How To Build A Top Quality Classical Music Library For $100 (Part 1)

Introduction

The Why, How, and What

This is a reposting (edited and expanded) of an article that George A. Pieler and I wrote for Forbes.com, back in March of 2013 and picks off from these musings: How To Build A Top Quality Classical Music Library For $100 (Prelude), where you can read all about the idea behind the idea. I am re-posting and editing the articles to makes sure they don’t disappear, to give them the formatting they were meant to have, and as a tribute to George. Also, the articles are behind a paywall in the US, I just found out – so now they are out in the open again, where they belong.

Almost 13 years ago, George A. Pieler and I wrote a column (Two Cents About Classical Music For $100) for Forbes.com on some of the market- and technology-changes that affect this still growing, more-important-than-you-think niche in 21st century entertainment: classical music. The idea of building a classical music starter kit for $100 means we have to define price in an age where the very media of music consumption are in a permanent state of change. It also raises the question of what ownership of digital files actually means. We tackle some of these questions in upcoming columns [Ed. we didn’t], but first we present “the list”. (Incidentally, the Forbes article is itself based on the ionarts-response to Tyler Cowen’s article in 2011, which was promptly criticized for being too cello-heavy.)

[The entire list on Amazon can be found here.]

First, let’s talk about what “Classical Music for $100” is not: It is not a historical survey. It is certainly not meant to be representative of (Western) classical music – the very attempt would be absurd for a genre that spans at least 600 years (and counting). It is not a list of what is or should be considered “great” in classical music, nor just a list of classic recordings. We may overlap with all of these criteria in some parts, but our goal was simply (not so simple, as it turns out) this: “Bait!”. To create a list – within the confines of $100 (measured, old fashioned style, by CD*) – that is most likely to convert the uninitiated, intrigue the newcomer, and still delight the veteran. If you spend your first hundred bucks on classical music this way (or consume this list on Spotify), our rationale goes, you’ll find something—plenty—that will hook you and keep you coming back for more. In which case we’ll happily supply more lists to aid the discovery.

(*Cost was measured as-per-Amazon-pricing-averages at the times and iTunes cost. As recordings (or these iterations thereof) wander in and out of print, these can fluctuate wildly. I have updated the Amazon links below – but not necessarily the cover images – to reflect the most readily available iterations of these recordings.)

If one album alone could do the trick, we would have chosen just one. That’s not likely, though, since every newcomer responds to different stimuli. A one-size-fits-all list is a bit like handing out the “ten best medications” to prospective patients, sight unseen. But between classical disc-jockeying, slaving at Tower Records (The Tower That Fell), writing for classical radio stations, and emulating a classical music critic, we have channeled our experience to come up with a generic model-listener who has appreciation written all over him or her (enough to have read on thus far, certainly), but relatively little previous exposure. (And if you’re a veteran but this sounds like someone you know, why not share this list with them!?)

With that in mind we set ourselves a few rules. The first is adopted from Tyler Cowen who gave us the idea: “Never buy an inferior recording simply because it is cheaper. In the long run it is more expensive.”

True, it’s hard to tell what inferior (or “best”) really means in a market saturated with the greatest artists from seven decades competing with each other, often with multiple entries each, in the crowded field of recording classical evergreens. We interpret it thus: include it only if it really knocks your socks off. This uncompromising approach does conflict with the budget limit and the urge to cover a good deal of territory. But wherever compromise attempted to sneak in at the expense of absolute quality, we tried to resist it.

Another rule was not to include box sets. It’s tempting when you can get the complete works of Bach, Mozart, or Beethoven for $99.99… and all the Wagner operas for $32.66. But that’s unstructured overkill and, in our experience, detrimental to listening habits. Each recording included in this list, and each composer, deserves at least the focus and concentration (and, yes, the expense!) that goes with listening specifically to one album. The kind of focus that used to happen necessarily when people put a vinyl album on their record player. (It makes all the difference: many of them still think vinyl sounds better for this reason.) Experiencing this music for the first time should be a piece-by-piece event, even in an age where the media—hard drives, clouds—have practically no physical confines.

Finally, we tried—and failed—to make the list compatible for iTunes downloading, hard-copy-purchasing, andSpotify streaming. We’ve come close, and picked only albums [then] in print (which might, granted, [and did] change tomorrow). At the time, Spotify (which shares exceedingly little revenue with the artists and record companies, it might be pointed out) didn’t carry three essential labels: Hyperion, ECM, and Harmonia Mundi – so the initial playlist had to substitute the relevant recordings. They do now and the list has since updated accordingly. If you have access to the Naxos Music Library, that should enable you to hear every one of these albums, too.)

The relative prominence of time-tested, ‘classic recordings’ on this list (four out of nine—out of ten, if you count the ‘iTunes bonus’) is not primarily one of nostalgia but economics. These are recordings that are exceptional – and widely acknowledged as such, but they have also earned their money many times over and can be re-released in various guises at ever decreasing price points. But there is also a reason why new recordings are still made and listened to: every generation needs its Beethoven, its Bach, its John Adams. A few classic interpretations are truly exceptional and a few favorite artists really were unique, but often the focus on older recordings by collectors is a sentimental one; a disease called “Golden Ageism”, caused by the emotional footprint that the first exposure to a particular interpretation leaves. Not that there’s anything wrong with that… with any luck, you will acquire it with some of these choices!

The List

Hooked in under $100

And here now are, in order of recommended listening, the recordings we would recommend to hook you.

S. Rachmaninov & P.Tchaikovsky Piano Concertos Nos. 3 & 1 R.Chailly/K.Kondrashin, RCO/BRSO (Philips, 1995) US | UK | DE

Rachmaninoff & Tchaikovsky, Argerich

The ear-candy coupling of Sergei Rachmaninoff’s Third and Pyotr Tchaikovsky’s First Piano Concertos in these red-hot live performances by Martha Argerich is the quintessence of stormy, romantic music. If it borders cliché, no harm done: That’s precisely what high-romanticism is.Especially the Rachmaninoff, effectively embellished in the Oscar-winning film Shine, feels like a rush of blood to the head and the Argentinian pianist plays it to the hilt. Having the Berlin Radio Symphony under a young, fiery Riccardo Chailly with her for the Rock3 and the fabulous BRSO under Kirill Kondrashin for the Tchaik1 does not hurt. This has been a classic ever since it came out and done its share to convert new ears to the cheap thrills of classical music!

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J.S. Bach concertos italiens Alexandre Tharaud (Harmonia Mundi, 2005) US | UK | DE

Bach, concertos italiens, Tharaud

One of the most beautiful recordings of the last decade, French pianist Alexandre Tharaud picks keyboard works which Johann Sebastian Bach transcribed from, or emulated, concertos of Italian composers, including Vivaldi. Today he (Bach, that is) might be accused of plagiarism. Music history calls it "parody", but really Bach just created impossibly attractive and original masterpieces that Tharaud performs with uncommon sensitivity and charm on a modern Steinway grand piano. This recording has been a revelation since its release and lost none of its magic. It so overwhelmed me, that it even got (not by design) two "Dip-Your-Ears" reviews: Here and here.

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F. Schubert Trout Quintet + Hummel Quintet Trio Wanderer (Harmonia Mundi, 2003) US | UK | DE

Schubert, Trout, Trio Wanderer

Franz Schubert’s “Trout Quintet”, so named after his self-quotation from a song about a trout being tricked into taking the bait, is one of the highlights in the chamber music literature. With his penury, shockingly early death of syphilis, and life-time neglect, Schubert set the standard for all properly romantic composers to come. His musical standards are even higher. The Wanderer Trio (with friends on additional viola and bass) not only plays his Quintet as gorgeously and alertly as anyone (here is a tip-top reference to judge it by), they also smartly couple it with a lesser known but marvelous composer (which is itself a point worth making): Johann Nepomuk Hummel’s Quintet for the same, unusual lineup, likely inspired by Schubert’s Trout. [Edit: The linked-to recording is a re-release that contains the Schubert Piano Trio op.100. Terrific choice; the latter's Andante positively shapes Stanley Kubrick's 1975 Barry Lyndon. If you are looking for the original release, it can be found here.]

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W.A. Mozart Symphonies 28, 33, 35 , Eine kleine Nachtmusik G.Szell, Cleveland Orchestra (DG, 1966/2006) US | UK | DE

Mozart, Symphonies, Szell/Cleveland

Wolfgang Amadé Mozart is the poster boy composer because he joined accessibility and perfection like none other in his time. Eine kleine Nachtmusik is perhaps the epitome of that, but the more sophisticated symphonies or the Overture to the opera The Marriage of Figaro are just as easily embraced and probably more lastingly enjoyed. Especially in performances like those of George Szell who managed timelessly alert, quicksilver readings half a century ago, when many other conductors were drudging through Mozart like syrup. The Cleveland Orchestra follows him like the precision tool they were (and still are). [This may be one of those recordings that has never been out of print, or not for long, anyway. The editions that it is available on do constantly change, however. These are some alternatives: "Essential Classics US" and "Essential Classics UK".]

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A. Vivaldi The French Connection (Concertos) Adrian Chandler, La Serenissima (Avie, 2009) US | UK | DE

Vivaldi, The French Connection, Chandler/La Serenissima

Antonio Vivaldi can be fun, but (let's be honest) also mindlessly boring. One too many listless, limp Four Seasons, and one might swear off the “Red Priest” altogether. We skip the much treaded seasonal territory in favor of a just-about ideal single-disc collection of splendid and thankfully lesser-known Vivaldi concertos. Because of the ardent and lively performances and a careful selection of concertos that all feature different solo instruments, there’s no danger of sameness, routine, or flagging attention. Or, as I said in the review for my list of the "(Almost) Best Recordings of 2009":

The finest, most immediately and thoroughly charming Vivaldi disc I’ve come across this year. The (period instrument) playing of "La Serenissima" under violinist/director Adrian Chandler is formidable, the spirit of the music ardent and lively, and the choice of concertos the absoute clincher: so many varied textures amid these most splendid but thankfully lesser-known Vivaldi concertos avoid all sense of sameness. Perhaps the most ideal single-disc collection for a quick overview of Vivaldi concerto-writing beyond the Four Seasons.

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A. Dvořák + Tchaikovsky Cello Concerto + Rococo Variations M.Rostropovich, H.v.Karajan, Berlin Phil (DG, 1969/1995) US | UK | DE

Dvořák, Cello Concerto +, Karajan/Rostropovich

Mstislav Rostropovich’s recording of the Antonín Dvořák Cello Concerto under Herbert von Karajan, coupled with Tchaikovsky’s Rococo Variations is another rightful classic. One where the two outsized egos met to great results—hardly a given. Arguments could be made if this or the later Ozawa-recording is Rostropovich’s best of the many he made, but all in all, this is still the album to get. The Dvořák was written in New Yorkin 1894 and became the first truly important cello concerto. Its sweeping, tuneful, lyrical ways set the standard for subsequent attempts in the genre. Tchaikovsky looks back to Mozart for his variations, and comes up with classically styled romance in variation-form.

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J. Haydn Symphonies 82, 88, 95 Heidelberger SO, T.Fey (Profil Hänssler, 2001/2006) US | UK | DE

Haydn, Symphonies, Fey/Heidelberg

The genius of Joseph Haydn is hiding in plain sight: Everyone acknowledges his greatness, importance, wit; his ingenious and ever original ways. For all practical purposes Haydn invented the genres that still dominate classical music: The symphony, the string quartet, the piano trio, the keyboard sonata. For good measure he threw in several operas and hundreds of Scottish song arrangements. And do not forget the dozens and dozens of Baryton Trios!

But Haydn’s problem is that he is subtle, and so, furtively, we tend to dismiss him as “nice”. Even his nickname (“Papa Haydn”) speaks to an amicable harmlessness. Don’t make the same mistake and get used to him right off the bat. We recommend taking a dip with a few of his 104+ symphonies, specifically a recording by the provincial but mighty Heidelberg Symphony Orchestra under their Haydn-wizard founder and director Thomas Fey. These forces created something truly special, forming a sort-of musical symbiosis with Haydn, and producing (though nearly derailed by personal tragedy) one of the great modern recording projects. Symphonies Nos.82 “The Bear”, 88, and 95 are a fine mix of great but less often performed works that all pack the wallop and thwack at which Fey & his band excel.

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I. Stravinsky + Bach Duo Concertante, Suite Italienne Leonidas Kavakos, Péter Nagy (ECM, 2005) US | UK | DE

Bach & Stravinsky, Kavakos/Nagy

With this second to last, less obvious, choice we lure you into the 20th century. (As with Rachmaninoff, actually, except he really doesn’t sound like it. Then again, neither does this selection.) The splendid Greek violinist Leonidas Kavakos alternates the stringent purity of (genuinely baroque) Johann Sebastian Bach’s G-minor Sonata and B-minor Partita for unaccompanied violin with Igor Stravinsky’s 1930s neoclassical (or rather: neo-baroque) Duo Concertante and Suite Italienne. The latter, arranged for violin and piano from his ballet Pulcinella, is one of the most charming pieces of music, no matter how conservative your tastes might be. The recital should turn ears on to the violin that had hitherto not found it to their liking. (Also: you don’t have to enjoy math to enjoy the Bach, but if you do, you might particularly love him.)

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R. Strauss Four Last Songs + Orch. Songs J.Norman, K.Masur, Gewandhaus O. (Philips/Decca, 1983/2007) US | UK | DE

Strauss, Four Last Songs, Norman/Masur

Richard Strauss wrote his aptly named Four Last Songs a year before his death in 1949. They are wistful, absolutely heartrending (or lachrymose, to the few who can’t stand them) utterances of a composer who had the seen the world he knew destroyed before his eyes, by his own country. Jessye Norman along with Kurt Masur and the Leipzig Gewandhaus Orchestra do not provide the most nuanced or text-sensitive reading. But by golly, the American soprano’s big, creamy voice in the song “Beim Schlafengehen” is just the most gorgeous thing ever to have come from a human throat. And no matter how slow Masur gets, she seems to take all four songs in one breath. If you want to hear where Howard Shore got most of his ideas for the Lord of the Rings soundtrack (compare “Gollum” to “Spring”), go no further. (The rest was apparently supplied by Carl Orff, Hans Pfitzner, Richard Wagner, and Enya.) Even at 46 minutes run-time, this disc gives fabulous riches of music per dollar at just about any price – a good reminder of quality over quantity.

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L.v. Beethoven Symphonies 4 & 5 O. Vänskä, Minnesota O (BIS, 2004) US | UK | DE

iTunes Special: LvB Symphonies

We’ve blown the $100 on CDs, but if you went the iTunes or mp3 route (foregoing physical ownership and liner notes), you saved about ten percent and have room for one more. Let’s make it count: Ludwig van Beethoven Symphonies are perhaps a glaring omission among the above list, but then they’re “greater” than they are catchy. The Beethoven field is more densely populated with classic recordings than any other, yet Osmo Vänskä with his Minnesota Orchestra and Paavo Järvi with the Bremen Chamber Philharmonic managed to release cycles of the symphonies that blew the cobwebs off all over again. Case in point Vänskä’s recording of the Fourth and “Ta-ta-ta-Daaa” Fifth Symphony. This Fourth Symphony is gloriously alive, fleet but never ‘light’, and the orchestra manages perfection. There have been many great versions of both symphonies before and after, but none have quite managed to leave such an impression. (I still remember Tim Page handing me the CD during a meet-up at Union Station, being a little Beethoven-weary himself.) The symphony that Robert Schumann called the “slender Greek Maiden” will enchant you; she will invite you to a dance you can’t resist. Consider the splendid, famous Fifth a bonus.


How To Build A Top Quality Classical Music Library For $100 (Part 2) will follow soon!

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