I can’t find a listing for Brahms’ 1 in Discogs only Brahms’ 2 here https://www.discogs.com/sell/release/10108999
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Beethoven Early String Quartets Op.18 1-6 Calidore Quartet - problem
I wonder if others who have purchased a download of this set are experiencing the same problem. Some of the track titles are wrong - this is apparent in the Metadics programme but not if I use Jaikoz - resulting in several movements of quartet no.2 being duplicated, track 1 of quartet no.3 doesn’t appear. I bought it from Presto Classics in 24/96 flac. Anyone else having difficulties please? I ask before going back to Presto.
I’m trying to play it via the Core. All the tracks appear OK with the download on my mac’s desktop, but when trying to play them using the Naim app after transfer to the Core all seems to go astray. It’s like they’ve become corrupted and even when I delete from the Core and then download again from the mac, then try to play, the same problems are still there. Not sure if it’s a problem with the Naim app?
UPDATE I think I’ve solved the problem. Some of the track names needed correcting which was why they were wrong on the Core; on the mac the file names for each track, which are correct, meant it played correctly on the mac. Editing incorrect metadata is the biggest pain!
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I recently bought a download from Presto (Handel Op 6 Concerti Grossi). When I looked through the track titles, one of the concerti was missing and a spurious Concerto a Due Cori was included, or so it seemed. I eventually twigged that this was actually the missing Op 6 work and with a bit of research was able to correct the metadata.
Never had a problem with a Presto download before, so I did email them about it. Hope these are isolated incidents.
Roger
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I’ve had that set for a while. Found it uninspiring at some point and moved onto others (including HvK’s 60s cycle). Recently played it again and was surprised how much I liked it.
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As for Brahms, I’m still trying to decide whether I like HvK’s 60’s or 70’s cycle better. I grew up with the 70’s cycle, so that’s what I bonded with, but the 60’s cycle has grown on me too.
Both of my copies are vinyl (I don’t have a CD player). For the 60s cycle I have an OG, as well as the more recent DG Classics AAA reissue cut at EBS. For the 70s cycle I have the 1978 box set (2711 022).
My set of the 70s has the same artwork as above. My set of the 60s is a 96/24 download.
You know, I have a NDX2/XPSDR and I rarely use it any more. About the only time I stream music is on my office Atom system, mostly to audition albums getting a vinyl reissue, or to play stuff while I ride my indoor cycling stationary trainer.
I should probably just sell the NDX2/XPSDR and just accept my main system is a vinyl system. 
HvK’s DG 60’s set has been my go to for sometime. The readings are well pitched between glow and drama IMO and it has untypically good sound for DG.
Recently, I’ve been swayed by Klemperer’s EMI set too. Completely unlike HvK, but throws a very different light on these amazing scores. Lovely sound too.
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Another one I bought used recently is Eugen Jochum’s EMI recordings with the LPO. I haven’t yet dived into them much. I need to correct that.
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Just received this box set as a birthday present. Unlike some DG recordings these CDs have a lovely rich sound.
I have included this box set for those who have asked about starting a classical cd collection. 40 CDs from one of the best classical cd companies. A real bargain at £44 including postage from Chandos with a range of different composers and recordings over the last 40 years.
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I have these recordings as part of an Abbado Symphonies box from a decade or so ago. Just listened to the third. Outstanding.
I actually bought the box because at the time the Abbado/Brahms discs were going full freight and buying the box of 40 discs (not original jacket so packed with music) was not all that much more.
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Something slightly different and probably less known. Colleridge’s Requiem is a wonderful work and deserves more recognition, in my view. I had the pleasure of speaking to him recently and together we marvelled at the acoustics in the Harrogate church where his Requiem was performed. I felt very blessed getting the opportunity to speak to a living composer!
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Hi.
Hi.
Being a non musically trained listener to classically music the following have always had me puzzled.
How does a conductor make a difference to the piece being played compared to another conductor? In my simple mind the music is the music.
Surely the only person who will know if it is being played as it should is the composer.
When I listen to a piece of music on R3 they always read out what key it was written it and sometimes a series of letters and numbers: what relevance is this information to me as a non musically trained listener?
What is an Opus?
Are there any hints or tips to get more out of what I am listening to?
Thank you.
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I’m coming at it from a similar angle re non-trained musician, btw.
With regards to conductors, their selection of orchestra and musicians in the first place, plus the size of the orchestra, can make a difference. Then there’s the tempo: Karajan and Kleiber had very different ideas of how fast Beethoven’s 5th should be played, for example. Yet both recorded milestone performances.
I was lucky enough to sit in the choir stalls when Rattle conducted Birmingham Symphony and my, oh my is this guy expressive. If I was a musician in the orchestra, it certainly would have an effect on how I’d play. If only I could! 
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Opus is Latin for work - in this context it means a musical work. The plural is opera.
Many composers numbered their works. Thus Beethoven’s fifth symphony is Opus No. 67. Sometimes a composer would group a set of works. Beethoven’s first six string quartets were Opus 18 No. 1, No. 2, etc.
In some instances composers did not number their works but others did. Mozart’s works have Koechel numbers, which approximate chronological order of composition. Bach has BWV numbers, which are organized by musical category.
For newcomers to classical, I don’t think the key is of great importance. But knowing whether it’s in a major (generally happier) or minor (generally sadder or more dramatic) can give you an idea what to expect. Beethoven’s fifth begins dramatically in C Minor, but the triumphal fourth movement shifts to C Major.
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Listen for the tempo, how pronounced or subtle the timing is, the “phrasing”, the development of themes… and then some conductors take liberties, sometimes very interesting and moving ones…
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