REVIEW: DG ORIGINAL SOURCE Batch #6 Part 2 - Mozart (Gulda) and Chopin (Pollini) with comparisons

[@theophicen7850]

Again, a great review. It was very interesting to hear that Pollini, like Horowitz and Gould, paid extraordinary attention to how his instrument should sound, with the aim of bringing out the entire range of nuances of his piano playing. As usual, you presented this clearly with a lot of knowledge, just like your description of what the Pollini recordings actually sound like.

[@danijelsan81]

I picked up Pollini as soon as it arrived at AS. It sold out very quickly. I’m sure they’ll repress this one. Glad you talked about the piano sound. The weight of the lower register is definitely not there, but the clarity is brilliant and immediate. I am very satisfied with this one. Looking forward to the Tchaikovsky 4, 5 & 6 Mravinsky box.

[@danielemastrangelo8016]

Dear Mark your enthusiasm is contagious! I’m Italian and I had the opportunity to hear Pollini several times in public concerts. I might add that I grew up with his recordings of the late Beethoven’s piano Sonatas. As time goes by Pollini has moved further and further away from my top choices: I’m searching for something more “human” and less structuralistic , less Darmstad-oriented. In the meantime I suggest you to find the concerts programs he did as artistic director and chamber musician (the so called “Progetto Pollini” in Rome and “Pollini Project” in Salzburg). They were incredible concerts were Marenzio, Monteverdi, Gesualdo met Mozart and they all together met Stockhausen): they are still useful as listening paths. Another suggestion: the Gregory Sokolov’s recording of Chopin Prelude (my reference) and the incredible rendition of French Baroque Music he did. Thanks again!!!

[@musiconrecord6724]

All wonderful suggestions! Thanks so much for watching and commenting.

[@ThePressingMatters]

Wonderful review as always, with fascinating detail. I haven't many from this series. You may have convinced me to pick up the Pollini

[@musiconrecord6724]

Thanks Scott - you won't be disappointed! Also, if you don't have it already, seriously consider the Berlioz Symphonie Fantastique with Ozawa, which DG has just repressed. It's one of my absolute faves so far - a scorcher of a performance and recording.

[@djjoeykmusic]

Great video Thank you

[@coolcicada]

Thank you for these two videos. So informative. I’ll have to buy the Chopin :).

[@jazzbumsmike]

Mark, the Gulda comparison to Bill Evans and Keith Jarrett really caught my attention-I’ll have to check this out! - Mike

[@musiconrecord6724]

Do! It's beautiful music! I have very mixed feelings about Keith Jarrett's classical musings. Of course, Bill Evans never recorded classical, but he definitely brings a classical temperament to his own records (I adore them). His disc of "... with symphony orchestra" is a real fave, and I have never found a decent sounding pressing. There's only an old anaemic sounding CD. Why has this not been reissued in a decent remastering on either CD or vinyl - spare us the endless reworkings of the same old usual titles - let's get a Kevin Gray cut of this!

[@RafaelGarciaMarquez]

Fully agree on the strings sound of the Abbado/Gulda release. I find it too bright. Thought I got it wrong but now I see it confirmed by your review. Love Gulda approach to Mozart. Thanks for your reviews. Plenty of information and details 💕

[@musiconrecord6724]

Try that trick of slightly adjusting the left speaker, and/or your listening position. It really helped me.

[@TheAboriginal1]

Thanks for sharing, what a great video review.

[@musiconrecord6724]

Thanks for watching and commenting!

[@Mark-jl2qe]

Spot on regarding tge Karajan Mahler No. 6. Going to reserve my copy now!!!

[@musiconrecord6724]

Yeah!!!!!

[@MichaelMainus]

I love your videos! Greetings from Cologne/Germany

[@musiconrecord6724]

Thanks so much - I actually sang/played in a concert in Cologne back when I was a teenager. My school did concert tours in Europe during the summers.. Wish I could remember which church we performed in...

[@JarrettMehldau]

Hi Mark, beginner question here: How do the budget DG Originals CD reissues compare sonically to these attractive, but pricey new vinyl reissues? Great channel btw, thank you for doing this.

[@musiconrecord6724]

So there's no question that these new vinyls are the best sounding versions of these records (although the very limited edition Japanese single-layer SACDs remastered also by Emil Berliner Studios run them a close second). If you have a decent vinyl playback system, it's a no-brainer. The Originals CDs (and other later CD remasters) are the best option if vinyl is not possible.

[@davidgoulden5956]

Informative and enjoyable talk, as always. Thanks. Own both of these releases (plus the Giulini and Karajan Bruckner issues), even though I wouldn't dare play them on my current record player. Knew Maestro Pollini travelled with his own piano technician. Didn't realise he was quite THAT obsessive about the sound of his piano. Said it elsewhere so I'll be brief: heard live his sound was ravishing. Surprised at DG's failure to notice that the Pollini release features the wrong recording notes. Great news about the Karajan/Mahler 6. It still sounds great. Puzzled about the inclusion of the Bohm/Mozart Requiem. Listen to Mozart most days. Never this work, though. Don't think I'm alone in that, either. BEST, D.

[@musiconrecord6724]

I didn't even get into the recording process itself, which could be tortuous, involving multiple instruments, locations etc.

[@VinylBliss]

It makes sense about Gulda coming from jazz roots. I never considered that before.

[@jmal5390]

I might be wrong, but he didn't come from jazz. He ventured into it well after he was an established, conservatory trained classical pianist.

[@davidgoulden5956]

@@jmal5390 You're not wrong.

[@musiconrecord6724]

@@jmal5390 Thank you for the clarification.

[@jdtallu31]

One of the most influencial critcs of the 20th century was the late Joachim Kaiser. He became so powerfull that some pianist avoided to play in Munich where Kaiser lived most of this life. He wrote a book about the greatest pianist of the century. Later, his list was called the "Titans of the piano". Gulda was one of these Titans. So if you don't know him, go for his Beethoven or Mozart (beside others). If you here the Arietta of Op. 111 it is hard to go to another interpretation therafter. He started as pure classical pianist of the Vienna school. Later he also became interested in Jazz which was a upset to the classical audiance. He combined classical and Jazz pieces in his later concerts. Btw. Pollini became also a member of the list.

[@musiconrecord6724]

Thanks so much for providing this extra information. Fascinating.

[@ptg01]

Lovely ! Would be so helpful if you can provide a cumulative list of DG OSS: MUST HAVE / Nice to have / Forget about it list ! :)

[@musiconrecord6724]

I've been thinking about doing that....

[@analogueanorak1904]

Another painfully mouth watering video I think I will need to recover before watching part 1. I suspect the beautiful Ashkenazy Decca piano tone you mentioned is less likely to be due to Ken Wilkinson’s genius and more due to the Decca engineers wholesale use in the 1970’s of a piano technique called the Decca tail pair, situated 4-5 feet from the end of the Steinway. It’s the reason the recorded quality of piano tone on Ash, Lupu and Larrocha at Kingsway 1970’s share the same glorious qualities. I read about the tail pair in the John Dunkerley book Classical recording in the Decca tradition which is designed as a handbook for budding professionals but has some fascinating nuggets of historical info and anecdotes!

[@davidgoulden5956]

I own all of Ashkenazy's solo Decca recordings. Hard disagree with you about their 'glorious' sound quality. Don't think the Decca engineers did his sound justice at all. Many of his '70s recordings solo sound downright tubby.

[@musiconrecord6724]

Very interesting. Of course, Wilkinson is rightly lionized, but of course there was a school of Decca engineering with excellence displayed across the field (as with EMI).

[@musiconrecord6724]

@@davidgoulden5956 I would argue one man's "tubby" is another man's "full and rich". As with all things, very system dependent. I must say I find this Ashkenazy Preludes record compelling sonically, The Pollini has greater clarity, less weight in the bass, but the sense of being right there with him in the room is palpable.

[@analogueanorak1904]

@ Thanks Mark for continuing to provide such informed perspectives on these releases and such well,chosen other contenders. I was very tempted to seek out the Ashkenazy C Preludes as don’t have that particular LP. But in the end especially after a discount code from Presto music popped up this morning the Pollini is on its way!

[@davidgoulden5956]

@@musiconrecord6724 Fair enough. I should have added 'soft-edged treble' to 'tubby'. And you're right about the importance of the system. Mine is very far from high-end!

[@recordhead]

​​I thank you for another great video! My wife and wallet do not.

[@musiconrecord6724]

Apologies...!!

[@musiclassica]

Thanks again for this informative video, Mark. Richter preferred Yamaha pianos, that's why you saw him playing one. If you're lobbying for ABM, have them consider the live recording of Mozart's PCs 13 and 15, originally recorded by dr. Cord Garben, so they'll have an excellent canvas to part from. ;-)

[@musiconrecord6724]

I am hoping for some of Michelangeli's Debussy. His Chopin disc is also incredible.

[@musiclassica]

@@musiconrecord6724 Absolutely! I mentioned the Mozart concertos because they've been living in the shadows of his Chopin and Debussy.

[@rabarebra]

Crazy prices in Europe on those records. The Mozart Piano Concertos Nr 20 & 21 costs $100.

[@musiconrecord6724]

Yikes!! Try Presto in UK.

[@heifetz6382]

Alfred Brendel? Oh no, you're kidding! The master of the boring kingdom?

[@Alix777.]

Perahia is Mozart for princesses. It's way too clean and gentle for me. Gulda/Abbado is a great recording. Gulda's Mozart is one of the best, clarity, sharpness, straight to the point, without any trace of mannerisms, contrary to the infamous Brendel/Marriner set which I hate with a passion. Anda complete set is my favorite.

[@davidgoulden5956]

Agree with you about Anda and Perahia (don't like him in ANYTHING). Disagree with you about Brendel. He's fine. Marriner and the ASMG are slick.

[@musiconrecord6724]

Brendel is definitely not for everyone. Anda is special, and his Concerto 21 is classic.

[@musiconrecord6724]

@@davidgoulden5956 I love Perahia, ever since I saw him play and conduct Mozart concertos at the Aldburgh Festival back in 1979. A few years later I was dating one of his pupils and had dinner with him - he was charming and delightful.

[@davidgoulden5956]

@@musiconrecord6724 I realise I'm in very small minority in disliking M P's records - and I absolutely respect the opinion of those, like yourself, who think highly of him. Recognise his keyboard command and tastefulness. Just find something 'bloodless' about all those recordings of his I've heard. Don't even own any of them currently. The last record of his I bought, the CBS/Schumann box set, I gave to the local charity shop about three weeks after purchase.

[@musiconrecord6724]

@@davidgoulden5956 Everyone has their likes and dislikes! Have you tried his discs of Bach concertos? Perfect for his temperament. My blind patch is Schumann's solo piano music - I simply cannot get along with it apart from a few works. Even Pollini's Schumann has failed to persuade me...