schumann, his Brahms cycle is like Mackerras's lean approach The one that I haven't seen anyone mention but he really impress me in DSCH 10 a nd Tchaikovsky 4, a little less in Berlios Fantastique is ... 6. Dimtry Liss, first class conducting with third great orchestra.
Thanks a lot! And mr Hurwitz: what do you think about the still vacant position of principal conductor of the Concertgebouworkest?! (Concertgebouw Orchestra Amsterdam) They take their time..... I would be VERY interested in hearing your opinion, thanks!!
I would like to add Eliahu Inbal. His pioneering complete Bruckner symphony cycle in 'original' versions from the 1980s, as well as his 11 cds digital Berlioz cycle are both terrific.
My personal list (focused on discography experiences): 1. Riccardo Chailly *Mahler 9 (Decca) and many + 2. Esa-Pekka Salonen *Messiaen: Des Canyons Aux Etoiles (CBS) and + 3. Iván Fischer *Bartók: The Miraculous Mandarin (Philips) and + 4. Teodor Currentzis *Mahler 6 (Sony) and + 5. Philippe Herreweghe *Mendelssohn: A Midsummer Night's Dream (HM) and many + 6. John Eliot Gardiner *Verdi: Requiem (Philips) and many + 7. Ingo Metzmacher *Karl Amadeus Hartmann: Complete Symphonies (EMI) and + 8. Daniel Barenboim *Bruckner 9 (Teldec) 9. Jonathan Nott *Ligeti: Orchestral Works (Teldec) and + 10. Masaaki Suzuki *Bach: Complete Sacred and Secular Cantatas and +
JoAnn Falletta was the first name I thought of -- Buffalo is really lucky! I think the first recording of hers I heard was John Luther Adams' "In the White Silence," not at all an easy piece to present (I'd guess). I'd include Leif Segerstam, if only for his recording(s?) of Per Norgard's 3rd Symphony, which sorta (well, no, really) changed my life. His Sibelius is also excellent.
Hey Dave , I know another comment talked about Ivan Fischer and would second that . I would like to add Termikanov for obvious spontanity and great accompanist like the Kissin prokofiev 2 live on UA-cam. As for the French side of things : I do enjoy Phillip Jordan Beethoven cycle . Tugan Sokhiev also has done amazing work with Toulouse in concert . A cd example would be his Prokofiev 5th Salonen but you mentioned it Deneve, his Roussel set needs no introduction Marek Jankowski, his Brahms cycle is fabulous, may disagree with it but it's still a hell of a Brahms cycle . Dausgaard for the great beethoven cycle . Other big names on my mind are already mentioned . Cheers
Dave, this was such a great video. Even though all your videos are thought-provoking, this one really got me thinking. Your list is great and were I to create a top ten most of your picks would be mine; however, in the spirit of the discourse, I’ve included a couple of other ones which I think could (and maybe should) be included: Neemi Jarvi: I’d probably swap Jose Serebrier with Neemi Jarvi. I agree that Serebrier has done some great work; that said, I would take Jarvi over Serebrier in a lot of their shared repertoire. Jarvi’s Dvorak cycle is a bit rough in places (that slog of a seventh) but it does have some high points (a great sixth and a first-class second). And his tone poems are first class. I also would take Jarvi’s Glazunov in a heart beat. In the fifth, where Serebrier is slow and kind of Brahmsian, Jarvi is fresh and fleet footed with excellent playing. His Fourth is first rate and his seventh is really delightful. Beyond that, I anchor on all the fantastic things Jarvi has given us - reference Prokofiev, fantastic Sibelius, strong Rimsky-Korsakov and Borodin cycles, those smoker Saint-Saens performances, etc. Like with JoAnne Faletta and Salonen, you have to think that part of what keeps him out of the discussion of “great conductors” is that he hasn’t done much German repertoire. And perhaps he over-recorded - nothing everything is top notch - like that Tchaikovsky cycle. But nothing is legitimately bad and he’s always musical and entertaining. Seiji Ozawa: Maybe Ozawa wasn’t in the running because he’s not terribly active anymore at his age but his recorded legacy is far more impressive than people give him credit for. Just think of his reference recordings - Chicago Rite of Spring, Boston Petrushka, DG Mahler 1, Boston Gurrelieder, Mendelssohn Midsummer Night’s Dream, Faure Pelleas. Another thing I like about Ozawa is he bucks the trend that older means slower and more boring. In some instances, quite the opposite. While Ozawa’s Phillips Mahler 2 is good, his Sony remake is excellent. I think Ozawa was taken for granted and the drama with Berlin and Boston cloud his reputation. But other than that awful (awful) Prokofiev cycle, Ozawa’s legacy is one of musicality and consistency. Riccardo Chailly: Admittedly, Chailly has kind of fallen off the map (at least from a recording perspective) post Amsterdam. He did do that exciting Beethoven cycle, the Mahler orchestration of the Schumann symphonies, and less successful Brahms cycle in Leipzig but I think he’ll always be remember for his remarkable tenure at the Concertgebow. And what an impressive recorded legacy. An excellent Mahler cycle which some reference individual performances (3, 4, 5, 6, 9, 10 + all the songs), a really good Bruckner cycle (excellent but worthless in 8 and 9), stellar Stravinsky, the reference Messiaen Turangalîla-Symphonie, a great Berio Sinfonia, that Varese box (great but for Ameriques), that Prokofiev 3d, that Hindemith chamber music box, his Zemlinsky. And outside of Amsterdam, he’s racked up impressive performance as well, like his Bruckner 3&7 and Mahler 10 with RSOB, that Cleveland Rite of Spring, his Rossini Overtures. It’s collectively impressive and more to the point, I know if I buy a Chailly performance, it’s going to be well-played, well-recorded, and well-considered. I may not agree with his decisions (neither of his Brahms cycles are fully convincing) or he may not be entirely persuasive (that soft-edged and overly plush Mahler 2) but he’s never given us a true dud (well, maybe that Amsterdam Brahms 3). Christoph von Dohnanyi: Like Ozawa, Dohnanyi might be out of the running because he’s retired (and 92 as of this video). That said, was there ever a conductor more mistreated and misunderstood than Dohnanyi? And really, none of the reasons are musical. For one, you can’t say anything about Dohnanyi without talking about Szell. Dohnanyi once quipped that whenever he and Cleveland gave a great performance, Szell got the credit. And while Szell’s Cleveland legacy is likely the finest, consistent recorded legacy out there, the fact is Dohnanyi provided better performances of a lot of Szell staples. Dohnanyi’s Beethoven isn’t as consistent as Szell, but his 3 and 6 are on par and his 4th is better. Dohnanyi’s Brahms is reference, with all of Szell’s precision but more clarity, more energy, and more excitement. Dohnanyi’s Dvorak is, on balance, more exciting (if only because it’s less “Germanic”) which his Schumann is fresher and has more bounce. If his Mozart and Schubert are quite the same level, who really is and the late Mozart symphonies coupled with the Webern are excellent (even if the program itself is stupid). The fact is if Dohnanyi weren’t at Cleveland, he’d have had a completely different carer. Second, Dohnanyi was treated horribly by Decca. In Decca’s defense, they had three great generalist in the 80s and 90s - Chailly in Amsterdam, Bloomstedt in SF, and Dohnanyi in Cleveland. Of course Chailly was going to get the most attention considering he was at the helm of a European orchestra and Bloomstedt (willingly or otherwise) was comfortable recording non-Germanic repertoire, like Sibelius, Grieg, Berwald, and Nielsen. He did do some standard German repertoire (fantastic Schubert) but otherwise stayed away from Mozart, Beethoven, Brahms in recordings. Dohnanyi, perhaps the most talented of them all, thus fell through the cracks because nearly everything he recorded was duplicated by Chailly or Bloomstedt (or both). I’ll never forget that Decca let all three men record the Bartok Concerto for Orchestra (all great btw) and gave all three recordings near identical cover art. Or what about the fact that they all recorded some Bruckner? Or how Chailly duplicated Ameriques? How was Dohnanyi supposed to compete when his own label was undermining him? Beyond that, the label famously dropped him mid-Wagner cycle. Whether he “needed” to complete that cycle is another issue but it’s a shame his label didn’t have the conviction to back him, even if it was itself collapsing. Third, Dohnanyi’s legacy is split up between several labels. You have the Beethoven, Brahms, some Ravel, Tchaikovsky, Busoni, Mussorgsky, Schubert, and Mendelssohn separated from everything else. It makes the prospect of a box challenging because you really want it all. But Decca really should give him the box he deserves because think of all the excellent stuff they have - reference Dvorak (that Scherzo Capriccio!), reference Ives, reference Ameriques, references Firebird and Petrushka, reference Mendelssohn cycle, excellent Strauss, excellent Tchaikovsky 4, excellent Bruckner, reference Bartok, that Lutosławski Concerto for Orchestra, to say nothing of all the recordings listed above. It’s an enviable legacy that, like Ozawa, has one blemish - his Mahler. If Dohnanyi had a failing, perhaps it was not knowing where his strengths resided. He was best in weird, wild modern music or the early romantics. While I love his Brucker, I get it’s not heaven storming, and he didn’t have the temperament for Mahler (even if he wanted to do a complete cycle). But all generalists have their blind spots and he certainly can be forgiven his Mahler if people like Jansons, Haitink, Boulez, and Harnoncourt are getting mega-boxes. Honorable mentions - Muti (reference Tchaikovsky, Mozart, Scriabin, Cherubini, Verdi); Mehta (mostly great LA, NY legacies)
Herbert Blomstedt's Sibelius, Nielsen & Hindemith are top shelf. Edward Gardner's Mendelssohn cycle was a revelation for me. Speaking of gardeners, Sir John Eliot Gardiner is pretty darned good in a lot of repertoire. His Beethoven is a good place to start. Trevor Pinnock's Baroque music is second to none.Go for his Brandenbergs. Very much agreed on Theodore Kuchar. Nielsen, Dvorak, Smetana, Prokofiev. Michael Sanderling's Shosty cycle blew my mind and opened me up to his music.
Philippe Herreweghe (anything Bach and/or choral) René Jacobs (everything from Monteverdi to Mozart) Antoni Wit (Eastern European composers) Marek Janowski (the great German classics) William Christie (anything Baroque)
I like this talk! I like it not because you mention mostly the conductors, who would be my choice, too, but because you do NOT mention the big names, I, also, would avoid (like Thielemann, Rattle, Welser-Möst aso). That said, the conductors I choose, are less another list than rather an addition to yours. 1) Zubin Mehta - I know that he is often popooed as "Kapellmeister", as a 2nd Sawallisch, but just as in the case of Sawallisch, it's unfair concerning Mehta. His work is consistent, he holds a high level nearly throughout in the standard repertoire, and he can be very special, when he has to deal with a repertoire he has to struggle with, as Mahler, Schmidt, Holst, Suppé aso, all of which he recorded at a time, when others didn't. 2) Antoni Wit - he has a fine hand for the unusual repertoire, but he proves also that he is a fairly good musician in the traditional segment. Thanks to him, I learned about Karlowicz and Moszkowski, his Janácek is gorgeous as is his Szymanowski, and I think, we must give him credit for his fine recordings of mostly overlooked composers and works. 3) Kent Nagano - aside from he is not a composer, he is a similar case as Salonen. In my opinion, Nagano is a very gifted conductor, a "better Boulez", with a fine ear especially for french colors. He is always a little on the cool side, but I like the details he discovers, and I like his freshness in scores by Poulenc, Prokofiev, Berlioz, Britten and Bernstein. 4) Riccardo Chailly - there are some flaws, which conductor doesn't have any? But I think I must not tell more about him. I just say: Listen at his Mahler-cycle, at his Stravinski, at his Varèse. And it's his credit that I could hear Schumann's symphonies as Mahler has scored them. 5) Leif Segerstam is alive, thanks God, and his recorded legacy speaks for him. No further comment needed, I think.
Nobody is perfect, neither composers, conductors or soloists. But the ones who prior the music is the ones. I like your list and the thoughts behind the list, these conductors are great musicians. And there more than 10, and there are great newcomers. I have troublet a little about Vienna and Beethoven. It is now more than 50 years since Böhm, Schmidt-Isserstedt and Monteux made the symphonies, 50 years without splendid Beethoven from Vienna!!! (Maybe Bernstein). And next Q, if I could choose a conductor for a new cykle, I have neraly no idea which to choose ;-) I admire the way you DH, take the way through missions impossible, you make it everytime.
Dave, take your: Salonen/Blomstedt/Jurowski/MTT. Add WIt --anything he does is great/Alsop--Prokofiev/Petrenko--Shostakovich-Tchaikowsky/Neeme Jarvi he is a wonder/Zinman--Beethoven-Mahler and finally William Christie for his Rameau/Lully and Charpentier.Thanks.
A word about the Buffalo Philharmonic's status as 2nd (or 3rd) tier ensemble. You are quite correct in so far as it is not a "major" ensemble and is categorized in the 2nd tier by the League of American Orchestras. However, I was able to confirm with a representative of the League that their classification is based on strictly objective criteria of total and non-administrative annual budgets.
Dear David, my list would include some of yours (Tilson-Thomas, Slatkin, Salonen, Bloomstedt), but it would change some others. I would include Barenboim (for the core German repertoire, as Beethoven, Bruckner, Schumann, Brahms, and even a terrific in my view Tristan that nobody remembers these days), also it would include Christoph von Dohnanyi for sure (Dvorak, Schumann, Brahms, Varese, Ives, Bartok...). Those two would be for me out of discussion. Regards!! :)
As far as the conductors who have done really good work in recordings across a wide range, I'd add two about whom you have discussed elsewhere: Neeme Järvi and Gerard Schwarz. Sad that we have lost Glelen and Skrowaczewski...
Daniel Barenboim Zubin Mehta Seiji Ozawa Esa-Pekka Salonen Michael Tilson Thomas Riccardo Muti Herbert Blomstedt Neeme Jarvi Paavo Jarvi Leonard Slatkin
Yup, the Jarvi's ought to get some love, at least for their questing spirit. But I would have to concede if told that Papa Jarvi has been uneven in his output, while Paavo (and not forget Kristjan, the younger one, who has the world before him!) is maybe "too young" still to go into Top-10? :)) To be clear, both make Top-20 easily.
Salonen of course is the MD in SF now, but started just after the pandemic canceled all their concerts. They’ve done a few video things and interesting concerts but I’m not sure what their plans are for recordings,
thank you for your praise of leonard slatkin. i loved to watch him conduct, and agree that the slso was as fine as (gasp) the cso. it was a great loss to st. louis when he was...well....he left. period.
Please add Markus Poschner to your list. The man is a phenomenon. I have never heard greater Beethoven 5th or Bruckner 8th performances than from him, truly revelatory. It's like hearing the music for the first time.
I’m no particular order… 1. Ricardo Muti for Mozart cycle, live CSO concert recordings, Italian opera 2. Ivan Fischer for his Budapest recordings, particularly Mahler 1, 4 and 9 3. Alan Gilbert for his Mahler 3 and 9, also his Rouse recordings The rest are repeats of your list
I totally agree with including Salonen and Tilson Thomas, both thoroughly craftsman like but lively musicians. A recent of mine is Barbara Hannigan, also for lively performances of a wide repertoire. Unfortunately, most of my favorites on recordings of which I am familiar have passed away.
@UCenZXj7BlS-_NwFI9ZuuaPA I edited my comment before you posted, but it looks like he (Tilson Thomas) is not counting on conducting much more due to a poor prognosis with a form of brain cancer.
Marc Minkowski - Rameau: Une Symphonie Imaginaire: Fantastic modern interpretation of traditional baroque. @Dave, is that possible you can review this album? Thanks.
1.kent nagano made a exellent recording for analekta ( beethoven 9symphonies) with the montreal symphony orchestra and the berlin radio symphonies for erato ( saint -saens no 3,messian etc.2.charles dutoit with the osm to made a really good cycle of berlioz,ok i know in the russian repertoire is so bad but the stravinsky he made is a reference for me 3. yannick nezer seguin have a good bruckner cycle,and mendelssohn symphonies to for dgg,and i love this mozart opera for dgg 4.i d,ont know why you d'ont talk about the ravel cycle ,leonard slatkin made at lyon france for naxox....? what a beautiful recording for me ....i discover with slatkin the transcription of gaspard de la nuit orchestred by marius contant ...beautiful! 5.marin alsop made a good bernstein symphonies for naxos 6.ok mtt for my best nutcraker recording with the lso...ok i stopped here if no i go to write a chapter.....
We are at a time of the “changing guard” when it comes to classical conductors. Many of those listed, while still performing occasionally, are not fully active at the podium these days - and often their best recordings date back decades. For instance Herbert Blomstedt is 96, even as I do anticipate hearing him this season. Michael Tilson Thomas is 78 and undergoing brain cancer treatment. He continues to guest conduct. Ricardo Muti is 82 and retiring from Chicago - his Scriabin, Tchaikovsky and Stravinsky recordings date mostly from the 1980’s. Zubin Mehta is 87 and conducts from a chair - even as I recently heard him do a fantastic Mahler 3 - not recorded commercially. Leonard Slatkin is 79 - and treasured like MTT for his incomparable musical performance knowledge and heritage. José Serebrier is 84. Richard Bonynge is 92 and long retired. Many whom we now acknowledge as “greats” were not seen widely as such in their time. Were Silvestri, Fricsay, early Mackerras, early Colin Davis, Tintner etc etc seen as “greats”? No. They were mostly sidelined. So what of today? Will Manfred Honeck, JoAnn Falletta Theodore Kuchar, Andrew Litton and Vladimir Jurowski become classical music heroes? It might take a while to assess. The oft-repudiated “Gramophone” list for this year includes: John Storgårds (BBC Philharmonic), the BPO’s Kiril Petrenko of whom we are yet to hear a lot, Finnish RSO with Nicholas Collon, and Klaus Mäkelä of the Orchestre De Paris. Lahav Shani is stirring lots of interest in Rotterdam and Israel. Richard Tognetti has a long record of inspiring performances in Australia - as does Simone Young these days. There are many more. So - who are the greatest active conductors right now - and who will be seen as such when we look back in a decade or so?
Great video, Dave!! I would agree with each conductor you mention, adding Alondra de la Parra (her Stravinsky recording is great, although she hasn’t recorded too much and needs to do more) and … *drumroll* … RICCARDO MUTI !!! I love Verdi, LOL. THANKS DAVE!!!
This is a fun one; thanks! Thanks especially for mentioning Falletta (how I wish she would record the Moeran Symphony) and Jurowski, two extremely underrated active conductors. I broadly agree with your list, and would easily put Slatkin, Blomstedt, and Litton on my own list. A few others: • Neeme Järvi: For all the reasons you mentioned in your recent video. • Charles Dutoit: A bit of a nostalgia choice, but some genuinely wonderful recordings (Daphnis, Roman Trilogy, The Planets) are references, and many others are up with the best. • Riccardo Chailly: Mahler, Mahler, Mahler. Not to take away some other excellent things he's done, too. • Martin Yates: I'd bet a substantial amount I'm the only one who'll mention him. His championing of obscure and neglected British music is in a class of his own. • Edward Gardner: Some notable misses, but a few major hits (Peter Grimes, some Janacek). One to keep in mind. • Andrew Davis: Another great champion of British music, and with some solid recordings in this repertoire.
Thank you for pointing out that it's not enough to say "I like this conductor" one needs to add: "because of..." Recently posting on a site, I recommended Muti's Tchaik 5 and someone dismissed me summarily with "Muti's OK, but he's not in the same league as Karajan." I would add Chailly to the list for his symphonic cycles, esp the more recent ones. He seems to work hard on each piece and the results showcase this in the rendering of details. Another conductor that seems to be up and coming is Alsop -- but I base this only on snippets of her work. Regards
Well, lots of talents in your list Dave (duh! I do need to listen more Kuchar and Falletta) and lots of US (born or employed) talents in particular. Here's a personal selection, trying to balance personality, raw musicality, finesse and repertoire-expanding efforts: - Seiji Ozawa - Manfred Honeck - Antoni Wit - Riccardo Muti - Vladimir Jurowski - Jordi Savall - Riccardo Chailly - Teodor Currentzis - Esa-Pekka Salonen - special mention: Marin Alsop (I could do without her Brahms, but not without her Barber and Bernstein)
Really nice interesting list - most of them I heard also live in concert, but their recordings are good too (I love MTT's Fantastique!). Of course I miss Segerstam (Sibelius), Zinman (Beethoven) and Fischer (Mahler, Rossini!). So interesting also Mehta, Barenboim and Thielemann are not mentioned (which i fully agree!). But for me I 'au fond' miss some period intrument conductors who are worth to be named as well: Phillpe Herreweghe for his Bach cantata recordings (who can without?), Trevor Pinnock for his fabulous Handel recordings (from the Organ concertos via the Water and Fireworks Music to the Messiah) and Jordi Savall for his themed collection set recordings, with the War and Piece-set on the top (although he made a exceptional recording of the Water music as well!). Recordings you cannot without.
I agree with all of your choices. I would also consider two already mentioned in the comments, Gerard Schwarz (like Slatkin a versatile conductor, although I particularly like his recording of American music such as his Diamond and Creston symphonies) and Antoni Wit (great Lutoslawski and Penderecki, among others). Another I would consider is Gil Rose, conductor and founder of the Boston Modern Orchestral Project. This is, of course, a more specific repertoire, and sometimes his conducting can be more interesting than the music itself, but there is so much worthwhile music that he and his group perform very well, such as the Foss symphonies, orchestral music of Irving Fine and a recent recording of Piston's potent Concerto for Orchestra. And at least with the less persuasive pieces we can be sure Rose is giving them a solid performance so we don't need to worry whether a potentially interesting work is getting a dull or unsympathetic recording.
A list of disappointments might be as interesting You touched on it with Andrés Nelsons - brilliant Shostakovich Leningrad on Orfeo and fantastic Lohengrin from Bayreuth - the later Bruckner good for the Wagner excerpts
Andres Orozco Estrada (his UA-cam recordings are phenomenal; great Beethoven and Brahms symphonies) Leonard Slatkin Manfred Hoeneck Essa Pekka Salonen Ivan Fischer Paavo Jarvi Neeme Jarvi Jurowski Tillson Thomas Marin Alsop (if you don't count that one time she recorded mahler with a shitty critical edition)
I wholeheartedly agree on your comments on MTT, Honeck and Blomstedt! I'd add Christoph von Dohnányi for his beautiful Mendelssohn cycle as well as his excellent late Dvorák, as well as Chailly and Inbal for their terrific Mahler cycles (and in Inbal's case also his early Bruckner), and Muti for nearly anything he's done (his Tchaikovsky above all). Then there's various conductors who did great things in the past but have become dull and boring (Mehta), insufferably mannered (Vänskä), or just not as remarkable as they used to be (Barenboim, with the exception of his recent Mahler 7). I've not listened to her, but reading your reviews I take it that you also have Alsop in high regard (at least for american repertoire, especially her Bernstein)?
Since Manfred Honeck and Herbert Blomstedt are consensus picks, I’ll skip them to make room for others. - David Zinman: For range of repertory, fluency in different styles/eras and sparsity of duds, as close to Charles Mackerras as we’ve got among the living. - Esa-Pekka Salonen: Stravinsky (especially “Le sacre”) & Bartók in Los Angeles. - Neeme Järvi: For 40-odd years, the go-to guy for non-standard repertory - I’ll pick maybe the least likely of such ventures, his Detroit discs of William Grant Still & other Black composers. - Paavo Järvi: Beethoven & Brahms in Bremen; Bruckner (!) in Frankfurt; Scandinavians, Balts & more in Cincinnati. - Leonard Slatkin: Russians, Barber & Copland in St. Louis and Detroit. - Riccardo Chailly: Mahler in Amsterdam and Berlin, Messiaen in Amsterdam, Brahms concertos with Nelson Freire & Leonidas Kavakos in Leipzig. - Iván Fischer: Bartók & Mahler in Budapest. - René Jacobs: Mozart/Da Ponte operas - his “Così fan tutte” may be the template for Mozart opera performance today. - Philippe Herreweghe: Bach choral works - historically informed and emotively engaged. His standard rep with modern orchestras is better than most other HIPsters’ (sample his Royal Flemish Philharmonic Beethoven cycle). And my wild card: - Richard Tognetti: First-rate solo violinist; leader of Australian Chamber Orchestra in standard and non-standard rep [hot Mozart!]; and an idiomatic string-orchestra arranger of chamber works, most notably Beethoven’s “Kreutzer” Sonata and Grieg’s Quartet in G minor. I don’t know how often he wields a baton, but he’s got all the goods otherwise.
I would add in Valery Gergiev, despite the poor 1999 Philips recording of “The Rite of Spring”. I was blessed to have seen him conduct the Mariinsky at Théâtre des Champs-Élysées in Paris for “The Rite of Spring” 100th anniversary on May 29, 2013 and it was amazing! I saw him do all three great Stravinsky ballets (concert versions) at Carnegie Hall later that year in October. Needless to say the tam tam player didn’t get lost .... as far as I remember. 😁
@@DavesClassicalGuide Very true Dave. We're all formed by our experience. Incidentally I signed up for the Classics Today Insiders subscription a few weeks ago. I used it quite a bit when it was free years ago but to me it's quite worth paying for. Your reviews have been super helpful and at times I've laughed out loud at the content and some of the things you've said. 😅 Keep on keepin' on my friend!
Going to see Honeck/PSO perform Bruckner 7 in a little over a week; my first earnest effort to finally *get* Bruckner L0L. Can't wait to hear those tuben and Craig Knox on the big one.
Mr. Hurwitz, have you heard the more recent Mahler 4 that Litton did with the Royal Philharmonic? Just wondering if it’s significantly better/worse/different than the fantastic Dallas one you mentioned.
Vasily Petrenko (Almost everything) Daniel Barenboim (German repertoire, especially Der Ring) Marek Janowski (Wagner, Bruckner) Ricardo Muti (Many great things, but not as great recently) Antonio Pappano (King of opera, every single opera) Valery Gergiev (Russian repertoire and revival of many Russian operas) Ken Nagano (Wagner, Mussorgsky, Bruckner) Zubin Mehta (many good things until 15 years ago) Simone Young (Bruckner and Wagner, best female conductor with intensity and gusto) Mark Elder (Wagner operas) Osmo Vanska (Before Minnesota years) Gustavo Dudamel (Best generalist) I think those conductors have made good contributions to certain parts of classical music world in their careers even though some of the older ones become the shells of themselves. Exclude all conductors who are fixated with the period instrument playing style such as reducing the string section to be the lifeless robots playing without vibrato no matter how famous they are.
Great list, Dave! Thanks a lot. As Dohnanyi has retired, it seems, and Welser-Möst has recently recorded few or no works, I would mention Wit and Paavo Jarvi, but many viewers added those names to their lists. Here are my two sleepers : Alan Gilbert because of some solid Mahler (9th) and Nielsen (complete cycle) on Dacapo and Hannu Lintu. He did a very great cycle of Sibelius symphonies (on DVD) and significant recordings of Bartok (Violin Concertos), Ligeti and Magnus Lindberg. Muti would be a strong choice mine because of his contribution to the Mozart repertoire and a wonderful and recent Shostakovich's 13th in Chicago. It is so great! Soon, will we get the ten most overrated conductors?
For me, conductors are somehow connected with repertoire, you like some because of the way they do certain composers. Just a note, I am a professional Opera singer for almost 35 years now, hence so much talk about singers and Opera. But absolutely love Symphonic music as well as the great Film music composers of yore (Rozsa, Korngold, Steiner, Alex North, et al. Anyway, here are the conductors, some of the past, some living: Fritz Reiner (exceptional precision coupled with the new Stereo sound, Lewis Layton was a wiz of an engineer!); Karl Böhm (love his Wagner and Strauss, and a no frills conductor, just played what was on the written page, precision too. His Wagner was very energetic, wonderful Tristan and Ring, besides, counted with marvelous singers); Leonard Bernstein (a composer's viewpoint of music, plus a great personality, His Mahler is THE thing!); Georg Solti (lots of energy, beautiful Ring and Strauss Operas, his Verdi sounded minus the schmalz that can be associated with his music. On the other hand quite brutal sometimes, not one for French music, of course) Herbert von Karajan (the early stuff. After he went to DG and his later years very particular, not to mention his odd choice of singers); Charles Munch (wonderful stuff from Boston!) Now to the living conductors: JoAnn Falletta (Yay!) (Fabulous recordings of very imaginative repertoire, especially American Composers, the Buffalo Phil sounds amazing under her baton); Charles Dutoit (his tenure with Montréal is amazing, wonderful French music, Stravinsky not to sneeze at, etc); John Wilson (very interesting recordings with the Sinfonia of London as well as some film music); Dmitry Yablonsky (exciting Japanese music (!) for Naxos ); Vladimir Jurowski (Yay!) and some mentions: George Szell, Rafael Frühbeck de Burgos (a wonderful accompanist), Andrew Litton (yes!), Andrew Penny and a wonderful Cycle of Malcolm Arnold Symphonies for Naxos. Abidiabidiabidi That's all folks! Lol
From my limited listening perspective, here are the conductors whose recordings I get excited to hear : Blomstedt, Chailly, Mehta (too many fine recording to list), Kyrill Petrenko (if the DCH counts…), Honeck (unlike you, Dave, I don’t like his Eroica, but love the Bruckner 9 and Brahms 4th), Salonen (again, so much,but I love the Prokofiev R&J with Berlin), Slatkin (so many fine recordings of important lit.) On the other hand, I avoid: MTT, Thielemann, Nelsons…
Couldn’t agree more with the choice of Honeck and Blomstedt. Honeck has elevated Pittsburg to one of world’s best orchestras and personally found Blomstedt’s interpretation of Bruckner 6 as satisfying as any I’ve heard. And Tilson Thomas, like Bernstein, has developed his welcome American democratic approach to classical music by speaking about it.
Very interesting video! I have been listening to classical music only for about decade or so and I have never studied music so I can’t say I really have any expertise to make my own list. I still have a hard time comparing and evaluating recordings. That being said, I’d be curious to know if Zubin Mehta and Ivan Fischer were close to making your list…
Every conductor is listed for his *whole* work Riccardo Muti Paavo Järvi Riccardo Chailly Rene Jacobs David Zinman Yuri Temirkanov Markus Poschner Giovanni Antonini Ivan Fischer Marek Janowski
I was expecting Dave to mention Antoni Wit. His Dvorak's Requiem is phenomenal. I also enjoy his Janacek and Penderecki. In more unusual repertoire (Carter, Lindberg, Norgard, etc.), Oliver Knussen deserves lots of credit. Finally, a shoutout to fellow Colombian Andrés Orozco who has recorded beautiful Dvorak and Strauss.
Wit could certainly be on the list. Knussen, as just mentioned, is dead, and Orozco--no way. One or two decent recordings is not a career. Come back in ten or twenty years and we'll see!
@@DavesClassicalGuide Just finding out about Knussen's passing. Let's replace him with Eötvös then for the similar repertoires. And yes, Orozco is just a shoutout because I'm rooting for him as there is a notorious scarcity of Latin American conductors.
Antoni Wit - I admire his recordings of Penderecki and Lutoslawki orchetral music, Brahms choral music, Mahler 8 etc. I hope he is given an opportunity to record a whole mahler cycle. Jordi Savall - All the old music he recorded is from very fine to great, and his recent Beethoven symphony cycle is my new favorite of the music. Ivan Fischer - His mahler and Brahms cycles are impressive. Vasily Petrenko - IMHO, he is better than V. Jurowski Philip Herreweghe - Many of his Bach and other choral music recordings are my references. Esa-Pekka Salonen, Herbert Blomstedt, Andrew Litton are the same as yours. But I wasn't even able to come up with ten. Now I've realized how hard it is to make a top 10 list with LIVING conductors.
I still say if you want a real treat from Blomstedt, get his Bruckner Five..... Recorded with Leipzig Gewandhaus..... He has a grasp of the "big picture" with this symphony like no other conductor I've experienced.
I was going to say Valery Gergiev but he got his ass canned. 😁 Seriously though, I think Giancarlo Guerrero (director of the Nashville Symphony) is one of the greatest living conductors today. I live in Nashville and see the Symphony regularly. Giancarlo is awesome, full of passion and has a certain sound that he brings to the orchestra. He definitely deserves some huge recognition.
I want to stick to the spirit of your criteria: if the point is to comment upon work that is publicly available for us all to discuss with an objective eye and ear to detail, then I think it's only fair to include artists who have a big presence on UA-cam. In fact, I think that a video of a live performance is a much better gauge of a conductor's ability, because a) you get to hear something that (probably) hasn't been edited and b) you get to actually see them in action. So given that, I would include: Daniele Gatti, Juraj Valcuha, Susanna Malkki, Juanjo Mena, Andrés Orozco-Estrada, and Gustavo Dudamel. Which is not to say I don't agree with your list. In fact, I quite agree with it, and I'm particularly glad you included MTT. I don't always agree with his interpretations, but they are wildly inventive and personal, and you have to hand it to him that he gets the orchestra to do his bidding, and do it incredibly well. Also, I quite like your emphasis on conductors who have a personalized repertoire. I think that's something that's tremendously undervalued these days, as all the big conductors just want to conduct Bruckner, Mahler, and Shostakovich. In this respect, I quite admire Vladimir Jurowski, since he's devoted so much time to the music of Alfred Schnittke.
You had not quite caught the spirit of my criteria. The artists you cite have not done nearly enough work or shown anything like the range I had in mind on UA-cam (or at least most have not). As to the superiority of video, I place no value on "seeing them in action." This is music, not multi-media performance art. I guess I'm a purist in that respect. I'd rather not see these people at all. I spent decades watching conductors and musicians in action. It wasn't pretty. Nor do I care if something is or is not edited. I don't think editing in any way delegitimizes a performance or renders it somehow artificial. All electronic media do that in one way or another.
My choices for the best living conductors are:
1. Riccardo Chailly - Chailly has consistently shown warmth, color, and insight to composers from Brahms to Varese and Zemlinsky. He demonstrates that modern music need not be harsh or clinical.
2. Zubin Mehta - Mehta is still underrated for his scope and passion. His Turandot will never be topped, and his Bartok has a flow that other conductors can’t match.
3. Yan-Pascal Tortelier - His Hindemith, Dutilleux, and Karlowicz put him in an esteemed position, and I have no doubt his Roussel and Florent Schmitt will only enhance his standing.
4. Neeme Jarvi - He has done more for Scandinavian and Baltic music than any other conductor, but his Rachmaninov and Taneyev are just as wonderful. His Busoni set for Chandos is vital.
5. JoAnn Falletta - Simply put, she is currently the greatest American conductor. Even her early recordings with the Long Beach Symphony are great. For me, one can’t say enough about her Griffes recording on Naxos. I have forgiven her for Tyberg.
6. Lothar Zagrosek - No conductor has done more to shine the light on the “Decadent” composers of the pre-War years. His recording Frank Martin’s Der Cornet (Orfeo), Schreker’s Die Gezeichneten, and Braunfels’ Die Vogel are important.
7. Riccardo Muti - As Ormandy’s successor, Muti maintained the rich string sonority that had been established (although RCA didn’t provide ideal venues for recording). My Scriabin box is a treasure.
8. John Mauceri - Not apology need be offered for his love of Broadway and film music, which he does better than most, but his recording of Korngold’s Das Wunder der Heliane exposed a lost masterpiece.
9. Leonard Slatkin - Slatkin has does as much for American composers as Gerard Schwartz, but with a special sensitivity. When I was exposed to his Vaughan-Williams set, it was a revelation.
10. Antoni Wit - Wit is the master of Slavic music because he knows how to skirt the line between lavish tone and erudite interpretation. His Szymanowski is better than Rattle’s and his Lutoslawski is peerless.
My personal list:
Manfred Honeck
- most of his recordings (Dvorak 8 !)
Ivan Fischer
- most of his recordings (Philips / Channel)
Paavo Järvi
- Beethoven
- Schumann
- Nielsen
- most of his Telarc-recordings
Herbert Blomstedt
- the reliable old man
- no bs
Daniel Barenboim
- ups and downs
- Ups:
- Beethoven (Staatskapelle Berlin)
- Schumann (Staatskapelle Berlin)
- Bruckner (Chicago)
- Furtwängler 2
- Saint-Saens 3
Riccardo Chailly
- Mahler
- Strawinsky
- Bruckner (7 !)
- many others
Christoph von Dohnanyi
- Brahms
- Mendelssohn-Bartholdy
- Dvorak
- Bartok
- Schumann
Riccardo Muti
- Tchaikovsky
- Scriabin
- Mozart
I‘m not sure about John Eliot-Gardiner. He made some great recordings, but many are dated. But I like him.
Greetings from Northern Germany
In Muti's ups you can't neglect his Verdi and Stravinsky!
Honeck was a personal surprise. Listened to his Hamburg recording of Ein Hildenlaben and became intrigued. Have been following his Pittsburg stint ever since and he’s turned that orchestra into one of world’s best.
I’ve been fortunate to have performed under the batons of three conductors on your Top Ten list: JoAnn Falletta, Leonard Slatkin and Andrew Litton - all were wonderful work with.
Both Slatkin and Serebrier have guest-conducted the US Marine Band and I provided transcriptions for both concerts. Slatkin was surprisingly pleased with the transcription of the Prokofiev 3rd Piano Concerto, and I made the transcriptions of both, Serebrier’s Carmen Symphony and the Ginastera Estancia Suite.
My list...
Seiji Ozawa
- Recordings such as the French music (Ravel cycle, Franck, et al), Tchaikovsky, Brahms and Mahler in Boston are FABULOUS
- Although there are some droopiness in his Saito Kinen recordings, some are great, such as the Brahms
Michael Tilson Thomas
- In addition to Mr Hurwitz's remarks, his Copland with the SFSO is also fabulous
Herbert Blomstedt
- His SFSO recordings are overall great; Sibelius, Strauss and Nielsen are especially wonderful
- His Beethoven and Dvorak with the Staatskapelle Dresden is also great; no nonsense
Leonard Slatkin
- Mr Hurwitz mentioned most of what I think! Can't understand why he is not known that much here in Japan
Riccardo Chailly
- Hits and misses (OFC, but his heavy, grand music making sometimes got the better of him, such as in his Brahms)
- Mahler!!
-Stravinsky!! His Rite of Spring...OMFG
Daniel Barenboim
- Generally got duller as he aged, like almost all others. His earlier recordings are one of the best in their respective pieces
- Some examples; Bruckner, Saint-Saens 3, Schumann in Chicago, Beethoven in Staatskapelle Berlin
Christoph von Dohnanyi
- Dvorak, Brahms, Schumann (Cleveland), Brahms/Schoenberg (VPO)
Manfred Honeck
- Most of his Pittsburgh recordings are jaw-dropping, especially...
- Mahler 1,3
- Bruckner 9
- Brahms 4
Riccardo Muti
- Tchaikovsky cycles (I think both of them are great)
- Scriabin, Mahler 1, Symphonie Fantastique, Pictures, Firebird... Basically all the late analog recordings in Philadelphia
- Schumann in Vienna, R.Strauss in Berlin is also great
Honourable mention
Zubin Mehta
- Again, like Barenboim and (to some extent) Ozawa, his legacy is sometimes overshadowed by his dull, late recordings mostly in Israel and Berlin
- His LA recordings are a pile of treasures
- His NY Mahler 5 is smoking
Great list!!
@@StephanieM772 Seiji Ozawa recently passed away, so he can be removed from the list.
A thoroughly outstanding clip. So good to hear. Thank you Dave
Could Riccardo Muti be included? And, on a somehow more specialized area, Phillipe Herreweghe can also be considered. The record legacies of both conductors are, for my standards, really impressive.
Muti and Cherubini, yay! Whoever done it better - IF done it at all! (Well, a lack of comparison may be the reason for doubt. And in "standard" repertoire Muti has sometimes been "outplayed". Maybe it is good that people like Kuchar and Serebrier et al. make a point of exploring a repertoire not beaten to death, instead of indulging in the quests of Nelsons or, erm, Thielemann.)
P. S.: I know it is a "daring" proposition, Dave, but how about doing a list of "10 most inconsequential - not to use WORST - conductors of present day"? I can fathom several strong favorites from earlier reviews, but shouldn't they take the extra lashing unless they come to their senses and stop feeling they are more important than the music?..
On a second thought, I am aware that "worst" CAN be consequential enough, so far as discrediting a certain music altogether... so maybe the WORST it is, not to mince words.
I agree that Herreweghe should be seriously considered. How many today can conduct everything from Lassus to Bach to Stravinsky? Such musical intelligence, such a feeling for beauty, and such modesty.
I completely echo that sentiment!
Muti probably the greatest
Verdi interpreter of this century
and his recordings of the music
Of scriabin the reference recordings and of course mozart
For me there is no other conductor living that comes close
To riccardo Muti
Is recording history is pretty
Fantastic
I have followed these talks since the beginning of the first lockdown in 2020. You have helped introduce new conductors to me, which has shaped my listening experience immeasurably. Here is my smallish list:
Manfred Honeck, Brahms 4, Shostakovich 5
Paavo Jarvi, Beethoven 3/8, Deutsche Kammerphilharmonie Bremen
Herbert Blomstedt, Everything
Theodore Kuchar, Mussorgsky, Pictures at an Exhibition
Michael Tilson Thomas, Mahler Cycle
A native to the SF Bay Area, I have also been lucky to hear both Blomstedt and Thomas in concert. Kuchar and Honeck are additions directly from my listening here. Thank you again for those.
You are very welcome. Thanks for sticking it out with me!
Really enjoyed your list! Glad to see that there was somebody in their 40s that made it.. I would like to make a case for one of my favorites.. Lief Segerstam... Some of his choices can be eccentric and maybe he's not always the best but my gosh when he's hitting on all cylinders he's as good as anybody and point out that many of his recordings have shown up on some of your 10 best lists :-)
good ol' Leif "Santa" Segerstam😄
Wholeheartedly agree, his Sibelius is for the ages. And not only Sibelius, almost everything he touches.
His Scheherazade with the Sinfónica de Galicia here in UA-cam is truly outstanding, at the level of Kondrashin I'd say. Besides, the camera work is quite good (something which is sadly unfrequent in these kind of video recordings).
I would like to add that I have much appreciation for some young conductors who don't have a big discography yet (if they're interested in creating one by the time at all...): Teddy Abrams, momentarily the very versatile and inspiring MD of the Louisville Symphony Orchestra, and Klaus Mäkelä with the Oslo Philharmonic, who shows a wonderful clarity and dignity, seems to be humble and dedicated. I'm looking forward for their future development and maybe wonderful recordings coming up in the next years...
Hi David, I really enjoyed this video. I've always rated Andrew Litton as a conductor and an extremely accomplished pianist. I have just purchased his recordings of the Rachmaninov symphonies ....all I can say is WOW ...another great find based on your recommendation. The recording quality is also top notch. The violin sections are realistically balanced ...this is one of my pet hates, a lot of recordings have extremely forward and fizzy string sections. Just to end...these recordings easily hold their own against the usual suspects. Thanks , cheers Ian ( Leicester, UK).
Hi Dave-thank you for fabolous talk :-) My list with explanations:
1. Paavo Järvi /Beethoven cycle, Cincinnati recordings/
2. Manfred Honeck /Mahler PSO recordings, Shostakovich, Dvorak with PSO/
3. Herbert Blomstedt /Strauss SF recordings, Sibelius SF /
4. Antoni Wit /Penderecki Naxos recording, Lutosławski Naxos /
5. Daniel Barenboim /Bruckner CSO recordings/
6. Łukasz Borowicz /Panufnik CPO recordings, Nowowiejski Dux recording/
7. Riccardo Muti /Tchaikovsky PO recordings, Respighi PO recordings/
8. Leonard Slatkin /Shostakovich RCA recordings, Vaughan Williams RCA recordings /
9. Seiji Ozawa /Ravel DG recordings/
10. Teodor Currentzis /Tchaikovsky recordings /
Thank you :-)COL
Great list
@@SFreije1thank you 😊🙏
I love this! I agree with four of your choices: Manfred Honeck, Esa-Pekka Salonen, Herbert Blomstedt, and Leonard Slatkin. I would add these six: John Eliot Gardiner, Vladimir Fedoseyev, Vasily Petrenko, Klaus Mäkelã, Sakari Oramo, and Hans Graf. I could cite ten more, but will bow to the parameters you set forth. Here is my list of one representative recording for each of these musical geniuses, and boy, that wasn't easy! Honeck: Dvorak:Symphony No. 8. Salonen: Stravinsky: The Rite of Spring (L.A. Philharmonic). Blomstedt: Sibelius: Symphony No. 1. Slatkin: Tchaikovsky: Swan Lake. Gardiner: Monteverdi: Vespers, 2nd recording. Fedoseyev: Tchaikovsky: Swan Lake. V. Petrenko: Shostakovich: Symphony No. 10. Mäkelä: Sibelius: Symphony No. 4. Oramo: Sibelius: Finlandia. Graf: Mozart: Symphony No. 39. As you can see, I am a huge fan of Sibelius and Tchaikovsky's Swan Lake. Thanks for the opportunity to opine. P.S. I didn't know Vladimir Jurowski's conducting until you brought his name to my attention. Since then, I see what you mean: he is unquestionably the real deal! P.P.S. Could you also do one of these for pianists? (I am a pianist). Cheers!
Grateful to you, Dave, for your conductor "takes" and for your enthusiasm. I'm also enjoying the variety of responses.
I'll try to include a few conductors whose recordings I have enjoyed over the years. Incidentally, when you mentioned
the wonderful Herbert Blomstedt at 94, Christoph von Dohnanyi is closing in on 93 and still going strong.
My List:
1. David Alan Miller - for his wonderful service to American composers such as Morton Gould - Concerto for Orchestra, String Music, etc., V. Thomson - Cello Concerto and Filling Station, Daugherty - Trail of Tears, Joan Tower - Sequoia, Strike Zones with Dame Evelyn Glennie, Ivory and Ebony, and Don Gillis - Sym. 5, 10 and Shindig, etc..
2. Jukka Pekka-Saraste - for his two fine Sibelius Symphonies cycles, Lindberg, Stravinsky, etc.
3. Edo de Waart - for his Rachmaninov (with Zoltan Kocsis), Saint-Saens Sym. 3, Mahler Symphonies, etc.
4. Enrique Batiz - for his wonderful service to Mexican composers (a beautiful area of composers and music all its own) and composers of central and South America and Spain; also his Respighi - Pines, Rachmaninov Symphonic Dances, etc..
5. Gerard Schwartz - for his marvelous cd surveys of American composers like Howard Hanson, Paul Creston, Roy Harris, David Diamond, Charles Tomlinson Griffes, etc..Especially his championing of Alan Hovhaness' music.
6. Jacek Kaspszyk - wonderful Polish conductor - for his recordings of Wieniawski, Szymanowski, Shostakovich, Gorecki, etc..
7, Sir Andrew Davis - for his many beautiful recordings of music especially by English composers such as Ralph Vaughan-Williams, Handel (2 Messiahs - I like the earlier Toronto Sym. earlier recording more), Elgar, Delius, etc..
8. Geoffrey Simon - for his gorgeous recordings of Respighi's Church Windows (best Archangel Michael), Debussy, Ravel, Borodin and Bloch's Sacred Service.
9. Ari Rasilainen - for his beautiful Kurt Atterberg Symphonies cycle, Sinding - Symphonies, Tuukkanen's Sea Symphony, Ahmed Saygun's Symphonies and Sallinen's symphonies - more recently Pejacevic's Symphony in F
10. Yoel Levi - for his wonderful Telarc recordings of Mahler's Symphonies and several other composers.
Two other names I thought of are Paavo Järvi and Riccardo Chailly
I agree with! Blomstedt, Salonen, Slatkin, Jurowski. Wonderful all. I also want to add Barenboim obviously (eg Wagner - unsurpassed, also his Beethoven is extraordinary) On the early music front (I know your views) I'd add Herreweghe, Minkowski, Kuijken...but they don't have the same kind of range I agree. But I question your statement that the music 'plays itself'.
Agree on Honeck. I’ve heard enough of him to put him on my list. The Brahms 4 you recommended is amazing. And I’m never disappointed with a Blomstedt recording - his Beethoven 3 was terrific.
I haven't been listening to classical music for that long, only about 5 years, but one name I'd like to add is Ivan Fischer: sure, he does a lot of standard repertoire, but I think he's an excellent musician, his Mahler cycle, for example, is, in my opinion, mostly excellent. Besides that I wholly agree with Jurowski, Slatkin, TIlson Thomas, Salonen and Blomstedt being fabulous conductors. Some real surprises in here too for me!
I enjoyed your discussion of Susanna Malkki's coruscating Bartok CD and I certainly respect your desire to hear her in more recording venues, but she has already captured me heart, soul, and aging intellect. The conductors I grew up with and are still favorites include Silvestri, Fricsay, and Szell. They simply almost always delivered the goods. Mostly brisk tempos, clean articulation, fidelity to their sense of the composer's vision, but something more as well. When they conducted it was always and only about the music. Utter absorption in the music, assured of their interpretive insights, but otherwise free of ego once they lifted the baton. Susanna Malkki expressed it best when she said of her own conducting, " I am only free when I forget about myself." That is when she can merge with the polyphonic voices of the orchestra and still guide them with perfect emotional cohesion. something Szell also mastered as he trained his orchestra. It used to crack me up when critics of the time kept pigeon-holing Szell as an emotionless automaton simply because he clearly knew the difference between sentiment and sentimentality. I have all of Malkki's CDs and everything else I could find on UA-cam: a languid Mahler 4th that seems somehow to fuse the rare best of Mengelberg with Kletzki, an elfin but still moving Bizet Symphony in C, a rhythmically interesting La Mer, a performance of the Turangalila Symphony that indicates a strong kinship with the composer, a wonderful CD of the enchanting music of Arvid Kleven, bracing accompaniments with violinist Leila Josefowicz, an effervescent and rocking exploration of Ives Second Symphony, a fine Symphonie Fantastique with the L.A.. Philharmonic. Her deep identification with Sibelius is brought to compelling and idiomatic life in a performance of his Second Symphony that rivals Szell and Monteux in her decidefly unromantic release of all the works darker and more burnished colors. Susanna Malkki consistently moves me, scrubs the barnacles off the basic repertoire, embraces contemporary music with deferential insight (she even finds the musicality in the second tier stuff), and always seems able to find her way into the composer's sound world, so dedicated is her love of what she is doing. I agree there are many fine and even gifted conductors around now, but like today's movie directors, they have many hundreds of predecessors to have learned, borrowed, and stolen from. I think Susanna Malkki is an original, really comfortable in her own skin, humble in spirit, strong on the podium, and performing right now at a level of excellence I haven't seen (or heard) for a long time..
This was a nice list! I would've probably added Mälkki, Chailly, Muti and Neeme Järvi
Álvaro Cassuto is one of my favourites. I had the pleasure of meeting him personally. What an amazing person and musician.
He has founded three orchestras in Portugal. The Portuguese Symphony Orchestra, the Algarve Orchestra and the Nova Filarmonia Portuguesa (which was the best one - it was dismantled due to politics)
His Beethoven recordings with the Nova Filarmonia Portuguesa are amazing. They are characterized by such sobriety and awareness. He really has a old of the orchestra in is every move. His recordings of Portuguese music are amazing as well. My favorite is the recording on Naxos with the Royal Liverpool Philharmonic Orchestra where they recorded Vianna da Motta's Symphony to the Homeland. That's superb!
The balance that he is able to bring forth is just phenomenal!
Neemi Jarvi! I have heard a wide variety of excellent works by him... Prokofiev, Sibelius, Dvorak. How rarely have I heard something disappointing.
Very interesting topic and one I rarely consider. I love your list...I've been listening to the Telarc/Slatkin/St. Louis discs in my collection and they are great! He has continued to do first class work for decades since these were made.
Kuchar had me with those Dvorak Tone Poems on Brilliant Classics!
I would add:
Neeme Jarvi-his Chandos records with the Scottish National-and some recent winners with the OSR on Chandos.
Riccardo Muti-His big box is consistently great even though I feel he's on low flame these days (at least on record).
Antoni Wit-his Naxos recordings are all fabulous, especially Szymanowski, Janacek, Dvorak choral works.
Fascinating effort, Dave, I haven't heard of a number of these conductors (I am 75 and know the older generation much better)
At 16:19 Theodore Kuchar is my pick of the greatest living conductors. So many discs, especially on Naxos, and so many wonderful composers represented! And all recorded with panache, energy, enthusiasm, and love for the music and his performers!
An excellent list with which I have no quibble. I love the accomplished Naxosians like Kuchar, Serebrier, Faletta, Slatkin, and Serebrier, and might add Marin Alsop in the same vein for outstanding performances of diverse repertoire by often lesser-known ensembles. I have to have Neemi Jarvi for his lifetime achievement, especially in Russian repertoire like Prokofiev and Shostakovich. Ivan Fischer I’d invite to my party too, primarily for his Mahler. I don’t listen to much Dohnanyi, but for his Mendelssohn among so much else in core and quasi-core repertoire, he deserves to named one of the greatest living conductors.
I attended many years of Salonen concerts in LA. After some initial reserve on the part of some very traditional patrons, the audiences absolutely loved him. He is very funny, very dry humor, and self-effacing.
By the time I'd gotten my thoughts together, Dave had already posted a follow-up video dedicated to other viewers' "10-Best-Living-Conductors" choices. So I'll keep my comments re. this video brief and save my observations about the omissions for the companion video:
1. Blomstedt and Honeck are far and away my favorite living conductors. Indeed, they're just about the only living conductors whose recordings I consciously go out of my way to acquire, regardless of the particular repertoire. (Well, I've bought a fair number of Neeme Jarvi recordings over the years as well, and was surprised at his absence here, but am glad to see him acknowledged in the follow-up video.)
2. Dave, you assert that "great conducting is not a thing of the past." That may well be so; I don't deny that many of today's guys & gals are just as technically proficient as those greats who no longer walk among us in the flesh. However, at the same time, for the most part, I miss the utter individuality and quirkiness that marked the likes of Stokowski, Beecham, Klemperer, et al. Although I don't crave eccentricity of its own sake, I freely admit to living in the past, and I mostly prefer the conductors of a bygone era. (What can I say--I'm a dinosaur and a curmudgeon!)
That's your privilege! At least you're honest about it.
A very fine list. Great to see JoAann Falletta in there, and she deserves it (amazing Glière, Schreker, Holst Respighi, and lots of unusual repertoire besides). I'd have included Antoni Wit in lieu of Honeck though. I love his Dvorak 8th (my favourite version of the piece) and his Brahms 4th, but overall I think Wit's achievements are more worthy of praise than Honeck's. Wit has done wonders in less familiar waters (Lutoslawski, Penderecki, Szymanowski), as well as in Messiaen's "Turangalila" and in Bruckner (3rd) and in Mahler (8th) + a brilliant Janacek "Glagolitic Mass/Sinfonietta" package, to boot.
Finally, I love Segerstam's Sibelius renderings and Petrenko's Shostakovich symphonic cycle, but I understand why you've not included them in this list.
I agree with you, Wit is just great and never makes a bad recording. The worst he gets is good, but often he is very good and frequently outstanding. The works you named by him are all top class and everyone should buy them if that reportoire is their thing.
Well then, here is my list, but I only come up with eight. Two of them coincide with your list. One of my favorites I know to be hated by you wholeheartedly, but it's what it is - I happen to admire his interpretations!
- Michael Tilson Thomas - Mahler Symphonies, Copland 3rd
- Herbert Blomstedt - Hindemith (Mathis der Maler, Symphonic Metamorphoses with the San Francisco Symphony Orchestra), Sibelius Symphonies, Beethoven Missa Solemnis
- Theodor Currentzis - Tchaikovsky 5th + 6th, Mozart Requiem and Don Giovanni, Beethoven symphonies (yeah, I find them overwhelmingly convincing, exciting, surprising...)
- Marin Alsop - Barber orchestral works (great job for an important but often neglected repertoire!), Leonard Bernstein, John Adams, Roy Harris symphonies (wonderful American composer!)
- René Jacobs - Mozart symphonies with Freiburg Baroque Orchestra (esp. Jupiter, never heard so convincingly before or after, this recording shows that even this solemn symphony truly is operatic/dramatic music), Mozart Operas (esp. Cosi fan tutte), Reinhard Keiser Croesus (baroque opera), Bach oratorios & concerts (with Akademie für Alte Musik Berlin)
- Alan Gilbert - Mahler Symphonies, Messiaen (Des Canyons aux étoiles), Carl Nielsen concertos and symphonies, new stuff: Magnus Lindberg, Anders Hilborg, Sebastian Currier
- Jos van Veldhoven/The Netherlands Bach Society - Bach cantatas and oratorios
- Vasily Petrenko - Richard Strauss Tone poems, Scriabin Symphonies and other orchestral works, Stravinsky ballets, Elgar Symphonies and Enigma Variations, Shostakovich Symphonies, mostly with Oslo Philharmonic, a great orchestra
In no particular order:
Chailly: His Mahler cycle and his recording of the Turangalila. If he’s still alive he’s gotta be on the list.
Barenboim: His cycle of Schumann and the Beethoven Symphonies are reference recordings to me. If you think he’s fallen off lately (and he largely has) one should check out some decent new recordings of Elgar and Dvorak Cello Concerto.
Paavo Jarvi: A great Beethoven cycle and some stellar work for Telarc and Virgin. I also think his new Schmidt cycle is worthy of reappraisal.
Salonen: I’m not gonna mention any specific concerts but being from LA and seeing him Live many times, he’s the real deal. Prokofiev Romeo and Juliet. Bartok Concerto for Orchestra. Nielsen and my personal favorite Rite.
Jurowski: He just recorded my favorite Mahler 4. Came outta nowhere. Also a great Tchaikovsky cycle. He also does some off-standard repertoire, e.g. Honegger.
Honeck: Major points for making some of the best sounding recordings today. The Beethoven and the recent Brahms 4. Wow.
Dausgaard: I like many of his recordings from Seattle. Plus much of his work in Sweden. He’s interpretively a bit quirky (in a good way) to me too like in some recent Bruckner recordings.
Kuchar: the Prokofiev Cycle and Shchedrin’s Carmen Suite, plus some fun recordings with the Janacek Phil.
Neeme Jarvi: he’s still alive. Some of my favorite Prokofiev and Shostakovich recordings. But above all I really love his recordings of Stenhammer.
Blomstedt: I’m not as big of a fan of his Beethoven or Brahms. However he’s gotta be on the list for his recordings of Sibelius, Nielsen and Strauss. Also maybe the best 3 Disc Set of Hindemith on the planet.
StenhammAr. 😀
www.classicstoday.com/review/jurowskis-damn-near-flawless-mahler-4th/?search=1
A formidable list well argued. Honorable mentions I'd include would be Riccardo Muti at least for his fine Tchaikovsky cycle with the Philharmonia and Marin Alsop for her Barber and Dvorak on Naxos.
Alsop? 😂
The grand old ones: Blomstedt and Dohnanyi - both still active and what a recording legacy!
The period people: Jacobs (his Monteverdi, his Bach and his da Ponte cycle are all fabulous) and Pinnock - often forgotten & close call with Herreweghe, but I prefer the former for his instrumental recordings and for his very great Haydn and Mozart. I just don't know what he is up to nowadays...
The specialists: Wit for anything choral, Cambreling for modern French and Avantgarde music
The three great old record industry collapse survivors: Chailly, N. Järvi and Muti - all three still potentially excellent in anything you throw at them, and always with musicality and personality and a record portfolio to support any claim of greatness
The Up and Comers: Vasily Petrenko and Theodore Kuchar - Petrenko has a great future ahead provided he sticks to his enormous musicality shown in his work in Liverpool, and Kuchar has yet to make a bad recording working with not really grand cru orchestras in Eastern Europe - but just listen to his Prokofiev, his Nielsen, his Ma Vlast and his Shostakovich Dance music discs to know what kind of artist you are dealing with.
Like you, I've been listening for a while, though not as broadly or deeply. Your ten choices are all well chosen, well deserved, and well described. I'm especially pleased by the inclusion of Falletta and Jurowsky. I know Serebrier, Ives apart, as an excellent conductor of Chadwick as well as of Glazounov. Regarding my own choices, we obviously differ in musical taste: When I have played and listened closely to, say, 10 versions of a particular orchestral work in as close to blindfold conditions as I can manage, a recording by Barenboim usually ends up as one of the ones that impresses me most. His Schumann and Beethoven and Bruckner cycles with the Staatskapelle Berlin are full of finely-gauged nuance and are musical in a way I find involving (I did not always hear his performances that way; in fact, they used to grate). Jochum, for one, can sound utterly mechanical (kapellmeisterisch) in comparison. Another conductor whose performances I always look forward to hearing is Christoph Eschenbach. His Tchaikovsky 4 with Philadelphia made me hear the first movement in a new way. That didn't happen with his Tchaikovsky 5 and 6, but they too are very well done. Speaking of Tchaikovsky 6, for me no performance cuts as deeply as that by Teodor Currentzis with Music Aeterna. He hasn't recorded enough yet, though, to qualify for a listing under your rules. Another conductor who has not recorded enough to qualify is Pavel Kogan. Yet I turn again and again to his Rachmaninoff orchestral cycle, despite having many fine and better produced alternatives to choose from. After Kogan's reading, the Third Symphony in particular sounds boring in the hands of most other conductors. But objectively speaking, the whole cycle sounds significantly different from any one else's, whether that fits one's personal taste or not. Kogan also has produced exceptional recordings of Tchaikovsky and Shostakovich -- so good in fact that I am inclined to place him in my top ten on the basis of quality, even if goddess Fortuna has intervened so unkindly on the issue of quantity. Like many others I'm watching to see what happens with Santuu-Matias Rouvali in London, based on the strength of his Sibelius with the Gothenburg Symphony. It's kind of sad that Marin Alsop did not make your list. I don't know of a recording of hers to match Ms. Falletta in, say, Gliere or Schmitt, but on the other hand Ms. Falletta has not yet entered the German mainstream sweepstakes, where memories are long and female conductors typically feel a need to don ceremonial beards, as Hatshepsut did. In short, it's a tough game to play, and it may color one's conducting reputation (good, but not top 10) beyond the bearded repertoire.
I was listening to your critique of Bychkov's Mahler 2nd with the Czechs and wondering if liked many living conductors. One short search and I find you do like plenty of them. It's remarkable you seem to have a video for just about anything related to Classical music. Thank you for your great channel.
gracias por enseñarnos todo esto, no paro de investigar escuchar y aprender
For my money some of the best conducting done today, by some of the most interesting arm-waving personalities happens in the field of ancient music. I think one would have to include some of those figures in the list, especially since they have amassed quite impressive discographies. (and yes, the conductor, or charismatic leader man/woman/person can be equally important in say a Bach cantata than in a Mahler symphony). So here's my list of 10 living conductors still doing good stuff today:
Esa-Pekka Salonen: he's been around for a long time now and still is one of the most exiting conductors around. I would cite his Stravinsky (all of it is 'de rigeur'), Bartok, Ligeti, Mahler 6, Bach transcriptions, Sibelius, Lutoslawski and Strauss Elektra (on DVD) as some of his best work. Such a pity he isn't recorded more frequently in recent years.
Manfred Honeck: he hasn't recorded a huge amount, and you can disagree with some of his choices, but his interpretations are always fresh, interesting and clearly thought through. And he makes his orchestras play amazingly!
Philippe Herreweghe: maybe a personal choice, since he shaped my musical upbringing more than any other artist, but I can't see anyone else who delivers consistently excellent performances/recordings of a repertoire ranging from Lassus and Victoria to Stravinsky (an outstanding Symphony of Psalms and Requiem Canticles). His Bach is simply the best ever and on the whole his batting average throughout is quite stunning.
Jordi Savall: one of the great musical explorers of our time. He has revived so much neglected repertoire and to this day continues making music with the same vitality, warmth and curiosity. Recently he has even conquered Beethoven (and quite well!), but his best work is in French music (Rameau Suites, Marin Marais (Alcyone!)), Bach, Biber and the more traditional Spanish music.
William Christie: Yes, his repertoire maybe more limited (French Baroque, Handel and some Bach mostly, though he has done pretty excellent Haydn and Mozart), but his influence in putting all this marvellous music back on the map and in coaching new generations of players cannot be overestimated. Plus, the recordings stand the test of time: Handel's Messiah, Rameau and Lully opera's... (and he's definitely got the ego and dictatorial tendencies to be considered a proper conductor)
Vladimir Jurowski: nothing to add to DH's appreciation. He's great!
Riccardo Muti: his best work definitely lies in the past (though his recent Shostakovich 13 was great), but he did give us reference recordings of Verdi (opera's and Requiem), Tchaikovsky and generally just a lot of really excellent recordings of a broad repertoire.
Daniel Barenboim: I personally feel he has recorded too much, and his best work may lie behind him as well, but he's still the greatest living Wagner conductor and many of his recordings still lead the pack: Beethoven, Wagner (obviously), some early Bruckner, Saint-Saens 3...
Simon Rattle: yes, I stand by my choice! Many of his recordings are really good (Gershwin, Adams, Szymanowski, Nutcracker, Pelléas, Rachmaninov etc.) and he's one of the great communicators of our time: outreach projects, the Digital Concert Hall. More than any other conductor today he knows how to reach a broader public. Also, he wouldn't have his pick among the world's greatest orchestra's if he didn't have his chops.
Riccardo Chailly: he just does a lot of very different things really well: Beethoven, Mahler, Stravinsky, Italian opera (great Rossini), lighter stuff (Fellini, Shostakovich suites, Gershwin), Berio, Zemlinsky...
I disagree about early music conductors. Most of that repertoire does not even ask for a conductor at all. The music tends to be simple, indeed rudimentary in terms of leadership requirements (intentionally so), and while some try to turn that repertoire into "conductor's music" they are rarely successful. In most circumstances the less they do, the better it sounds. You just wind it up and let it go.
Intersection with your list are
1. Blomstedt (I actually love his late Brahms, the texture ad balance are just gorgeous)
2. Manfred Honeck (no need more comment)
3. Jurowski (agree, his is exciting as hell)
Some I'm not sure because they don't record much or lack consistency
4.Gustavo Gimeno, good DSCH 1, Mahler 4, Ravel D&C, disappointing in the rest, but I follow him
5. Robin Ticciati, excellent recordings of Berlioz, distinctive in Brahms and Schumann, his Brahms cycle is like Mackerras's lean approach
The one that I haven't seen anyone mention but he really impress me in DSCH 10 a nd Tchaikovsky 4, a little less in Berlios Fantastique is ...
6. Dimtry Liss, first class conducting with third great orchestra.
Thanks a lot! And mr Hurwitz: what do you think about the still vacant position of principal conductor of the Concertgebouworkest?! (Concertgebouw Orchestra Amsterdam) They take their time..... I would be VERY interested in hearing your opinion, thanks!!
I have no opinion at all. They should take their time. Since Chailly left they've been rudderless. Let's see who they find!
Too bad about the Gatti
Scandal. He might have been the one.
I have been conducted by Theodore Kuchar , he is very good!
I'm so glad Andrew Litton got a mention. His Brahms 1 with the LPO on Virgin is right up there
I would like to add Eliahu Inbal. His pioneering complete Bruckner symphony cycle in 'original' versions from the 1980s, as well as his 11 cds digital Berlioz cycle are both terrific.
For me, that is not enough. No one makes a career on two composers.
His Mahler is also terrific
My personal list (focused on discography experiences):
1. Riccardo Chailly
*Mahler 9 (Decca) and many +
2. Esa-Pekka Salonen
*Messiaen: Des Canyons Aux Etoiles (CBS) and +
3. Iván Fischer
*Bartók: The Miraculous Mandarin (Philips) and +
4. Teodor Currentzis
*Mahler 6 (Sony) and +
5. Philippe Herreweghe
*Mendelssohn: A Midsummer Night's Dream (HM) and many +
6. John Eliot Gardiner
*Verdi: Requiem (Philips) and many +
7. Ingo Metzmacher
*Karl Amadeus Hartmann: Complete Symphonies (EMI) and +
8. Daniel Barenboim
*Bruckner 9 (Teldec)
9. Jonathan Nott
*Ligeti: Orchestral Works (Teldec) and +
10. Masaaki Suzuki
*Bach: Complete Sacred and Secular Cantatas and +
Great list
JoAnn Falletta was the first name I thought of -- Buffalo is really lucky! I think the first recording of hers I heard was John Luther Adams' "In the White Silence," not at all an easy piece to present (I'd guess). I'd include Leif Segerstam, if only for his recording(s?) of Per Norgard's 3rd Symphony, which sorta (well, no, really) changed my life. His Sibelius is also excellent.
I am currently playing in the Houghton Symphony Orchestra, which is conducted by Theodore Kuchar, and he is absolutely phenomenal.
Hey Dave , I know another comment talked about Ivan Fischer and would second that . I would like to add Termikanov for obvious spontanity and great accompanist like the Kissin prokofiev 2 live on UA-cam.
As for the French side of things : I do enjoy Phillip Jordan Beethoven cycle .
Tugan Sokhiev also has done amazing work with Toulouse in concert . A cd example would be his Prokofiev 5th
Salonen but you mentioned it
Deneve, his Roussel set needs no introduction
Marek Jankowski, his Brahms cycle is fabulous, may disagree with it but it's still a hell of a Brahms cycle .
Dausgaard for the great beethoven cycle .
Other big names on my mind are already mentioned .
Cheers
I though I'm alone to like Jordan's Beethoven, turn out we are at least two.
Dave, this was such a great video. Even though all your videos are thought-provoking, this one really got me thinking. Your list is great and were I to create a top ten most of your picks would be mine; however, in the spirit of the discourse, I’ve included a couple of other ones which I think could (and maybe should) be included:
Neemi Jarvi:
I’d probably swap Jose Serebrier with Neemi Jarvi. I agree that Serebrier has done some great work; that said, I would take Jarvi over Serebrier in a lot of their shared repertoire. Jarvi’s Dvorak cycle is a bit rough in places (that slog of a seventh) but it does have some high points (a great sixth and a first-class second). And his tone poems are first class. I also would take Jarvi’s Glazunov in a heart beat. In the fifth, where Serebrier is slow and kind of Brahmsian, Jarvi is fresh and fleet footed with excellent playing. His Fourth is first rate and his seventh is really delightful. Beyond that, I anchor on all the fantastic things Jarvi has given us - reference Prokofiev, fantastic Sibelius, strong Rimsky-Korsakov and Borodin cycles, those smoker Saint-Saens performances, etc. Like with JoAnne Faletta and Salonen, you have to think that part of what keeps him out of the discussion of “great conductors” is that he hasn’t done much German repertoire. And perhaps he over-recorded - nothing everything is top notch - like that Tchaikovsky cycle. But nothing is legitimately bad and he’s always musical and entertaining.
Seiji Ozawa:
Maybe Ozawa wasn’t in the running because he’s not terribly active anymore at his age but his recorded legacy is far more impressive than people give him credit for. Just think of his reference recordings - Chicago Rite of Spring, Boston Petrushka, DG Mahler 1, Boston Gurrelieder, Mendelssohn Midsummer Night’s Dream, Faure Pelleas. Another thing I like about Ozawa is he bucks the trend that older means slower and more boring. In some instances, quite the opposite. While Ozawa’s Phillips Mahler 2 is good, his Sony remake is excellent. I think Ozawa was taken for granted and the drama with Berlin and Boston cloud his reputation. But other than that awful (awful) Prokofiev cycle, Ozawa’s legacy is one of musicality and consistency.
Riccardo Chailly:
Admittedly, Chailly has kind of fallen off the map (at least from a recording perspective) post Amsterdam. He did do that exciting Beethoven cycle, the Mahler orchestration of the Schumann symphonies, and less successful Brahms cycle in Leipzig but I think he’ll always be remember for his remarkable tenure at the Concertgebow. And what an impressive recorded legacy. An excellent Mahler cycle which some reference individual performances (3, 4, 5, 6, 9, 10 + all the songs), a really good Bruckner cycle (excellent but worthless in 8 and 9), stellar Stravinsky, the reference Messiaen Turangalîla-Symphonie, a great Berio Sinfonia, that Varese box (great but for Ameriques), that Prokofiev 3d, that Hindemith chamber music box, his Zemlinsky. And outside of Amsterdam, he’s racked up impressive performance as well, like his Bruckner 3&7 and Mahler 10 with RSOB, that Cleveland Rite of Spring, his Rossini Overtures. It’s collectively impressive and more to the point, I know if I buy a Chailly performance, it’s going to be well-played, well-recorded, and well-considered. I may not agree with his decisions (neither of his Brahms cycles are fully convincing) or he may not be entirely persuasive (that soft-edged and overly plush Mahler 2) but he’s never given us a true dud (well, maybe that Amsterdam Brahms 3).
Christoph von Dohnanyi:
Like Ozawa, Dohnanyi might be out of the running because he’s retired (and 92 as of this video). That said, was there ever a conductor more mistreated and misunderstood than Dohnanyi? And really, none of the reasons are musical.
For one, you can’t say anything about Dohnanyi without talking about Szell. Dohnanyi once quipped that whenever he and Cleveland gave a great performance, Szell got the credit. And while Szell’s Cleveland legacy is likely the finest, consistent recorded legacy out there, the fact is Dohnanyi provided better performances of a lot of Szell staples. Dohnanyi’s Beethoven isn’t as consistent as Szell, but his 3 and 6 are on par and his 4th is better. Dohnanyi’s Brahms is reference, with all of Szell’s precision but more clarity, more energy, and more excitement. Dohnanyi’s Dvorak is, on balance, more exciting (if only because it’s less “Germanic”) which his Schumann is fresher and has more bounce. If his Mozart and Schubert are quite the same level, who really is and the late Mozart symphonies coupled with the Webern are excellent (even if the program itself is stupid). The fact is if Dohnanyi weren’t at Cleveland, he’d have had a completely different carer.
Second, Dohnanyi was treated horribly by Decca. In Decca’s defense, they had three great generalist in the 80s and 90s - Chailly in Amsterdam, Bloomstedt in SF, and Dohnanyi in Cleveland. Of course Chailly was going to get the most attention considering he was at the helm of a European orchestra and Bloomstedt (willingly or otherwise) was comfortable recording non-Germanic repertoire, like Sibelius, Grieg, Berwald, and Nielsen. He did do some standard German repertoire (fantastic Schubert) but otherwise stayed away from Mozart, Beethoven, Brahms in recordings. Dohnanyi, perhaps the most talented of them all, thus fell through the cracks because nearly everything he recorded was duplicated by Chailly or Bloomstedt (or both). I’ll never forget that Decca let all three men record the Bartok Concerto for Orchestra (all great btw) and gave all three recordings near identical cover art. Or what about the fact that they all recorded some Bruckner? Or how Chailly duplicated Ameriques? How was Dohnanyi supposed to compete when his own label was undermining him? Beyond that, the label famously dropped him mid-Wagner cycle. Whether he “needed” to complete that cycle is another issue but it’s a shame his label didn’t have the conviction to back him, even if it was itself collapsing.
Third, Dohnanyi’s legacy is split up between several labels. You have the Beethoven, Brahms, some Ravel, Tchaikovsky, Busoni, Mussorgsky, Schubert, and Mendelssohn separated from everything else. It makes the prospect of a box challenging because you really want it all. But Decca really should give him the box he deserves because think of all the excellent stuff they have - reference Dvorak (that Scherzo Capriccio!), reference Ives, reference Ameriques, references Firebird and Petrushka, reference Mendelssohn cycle, excellent Strauss, excellent Tchaikovsky 4, excellent Bruckner, reference Bartok, that Lutosławski Concerto for Orchestra, to say nothing of all the recordings listed above. It’s an enviable legacy that, like Ozawa, has one blemish - his Mahler.
If Dohnanyi had a failing, perhaps it was not knowing where his strengths resided. He was best in weird, wild modern music or the early romantics. While I love his Brucker, I get it’s not heaven storming, and he didn’t have the temperament for Mahler (even if he wanted to do a complete cycle). But all generalists have their blind spots and he certainly can be forgiven his Mahler if people like Jansons, Haitink, Boulez, and Harnoncourt are getting mega-boxes.
Honorable mentions - Muti (reference Tchaikovsky, Mozart, Scriabin, Cherubini, Verdi); Mehta (mostly great LA, NY legacies)
Herbert Blomstedt's Sibelius, Nielsen & Hindemith are top shelf.
Edward Gardner's Mendelssohn cycle was a revelation for me.
Speaking of gardeners, Sir John Eliot Gardiner is pretty darned good in a lot of repertoire. His Beethoven is a good place to start.
Trevor Pinnock's Baroque music is second to none.Go for his Brandenbergs.
Very much agreed on Theodore Kuchar. Nielsen, Dvorak, Smetana, Prokofiev.
Michael Sanderling's Shosty cycle blew my mind and opened me up to his music.
Philippe Herreweghe (anything Bach and/or choral)
René Jacobs (everything from Monteverdi to Mozart)
Antoni Wit (Eastern European composers)
Marek Janowski (the great German classics)
William Christie (anything Baroque)
I like this talk! I like it not because you mention mostly the conductors, who would be my choice, too, but because you do NOT mention the big names, I, also, would avoid (like Thielemann, Rattle, Welser-Möst aso).
That said, the conductors I choose, are less another list than rather an addition to yours.
1) Zubin Mehta - I know that he is often popooed as "Kapellmeister", as a 2nd Sawallisch, but just as in the case of Sawallisch, it's unfair concerning Mehta. His work is consistent, he holds a high level nearly throughout in the standard repertoire, and he can be very special, when he has to deal with a repertoire he has to struggle with, as Mahler, Schmidt, Holst, Suppé aso, all of which he recorded at a time, when others didn't.
2) Antoni Wit - he has a fine hand for the unusual repertoire, but he proves also that he is a fairly good musician in the traditional segment. Thanks to him, I learned about Karlowicz and Moszkowski, his Janácek is gorgeous as is his Szymanowski, and I think, we must give him credit for his fine recordings of mostly overlooked composers and works.
3) Kent Nagano - aside from he is not a composer, he is a similar case as Salonen. In my opinion, Nagano is a very gifted conductor, a "better Boulez", with a fine ear especially for french colors. He is always a little on the cool side, but I like the details he discovers, and I like his freshness in scores by Poulenc, Prokofiev, Berlioz, Britten and Bernstein.
4) Riccardo Chailly - there are some flaws, which conductor doesn't have any? But I think I must not tell more about him. I just say: Listen at his Mahler-cycle, at his Stravinski, at his Varèse. And it's his credit that I could hear Schumann's symphonies as Mahler has scored them.
5) Leif Segerstam is alive, thanks God, and his recorded legacy speaks for him. No further comment needed, I think.
Antoni Wit would be on my list. He achieved miracles with that Polish Orchestra.
Nobody is perfect, neither composers, conductors or soloists. But the ones who prior the music is the ones. I like your list and the thoughts behind the list, these conductors are great musicians. And there more than 10, and there are great newcomers. I have troublet a little about Vienna and Beethoven. It is now more than 50 years since Böhm, Schmidt-Isserstedt and Monteux made the symphonies, 50 years without splendid Beethoven from Vienna!!! (Maybe Bernstein). And next Q, if I could choose a conductor for a new cykle, I have neraly no idea which to choose ;-)
I admire the way you DH, take the way through missions impossible, you make it everytime.
Dave, take your: Salonen/Blomstedt/Jurowski/MTT. Add WIt --anything he does is great/Alsop--Prokofiev/Petrenko--Shostakovich-Tchaikowsky/Neeme Jarvi he is a wonder/Zinman--Beethoven-Mahler and finally William Christie for his Rameau/Lully and Charpentier.Thanks.
A word about the Buffalo Philharmonic's status as 2nd (or 3rd) tier ensemble. You are quite correct in so far as it is not a "major" ensemble and is categorized in the 2nd tier by the League of American Orchestras. However, I was able to confirm with a representative of the League that their classification is based on strictly objective criteria of total and non-administrative annual budgets.
I know that. I was not talking about the League of American Orchestras rankings. This is purely an artistic judgment.
Dear David, my list would include some of yours (Tilson-Thomas, Slatkin, Salonen, Bloomstedt), but it would change some others. I would include Barenboim (for the core German repertoire, as Beethoven, Bruckner, Schumann, Brahms, and even a terrific in my view Tristan that nobody remembers these days), also it would include Christoph von Dohnanyi for sure (Dvorak, Schumann, Brahms, Varese, Ives, Bartok...). Those two would be for me out of discussion. Regards!! :)
I think Barenboim's Wagner in general is outstanding.
As far as the conductors who have done really good work in recordings across a wide range, I'd add two about whom you have discussed elsewhere: Neeme Järvi and Gerard Schwarz. Sad that we have lost Glelen and Skrowaczewski...
Daniel Barenboim
Zubin Mehta
Seiji Ozawa
Esa-Pekka Salonen
Michael Tilson Thomas
Riccardo Muti
Herbert Blomstedt
Neeme Jarvi
Paavo Jarvi
Leonard Slatkin
I didn't know Neeme Järvi was still alive 🤯
Totally second Ozawa and Muti!
Yup, the Jarvi's ought to get some love, at least for their questing spirit. But I would have to concede if told that Papa Jarvi has been uneven in his output, while Paavo (and not forget Kristjan, the younger one, who has the world before him!) is maybe "too young" still to go into Top-10? :)) To be clear, both make Top-20 easily.
Any really good Slatkin recordings with the Detroit Symphony Orchestra?
Rachmaninoff, Copland, etc.
Salonen of course is the MD in SF now, but started just after the pandemic canceled all their concerts. They’ve done a few video things and interesting concerts but I’m not sure what their plans are for recordings,
thank you for your praise of leonard slatkin. i loved to watch him conduct, and agree that the slso was as fine as (gasp) the cso. it was a great loss to st. louis when he was...well....he left. period.
I so agree about Susanna Malkki !! There's a wonderful performance on UA-cam of her Sibelius 2.
Please add Markus Poschner to your list. The man is a phenomenon. I have never heard greater Beethoven 5th or Bruckner 8th performances than from him, truly revelatory. It's like hearing the music for the first time.
I’m no particular order…
1. Ricardo Muti for Mozart cycle, live CSO concert recordings, Italian opera
2. Ivan Fischer for his Budapest recordings, particularly Mahler 1, 4 and 9
3. Alan Gilbert for his Mahler 3 and 9, also his Rouse recordings
The rest are repeats of your list
I totally agree with including Salonen and Tilson Thomas, both thoroughly craftsman like but lively musicians. A recent of mine is Barbara Hannigan, also for lively performances of a wide repertoire.
Unfortunately, most of my favorites on recordings of which I am familiar have passed away.
@UCenZXj7BlS-_NwFI9ZuuaPA I edited my comment before you posted, but it looks like he (Tilson Thomas) is not counting on conducting much more due to a poor prognosis with a form of brain cancer.
Sorry, the stuff after the @ symbol just appeared and I can't remove it.
Barbara Hannigan is definitely one for the future. Her Haydn is quite delightful.
Marc Minkowski
- Rameau: Une Symphonie Imaginaire: Fantastic modern interpretation of traditional baroque. @Dave, is that possible you can review this album? Thanks.
I already did, at ClassicsToday.com, for Insider subscribers so I could include sound samples.
1.kent nagano made a exellent recording for analekta ( beethoven 9symphonies) with the montreal symphony orchestra and the berlin radio symphonies for erato ( saint -saens no 3,messian etc.2.charles dutoit with the osm to made a really good cycle of berlioz,ok i know in the russian repertoire is so bad but the stravinsky he made is a reference for me 3. yannick nezer seguin have a good bruckner cycle,and mendelssohn symphonies to for dgg,and i love this mozart opera for dgg 4.i d,ont know why you d'ont talk about the ravel cycle ,leonard slatkin made at lyon france for naxox....? what a beautiful recording for me ....i discover with slatkin the transcription of gaspard de la nuit orchestred by marius contant ...beautiful! 5.marin alsop made a good bernstein symphonies for naxos 6.ok mtt for my best nutcraker recording with the lso...ok i stopped here if no i go to write a chapter.....
We are at a time of the “changing guard” when it comes to classical conductors.
Many of those listed, while still performing occasionally, are not fully active at the podium these days - and often their best recordings date back decades. For instance Herbert Blomstedt is 96, even as I do anticipate hearing him this season. Michael Tilson Thomas is 78 and undergoing brain cancer treatment. He continues to guest conduct. Ricardo Muti is 82 and retiring from Chicago - his Scriabin, Tchaikovsky and Stravinsky recordings date mostly from the 1980’s. Zubin Mehta is 87 and conducts from a chair - even as I recently heard him do a fantastic Mahler 3 - not recorded commercially. Leonard Slatkin is 79 - and treasured like MTT for his incomparable musical performance knowledge and heritage. José Serebrier is 84. Richard Bonynge is 92 and long retired.
Many whom we now acknowledge as “greats” were not seen widely as such in their time. Were Silvestri, Fricsay, early Mackerras, early Colin Davis, Tintner etc etc seen as “greats”? No. They were mostly sidelined. So what of today? Will Manfred Honeck, JoAnn Falletta Theodore Kuchar, Andrew Litton and Vladimir Jurowski become classical music heroes? It might take a while to assess. The oft-repudiated “Gramophone” list for this year includes: John Storgårds (BBC Philharmonic), the BPO’s Kiril Petrenko of whom we are yet to hear a lot, Finnish RSO with Nicholas Collon, and Klaus Mäkelä of the Orchestre De Paris. Lahav Shani is stirring lots of interest in Rotterdam and Israel. Richard Tognetti has a long record of inspiring performances in Australia - as does Simone Young these days. There are many more. So - who are the greatest active conductors right now - and who will be seen as such when we look back in a decade or so?
Great video, Dave!! I would agree with each conductor you mention, adding Alondra de la Parra (her Stravinsky recording is great, although she hasn’t recorded too much and needs to do more) and … *drumroll* … RICCARDO MUTI !!! I love Verdi, LOL. THANKS DAVE!!!
How about Vasily Petrenko? Loads of stuff on Naxos including Shostakovich symphonies, including a stonking Symphony no 10.
This is a fun one; thanks! Thanks especially for mentioning Falletta (how I wish she would record the Moeran Symphony) and Jurowski, two extremely underrated active conductors. I broadly agree with your list, and would easily put Slatkin, Blomstedt, and Litton on my own list. A few others:
• Neeme Järvi: For all the reasons you mentioned in your recent video.
• Charles Dutoit: A bit of a nostalgia choice, but some genuinely wonderful recordings (Daphnis, Roman Trilogy, The Planets) are references, and many others are up with the best.
• Riccardo Chailly: Mahler, Mahler, Mahler. Not to take away some other excellent things he's done, too.
• Martin Yates: I'd bet a substantial amount I'm the only one who'll mention him. His championing of obscure and neglected British music is in a class of his own.
• Edward Gardner: Some notable misses, but a few major hits (Peter Grimes, some Janacek). One to keep in mind.
• Andrew Davis: Another great champion of British music, and with some solid recordings in this repertoire.
@@nightjaronthegate I get it now. I think that's an accent-dependent pun! 😊
I like your choices, Dave, but Dohnanyi belongs on this list.
Has Vasily Petrenko recorded enough good stuff (his Shostakovich symphony cycle on Naxos, for example) to make this list?
His Tchaikovsky Manfred Symphony is excellent
Not as good as Jurowski's.
Thank you for pointing out that it's not enough to say "I like this conductor" one needs to add: "because of..." Recently posting on a site, I recommended Muti's Tchaik 5 and someone dismissed me summarily with "Muti's OK, but he's not in the same league as Karajan."
I would add Chailly to the list for his symphonic cycles, esp the more recent ones. He seems to work hard on each piece and the results showcase this in the rendering of details.
Another conductor that seems to be up and coming is Alsop -- but I base this only on snippets of her work. Regards
Well, lots of talents in your list Dave (duh! I do need to listen more Kuchar and Falletta) and lots of US (born or employed) talents in particular.
Here's a personal selection, trying to balance personality, raw musicality, finesse and repertoire-expanding efforts:
- Seiji Ozawa
- Manfred Honeck
- Antoni Wit
- Riccardo Muti
- Vladimir Jurowski
- Jordi Savall
- Riccardo Chailly
- Teodor Currentzis
- Esa-Pekka Salonen
- special mention: Marin Alsop (I could do without her Brahms, but not without her Barber and Bernstein)
Really nice interesting list - most of them I heard also live in concert, but their recordings are good too (I love MTT's Fantastique!). Of course I miss Segerstam (Sibelius), Zinman (Beethoven) and Fischer (Mahler, Rossini!). So interesting also Mehta, Barenboim and Thielemann are not mentioned (which i fully agree!). But for me I 'au fond' miss some period intrument conductors who are worth to be named as well: Phillpe Herreweghe for his Bach cantata recordings (who can without?), Trevor Pinnock for his fabulous Handel recordings (from the Organ concertos via the Water and Fireworks Music to the Messiah) and Jordi Savall for his themed collection set recordings, with the War and Piece-set on the top (although he made a exceptional recording of the Water music as well!). Recordings you cannot without.
Yes, actually, I can live without them rather easily.
@@DavesClassicalGuide or with these pieces?
I agree with all of your choices. I would also consider two already mentioned in the comments, Gerard Schwarz (like Slatkin a versatile conductor, although I particularly like his recording of American music such as his Diamond and Creston symphonies) and Antoni Wit (great Lutoslawski and Penderecki, among others). Another I would consider is Gil Rose, conductor and founder of the Boston Modern Orchestral Project. This is, of course, a more specific repertoire, and sometimes his conducting can be more interesting than the music itself, but there is so much worthwhile music that he and his group perform very well, such as the Foss symphonies, orchestral music of Irving Fine and a recent recording of Piston's potent Concerto for Orchestra. And at least with the less persuasive pieces we can be sure Rose is giving them a solid performance so we don't need to worry whether a potentially interesting work is getting a dull or unsympathetic recording.
A list of disappointments might be as interesting
You touched on it with Andrés Nelsons - brilliant Shostakovich Leningrad on Orfeo and fantastic Lohengrin from Bayreuth - the later Bruckner good for the Wagner excerpts
I live in the Baltimore/WashingtonDC area, and so regret that Alsop got the BSO position, rather than Falleta.
Dave needs to do more of these. Even if it was a top 50 I'd watch it.
Andres Orozco Estrada (his UA-cam recordings are phenomenal; great Beethoven and Brahms symphonies)
Leonard Slatkin
Manfred Hoeneck
Essa Pekka Salonen
Ivan Fischer
Paavo Jarvi
Neeme Jarvi
Jurowski
Tillson Thomas
Marin Alsop (if you don't count that one time she recorded mahler with a shitty critical edition)
I wholeheartedly agree on your comments on MTT, Honeck and Blomstedt!
I'd add Christoph von Dohnányi for his beautiful Mendelssohn cycle as well as his excellent late Dvorák, as well as Chailly and Inbal for their terrific Mahler cycles (and in Inbal's case also his early Bruckner), and Muti for nearly anything he's done (his Tchaikovsky above all).
Then there's various conductors who did great things in the past but have become dull and boring (Mehta), insufferably mannered (Vänskä), or just not as remarkable as they used to be (Barenboim, with the exception of his recent Mahler 7).
I've not listened to her, but reading your reviews I take it that you also have Alsop in high regard (at least for american repertoire, especially her Bernstein)?
Since Manfred Honeck and Herbert Blomstedt are consensus picks, I’ll skip them to make room for others.
- David Zinman: For range of repertory, fluency in different styles/eras and sparsity of duds, as close to Charles Mackerras as we’ve got among the living.
- Esa-Pekka Salonen: Stravinsky (especially “Le sacre”) & Bartók in Los Angeles.
- Neeme Järvi: For 40-odd years, the go-to guy for non-standard repertory - I’ll pick maybe the least likely of such ventures, his Detroit discs of William Grant Still & other Black composers.
- Paavo Järvi: Beethoven & Brahms in Bremen; Bruckner (!) in Frankfurt; Scandinavians, Balts & more in Cincinnati.
- Leonard Slatkin: Russians, Barber & Copland in St. Louis and Detroit.
- Riccardo Chailly: Mahler in Amsterdam and Berlin, Messiaen in Amsterdam, Brahms concertos with Nelson Freire & Leonidas Kavakos in Leipzig.
- Iván Fischer: Bartók & Mahler in Budapest.
- René Jacobs: Mozart/Da Ponte operas - his “Così fan tutte” may be the template for Mozart opera performance today.
- Philippe Herreweghe: Bach choral works - historically informed and emotively engaged. His standard rep with modern orchestras is better than most other HIPsters’ (sample his Royal Flemish Philharmonic Beethoven cycle).
And my wild card:
- Richard Tognetti: First-rate solo violinist; leader of Australian Chamber Orchestra in standard and non-standard rep [hot Mozart!]; and an idiomatic string-orchestra arranger of chamber works, most notably Beethoven’s “Kreutzer” Sonata and Grieg’s Quartet in G minor. I don’t know how often he wields a baton, but he’s got all the goods otherwise.
I would add in Valery Gergiev, despite the poor 1999 Philips recording of “The Rite of Spring”. I was blessed to have seen him conduct the Mariinsky at Théâtre des Champs-Élysées in Paris for “The Rite of Spring” 100th anniversary on May 29, 2013 and it was amazing! I saw him do all three great Stravinsky ballets (concert versions) at Carnegie Hall later that year in October. Needless to say the tam tam player didn’t get lost .... as far as I remember. 😁
A couple of decent concerts to not a great conductor make.
@@DavesClassicalGuide Very true Dave. We're all formed by our experience.
Incidentally I signed up for the Classics Today Insiders subscription a few weeks ago. I used it quite a bit when it was free years ago but to me it's quite worth paying for. Your reviews have been super helpful and at times I've laughed out loud at the content and some of the things you've said. 😅 Keep on keepin' on my friend!
@@Sheffield6688 Thank you!
1. Leonard Slatkin
2. Vladimir Ashkenazy
3. Jukka-Pekka Saraste
4. Zubin Mehta
5. Riccardo Muti
6. Valery Gergiev
7. Seiji Ozawa
8. David Lockington
9. Esa-Pekka Salonen
10. Daniel Barenboim
Going to see Honeck/PSO perform Bruckner 7 in a little over a week; my first earnest effort to finally *get* Bruckner L0L. Can't wait to hear those tuben and Craig Knox on the big one.
Mr. Hurwitz, have you heard the more recent Mahler 4 that Litton did with the Royal Philharmonic? Just wondering if it’s significantly better/worse/different than the fantastic Dallas one you mentioned.
That recording is nearly 20 years old. It's nothing special.
Vasily Petrenko (Almost everything)
Daniel Barenboim (German repertoire, especially Der Ring)
Marek Janowski (Wagner, Bruckner)
Ricardo Muti (Many great things, but not as great recently)
Antonio Pappano (King of opera, every single opera)
Valery Gergiev (Russian repertoire and revival of many Russian operas)
Ken Nagano (Wagner, Mussorgsky, Bruckner)
Zubin Mehta (many good things until 15 years ago)
Simone Young (Bruckner and Wagner, best female conductor with intensity and gusto)
Mark Elder (Wagner operas)
Osmo Vanska (Before Minnesota years)
Gustavo Dudamel (Best generalist)
I think those conductors have made good contributions to certain parts of classical music world in their careers even though some of the older ones become the shells of themselves.
Exclude all conductors who are fixated with the period instrument playing style such as reducing the string section to be the lifeless robots playing without vibrato no matter how famous they are.
Great list, Dave! Thanks a lot. As Dohnanyi has retired, it seems, and Welser-Möst has recently recorded few or no works, I would mention Wit and Paavo Jarvi, but many viewers added those names to their lists. Here are my two sleepers : Alan Gilbert because of some solid Mahler (9th) and Nielsen (complete cycle) on Dacapo and Hannu Lintu. He did a very great cycle of Sibelius symphonies (on DVD) and significant recordings of Bartok (Violin Concertos), Ligeti and Magnus Lindberg. Muti would be a strong choice mine because of his contribution to the Mozart repertoire and a wonderful and recent Shostakovich's 13th in Chicago. It is so great! Soon, will we get the ten most overrated conductors?
For me, conductors are somehow connected with repertoire, you like some because of the way they do certain composers. Just a note, I am a professional Opera singer for almost 35 years now, hence so much talk about singers and Opera. But absolutely love Symphonic music as well as the great Film music composers of yore (Rozsa, Korngold, Steiner, Alex North, et al. Anyway, here are the conductors, some of the past, some living: Fritz Reiner (exceptional precision coupled with the new Stereo sound, Lewis Layton was a wiz of an engineer!); Karl Böhm (love his Wagner and Strauss, and a no frills conductor, just played what was on the written page, precision too. His Wagner was very energetic, wonderful Tristan and Ring, besides, counted with marvelous singers); Leonard Bernstein (a composer's viewpoint of music, plus a great personality, His Mahler is THE thing!); Georg Solti (lots of energy, beautiful Ring and Strauss Operas, his Verdi sounded minus the schmalz that can be associated with his music. On the other hand quite brutal sometimes, not one for French music, of course) Herbert von Karajan (the early stuff. After he went to DG and his later years very particular, not to mention his odd choice of singers); Charles Munch (wonderful stuff from Boston!) Now to the living conductors: JoAnn Falletta (Yay!) (Fabulous recordings of very imaginative repertoire, especially American Composers, the Buffalo Phil sounds amazing under her baton); Charles Dutoit (his tenure with Montréal is amazing, wonderful French music, Stravinsky not to sneeze at, etc); John Wilson (very interesting recordings with the Sinfonia of London as well as some film music); Dmitry Yablonsky (exciting Japanese music (!) for Naxos ); Vladimir Jurowski (Yay!) and some mentions: George Szell, Rafael Frühbeck de Burgos (a wonderful accompanist), Andrew Litton (yes!), Andrew Penny and a wonderful Cycle of Malcolm Arnold Symphonies for Naxos. Abidiabidiabidi That's all folks! Lol
From my limited listening perspective, here are the conductors whose recordings I get excited to hear : Blomstedt, Chailly, Mehta (too many fine recording to list), Kyrill Petrenko (if the DCH counts…), Honeck (unlike you, Dave, I don’t like his Eroica, but love the Bruckner 9 and Brahms 4th), Salonen (again, so much,but I love the Prokofiev R&J with Berlin), Slatkin (so many fine recordings of important lit.) On the other hand, I avoid: MTT, Thielemann, Nelsons…
I just listened to Honeck’s Eroica. You were spot on. A thrilling performance!!
Couldn’t agree more with the choice of Honeck and Blomstedt. Honeck has elevated Pittsburg to one of world’s best orchestras and personally found Blomstedt’s interpretation of Bruckner 6 as satisfying as any I’ve heard. And Tilson Thomas, like Bernstein, has developed his welcome American democratic approach to classical music by speaking about it.
Very interesting video!
I have been listening to classical music only for about decade or so and I have never studied music so I can’t say I really have any expertise to make my own list. I still have a hard time comparing and evaluating recordings. That being said, I’d be curious to know if Zubin Mehta and Ivan Fischer were close to making your list…
Sure. Lots of conductors "made the list." I only talked about ten.
Interesting that no one seems to have mentioned Gustavo Dudamel, Music & Artistic Director-in-Waiting of the New York Philharmonic.
And for good reason. He's not that great, so far.
Based on your comments about salonen, what’s your take on his recording of Mahler 3 with the philharmonia that’s on UA-cam?
LA is much better.
Every conductor is listed for his *whole* work
Riccardo Muti
Paavo Järvi
Riccardo Chailly
Rene Jacobs
David Zinman
Yuri Temirkanov
Markus Poschner
Giovanni Antonini
Ivan Fischer
Marek Janowski
I was expecting Dave to mention Antoni Wit. His Dvorak's Requiem is phenomenal. I also enjoy his Janacek and Penderecki. In more unusual repertoire (Carter, Lindberg, Norgard, etc.), Oliver Knussen deserves lots of credit. Finally, a shoutout to fellow Colombian Andrés Orozco who has recorded beautiful Dvorak and Strauss.
Oliver Knussen did make a few great recordings, but he doesn't go on this list because he died in 2018.
Wit could certainly be on the list. Knussen, as just mentioned, is dead, and Orozco--no way. One or two decent recordings is not a career. Come back in ten or twenty years and we'll see!
@@DavesClassicalGuide Just finding out about Knussen's passing. Let's replace him with Eötvös then for the similar repertoires. And yes, Orozco is just a shoutout because I'm rooting for him as there is a notorious scarcity of Latin American conductors.
When you said Theodor Cu.... I was shocked for a moment. :-)
Antoni Wit
- I admire his recordings of Penderecki and Lutoslawki orchetral music, Brahms choral music, Mahler 8 etc. I hope he is given an opportunity to record a whole mahler cycle.
Jordi Savall
- All the old music he recorded is from very fine to great, and his recent Beethoven symphony cycle is my new favorite of the music.
Ivan Fischer
- His mahler and Brahms cycles are impressive.
Vasily Petrenko
- IMHO, he is better than V. Jurowski
Philip Herreweghe
- Many of his Bach and other choral music recordings are my references.
Esa-Pekka Salonen, Herbert Blomstedt, Andrew Litton are the same as yours. But I wasn't even able to come up with ten. Now I've realized how hard it is to make a top 10 list with LIVING conductors.
Oh yes, Jordi Savall must be included!
No, he mustn't.
I still say if you want a real treat from Blomstedt, get his Bruckner Five..... Recorded with Leipzig Gewandhaus..... He has a grasp of the "big picture" with this symphony like no other conductor I've experienced.
I was going to say Valery Gergiev but he got his ass canned. 😁
Seriously though, I think Giancarlo Guerrero (director of the Nashville Symphony) is one of the greatest living conductors today. I live in Nashville and see the Symphony regularly. Giancarlo is awesome, full of passion and has a certain sound that he brings to the orchestra. He definitely deserves some huge recognition.
I want to stick to the spirit of your criteria: if the point is to comment upon work that is publicly available for us all to discuss with an objective eye and ear to detail, then I think it's only fair to include artists who have a big presence on UA-cam. In fact, I think that a video of a live performance is a much better gauge of a conductor's ability, because a) you get to hear something that (probably) hasn't been edited and b) you get to actually see them in action.
So given that, I would include: Daniele Gatti, Juraj Valcuha, Susanna Malkki, Juanjo Mena, Andrés Orozco-Estrada, and Gustavo Dudamel.
Which is not to say I don't agree with your list. In fact, I quite agree with it, and I'm particularly glad you included MTT. I don't always agree with his interpretations, but they are wildly inventive and personal, and you have to hand it to him that he gets the orchestra to do his bidding, and do it incredibly well.
Also, I quite like your emphasis on conductors who have a personalized repertoire. I think that's something that's tremendously undervalued these days, as all the big conductors just want to conduct Bruckner, Mahler, and Shostakovich. In this respect, I quite admire Vladimir Jurowski, since he's devoted so much time to the music of Alfred Schnittke.
You had not quite caught the spirit of my criteria. The artists you cite have not done nearly enough work or shown anything like the range I had in mind on UA-cam (or at least most have not). As to the superiority of video, I place no value on "seeing them in action." This is music, not multi-media performance art. I guess I'm a purist in that respect. I'd rather not see these people at all. I spent decades watching conductors and musicians in action. It wasn't pretty. Nor do I care if something is or is not edited. I don't think editing in any way delegitimizes a performance or renders it somehow artificial. All electronic media do that in one way or another.