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Very interesting. For me, the main problem of Bach's musique is its mix of grieving and hope. That's depressing. When you are sad, you must play Bach told me a piano teatcher. But it is insane. Bach is a narcotic. It does not remove your sorrow. It makes it lovable. The main cure to Bach is Scarlatti.

Supraphon have some other excellent sets along these lines - Ida Haendel, Karel Ancerl live, Vaclav Neumann, Josef Vlac...

Just heard Rachmaninov's suites 1 and 2. What an absolute delight! The recordings also featured fantastic stereo sound engineering, best relished when using headphones.

Wow! You really want to destroy Klaus

I have always been interested in the history of recording technology. Stokowski got his start with acoustic recordings, and he finished well into the stereo era, so his recordings are essential for anyone who is interested in this history. I have recordings of the Brahms cycle, albeit not properly remastered - nothing more than digitizations of original 78s. Maybe I should acquire the recordings that Dave features in this video. Notwithstanding the third, which is quite often a bit of a mess even from the best of conductors, it is a great Brahms cycle. From the beginning, Stokowski was always conscious of recording technology, and he pushed it to its limits. Pre-1925 acoustic recordings have dreadful sound, but he got the best possible results out of that technology. As recording technology improved, he made the most out of it. It is interesting to hear him at the transitions. One of my favorites out of his recordings is the 1925 recording of Saint-Saëns - Danse Macabre. It isn't the best recording or the best performance, but it sits right at the beginning of electrical recordings. Stokowski was still uncertain of the capabilities of the new technology, so he kept the modified instrumentation that was required for acoustic recordings. It's fun to hear this recording with the saxophone honking away in the background. I wish I had an original record so that I could play it on my Victrola - maybe I should look for one. He recorded it later with the orchestration as it should be, but no recording of this piece can recapture the unique charm of this 1925 recording that took place at the cusp of a major technological transition.

Dave, I must challenge you on this - not on the fact that enjoying life via easy pleasure is important, but rather that the "tyranny" of pop music (as Roger Scruton would call it) is not a problem whatsoever. Pop music as a genre is of course not a pressing concern, especially with so much else going on, but pop music does lack in some aesthetic, and therefore MORAL, ways. It is, after all, an industry unlike that of the music industry that existed when Bruckner was alive. Pop music becomes more of an issue when artists like Lil Nas X purposefully provoke for the sake of provocation. I think music is going down a dark path and, if you take it that aesthetic wealth is a moral imperative, it is not something to take lightly.

Fascinating. I'm afraid that I inherited a touch of the disdain for Stokowski that was current in the 70s, and I have too few if his recordings. But I wanted to mention another historic recording of his that I do have, and which might interest some viewers. It was issued back in 1992 on the dell'Arte label (DA 9023) and included the first recordings of both the Sibelius 4th (22 April 1932) and the Shostakovich 6th (date not given--apparently in 1940). Both are with the Philadelphia Orchestra, and the transfers are by Ward Marston. Robert Layton's Gramophone review mentions that the Depression reduced the size of the string section in the Philadelphia Orchestra, but he nevertheless says that the Stoki 6th communicates the work thrillingly (and he recalls hearing it on a late night BBC Home Service program during World War II). It's a pleasure to hear Dave enthuse about some historic recordings: for all their flaws, they make wonderful listening if you want to hear the genealogy of a work or an artist.

I don't always agree with you as regards the Haitink recordings of the symphonies, but I certainly do as far as this symphony is concerned. However, I initially thought it would be the one symphony that would suit his temperament and I was really disappointed when I heard it. I also have the Michael Collins and that performance surprised me too. In my opinion, however, I don't think the work reaches the heights of the 4th and 6th symphonies, which in my opinion are both magnificent

In Charles Rosen 's book, Piano Notes, he covers quite a range of musical and pianistic matters from the inside out. One thing he noted was the eerie experience of heating Le Sacre ballet with the curtain down, rather than seeing the first set design. This could also enhance the experience of an opera overture. Some of the smaller Stravinsky works, Concerti in D, Apollo, etc. have cleaned the aural pallette a month of Wagner Götterdämmerung study. Anyone going to Dallas in October for the Ring?

Dear Dave, do you fully understand how marvelously lucky you are to have your loving Mom in your age!? ❤❤❤ I lost my Mom wen I was 26 and my Dad when I was 36. Now, I'm 74 and the pain of losing my beloved parents is still very vividly with me. May your dear Mom be with you for many, many years in good health and life full of peace, love and happiness. 🌹🌹🌹🎉🎉🎉♥️♥️♥️💯💯💯

Love your comments

As a kid growing up in the UK, Peer Gynt was constantly on Classic FM. In particular, "Morning" is what they always played.

I really love this list and have bought many of the recordings you used for it. As you did for the Violin could you do for the Cello and make an episode of the IDEAL Romantic Cello Concertos and also IDEAL 20th Century Cello Concertos?

Had Edin and Tamir's recording of Rachmaninov's Suite No. 1, Opus 5 back in my youth on LP. The Barcarole section of the suite has always been a favorite of mine. Nice to see these recordings out on CD. THANKS DAVE.......

whaa?? A movie (not just a documentary) about Celibidache? Just when I think life can't get any stranger. I will say that if these movies get more people to get exposed to classical music, like you said, all the better. Regardless, I think the way that most musicians look at these movies is to see them as comedies (granted some as black comedies). Seeing Cate Blanchett physically assault and beat down a conductor on stage at the opening of Mahler 5 in a concert is just absurd... and funny.

I'm very surprised you chose Prokofiev 3 over 2 since you've said in the past 2 is better. But if this is a list for beginners, 3 is definitely more accessible. I'm also very happy to see Ginastera on there. I think Bartok 3 is underrated and way more accessible but can't fault you for choosing 2 as it's much more idiomatic, not to mention completely written by Bartok while 3 is not. I'm also happy to see two composers I've never heard of in Englund and Tippett. Thanks for giving something to look forward to!

I don't care for the piece. Two out of the four movements meander such that I can't follow where he's going. Shorter would have been better. The work I like most: The Bells. The one I really dislike: PC#3. It meanders forever. Ready for your barbs, fans!

This is unrelated to the piano duo you're reviewing but I recently discovered Nikolai Myaskovsky a russian composer I wasn't familiar with maybe one day you'll give us recommendations on which of his recordings you recommend. Love the reviews.

Mr. David good afternoon. I would like to ask you, if you know the reason why maestro Karajan never wanted to perform or record Brahms' first piano concerto. Thank you so much.

For anyone is interested, and has access to Gramophone's digital archives, there is an interesting article by Culshaw in the March 1959 issue titled: Making A Stereo Rheingold.

I'd love to see a sample page or two from the score, if that's possible without getting you into a copyright mess. Oops, sorry. You tube has the Quattro Pezzi with score.

You know what's funny? I feel like banging a gong whenever I hear a bad performance of something, especially by Roger Norrington.

So far, I have all of these discs I have a separate Stoky shelf with multi-composer collections and boxes. Stokowski c. 1927-32 78rpm symphony sets all had those bonus sides of mini-lectures by Stoky. The piano illustrations are played by--get ready--Artur Rodzinski.

As far as the first and last movement goes, i'd stick to Maazel and the Berliner Philharmoniker.:) I think they are sublime in details and sharpness (espacially concerning the fanfares) and its also strooong and powerful. But i dont like the middle movements that much, the kinda annoy me, maybe bc the Sound is just too metallic sometimes - therefore thank you for the Ashkenazy recommendation, these middle parts are really nice and also swiftly and energetically played!

"... from the overflow-overflow room" (sic!)... one starts to suspect, that we are in the realm of an overflow house, or maybe even an overflow mansion??!! 😂

Thank you for the recommendations. I find the Monteux/LSO performance captivating and thrilling.

Dave, I believe in an earlier video you mentioned that Walter’s Mahler recordings aren’t representative of what Mahler himself would have done because they contained affectations that were present in his other non-Mahler recordings. What aspects of Walter’s Mahler would you argue to be authentically non-affectatious representations of Mahler’s music and why? (Perhaps this could be a subject of a whole video)

A meeting of the spirits

In my opinion, the peak achievement of his Berlioz Cycle was his recording of Benvenuto Cellini. That was absolutely astounding, sheer perfection!

I LOVE Leopold Stokowski - I still think his 1932 live recording of Schönberg's "Gurrelieder" is the reference, dated sonics be damned (and it was actually a state-of-the-art recording for its time) - but I disagree with your statement that there's never been a conductor like him since. What about Leonard Bernstein?

Love the twofer with all 4 Scharwenka piano concertos by Alexander Markovich and Neeme Järvi on Chandos. I assume it's upstairs in the main collection?

I wouldn't discount Bruno Walters' 1958 account either.

Thanks for your words on the Bach transcriptions; I have always admired them and never understood why they are (well,thankfully,were) they have been looked down on.

I would certainly enjoy seeing the tam-tam collection.

Thanks for this Dave … I own Stoki’s copy of Parry’s 1910 Bach Bio … with lots of annotations by Stoki💗💗💗

Just got to hear this work. Great review thanks. Not sure as yet whether I like it frisky or hog wallow.

We should not forget his formal teachers Erna Grünfeld (at Prague Conservatory) and, above all, Ilona Kurz - daughter of famous Vilem Kurz ( at Prague Academy). I don´t know about his direct learning experience with Walter Gieseking except he was influenced by his (W. G.) touch and musical color (would like to learn more on this subject).

When I was a HS orchestra/band director (35 years total), I was always on the quest for a decent sounding tam tam. Most school tam tams, like cymbals are abused and sound like crap. Or worse.

After all the Sch... videos, your big tam-tam deserves a rest! Time to give a different gong a chance?

Scheidt is so lovely, absolutely excellent music that is unfortunately lost on even a lot of classical listeners. Then there are those excellent composers that I know nothing about, what an opportunity to keep on listening indeed.

When I was an undergraduate music student at Yale in the 80s, the late Claude Palisca was fond of referring to the "Three Ss:" Schuetz (obviously the most famous), Schein, and Scheidt. Very different backgrounds (though more similar than in the case of the "three B's," of course); roughly similar birth dates; similar contrapuntal techniques in their vocal music. Scheidt placed a much greater emphasis on instrumental music.

Hi Dave thx for your info on this disc , have u heard the concept that Liszt and Beethoven are played 2x faster than intended due to confusion about how metronome markings are interpreted today compare with 1800 to 1870?

I want to second that sentiment on Schumann's Carnaval, I feel similarly indifferent about Kinderszenen. Ironically, I am probably the greatest Schumann-fan there could be. I absolutely LOVE his piano music, it's probably the reason why I decided to become a musician. My favorites are Davidsbündlertänze, Kreisleriana, Phantasie in c major and of course Novelletten. All works I'd consider to have some of the greatest piano music ever written.

I love Scharwenka. Of course, like many I am sure, I first heard him via the 1st piano concerto played by Earl Wild coupled with the Paderewski. I was hooked after the first bar...

I'm always saddened that concert programmers and pianists never ever seem to want to give us Scharwenka or Moszkowski or Medtner or Field or any number of terrific concerti. I'd love to hear some of these works live, but frankly doubt that I ever will.

Could you do a few Lahav Shani reviews? Still hasn't recorded much with the IPO (one recording if to be precise), but it seems he has started a Bruckner cycle with the Rotterdam phil.

I got 3 of those good ones. I haven't really binge on all of mine in awhile. So I cant think of which one is my favorite. My first was the Andrew Davis with Toronto Symphony Orchestra. Took me forever to find the cd, but had that album for decades. But any time I come across a copy in a store, i usually end up grabbing it. I doubt I got 20 yet. And looks like I need a few more. Thanks.

I bought this solely for the Brahms Hungarian Dances. I've waited decades for this. My dad bought it on a 3 3/4 ips open reel tape in the 60's, which I still have. It was on Vanguard, so I was surprised that this had different art work. I assume that this was the cover for the European release. This release sounds much better than the old slow speed tape. The other works are just a nice bonus for me. 🙂

I think a lot of the reason that Khachaturian has fallen out of favor was them coming back into copyright in the US and no longer in the public domain.

it's a shame Tchaikovsky No 4 isn't being played too often in Concert hall these days