Through the late 1950s to early 1960s we had the transition from 78s to LPs, which opened the door to longer spans of music per side, and better sound. This period could be seen as a golden era for recordings (eg Karajan, Callas, Klemperer, Szell, and many more). Then as stereo recordings became more prevalent, there was a rush to re-record in the new format, often with many of the same artists, a continuation of that golden era. Then of course by 1983 we had the introduction of digital recording and CD, again leading many to re-record repertoire again, this time in the digital format.
Now, most people have one or more recordings of much of the repertoire and so demand for new recordings, unless exceptional, is considerably lower.
Sadly, also with the global availability of so many performances, inevitably, each new recording largely conforms to the “standard”. Few artists, and their recording companies, want to take a financial risk.
Erich Kleiber made a number of superb recordings, particularly of some of the Beethoven symphonies, and a wonderful recording of Mozart’s Le nozze di Figaro with the VPO and a superb cast.
There is a somewhat curious CD of Borodin’s 2nd symphony, in versions conducted by Erich and by Carlos! I think Carlos is here trying to out-Erich Erich, if that’s possible! He lived in the shadow of his great father and I suspect that was one of the problems he created for himself.
I have to say that I just don’t buy into the concept that there are no interesting/exciting performers around now (or composers for that matter).
Some great performances are apparent from the start, some emerge over time and one forgets all the dross and the average that came out at the same time and then one looks back on a “golden age”. Every generation will have stand out artists (and every generation will say originality is being knocked out by the academies and conservatories - an argument that was just as prevalent in the 19th century as now).
I suspect people will look back in 40 years time and say how much better it was in the 2020s.
I would tend to think the opposite.
There are now more and more informed interpretations, and some try to think outside the box.
As far as quality recordings are concerned, there is indeed good and not so good.
I often find that the stars in their fields get a better treatment in terms of recording, whether it’s a conductor or a soloist.
As far as quality labels are concerned, there are two that I like very much and that offer brilliant recordings (and the possibility to download the original master): The Spirit of Turtle and 2L.
The Spirit of Turtle’s recordings of Prokovief are simply amazing.
His piano recordings are also extraordinary.
Gorgeous recording and interpretation.
Worth listening and downloading 
I like the guy and his approach to music. And he likes to play for children. He contributes to making the harpsichord less austere.
I disagree. It was the other way round. Erich Kleiber was notoriously a tyrant towards his son.
Erich Kleiber famously forbade Carlos Kleiber from conducting, so Carlos initially took a science degree at university in Switzerland. But the urge to conduct never waned in Carlos, who started to conducti in provincial German opera houses, initially using the pseudonym Carl Keller to escape his father’s attention. Carlos only started to use his given name after his father’s death.
They each made few recordings, but they are all of superlative quality. If I could only have one or the other’s recordings, it would be Carlos. No question.
Quick question for any Wagner buffs out there:
I have begun to listen to the 1955 Keilberth Ring from Bayreuth, which of course is a major undertaking. The reason I haven’t critically listened to many Ring cycles is a testament to the time and effort it takes to do so! The 1955 on Testament comes highly recommended, including by folks on these boards.
I also have come across Keilberth Bayreuth recordings labeled 1952 and 1953, and some isolated operas from 1954. How many cycles did this guy do?!!! Are any of these other cycles or recordings worth the time and effort (and money, where they aren’t on Qobuz)?
If you’re interested in a Ring cycle from Bayreuth, Karl Böhm’s set recorded at the 1967 Festival (I think) by Philips was always highly regarded and may be your best option. It used to come in a big red box with lots of LPs inside, but that set has probably been deleted many years ago. But have a look around, you may be lucky.
I know nothing about any of the recordings by Keilberth.
You will know, no doubt, of Decca’s famous stereo Ring, recorded by Decca in Vienna under Georg Solti, which is the set that I would recommend to anyone. One of the miracles of the gramophone!
The classical recording scene has seen both Decca and EMI, now Warner Classics, just fade away IMO. The market by UK labels is now down mainly to Chandos and Hyperion who produce some excellent releases. Note they are often small scale works and therefore least costly to record. If you factor in other labels often from Europe that seems to be the current status.
Both Decca particulary and EMI in their day made some excellent records, with recording quality from Decca being world class and often comparable to todays releases. You also have the rise of labels from their own orchestras: LSO and LPO etc.
Like most things its probably back to money.
I have just finished reading the book by Richard Morrison on the history of the London Symphony Orchestra called not surprisingly ORCHESTRA. Unfortunatly it only goes up to 2004 so could do with catching up to the present day.
The financial twists and turns which they went through, some self-inflicted? show the life of an orchestral musician as by no means an easy one.
Reiner Frigyes, great conductor. The clearest phrasing, the most sensible and sensitive instrumental balance. His recordings of late 19th and early 20th century are exemplary. I am so glad that he’s still remembered and appreciated. All his recordings in my collection. About 65 LPs. Great thread! New member here. Hello to everyone.
Welcome to the forum! The classical music thread is a great source of knowledge, I hope you enjoy your journey here.
Hello, Douglas, does Richard Morrison’s book have anything to say about the two LSO concerts conducted by the incomparable Carlos Kleiber (the first in Italy (Rome?), the second - which I attended - in London)?
As I’ve said on these pages elsewhere, the LSO had hoped to develop a longstanding rapport with Herr Kleiber, which would have been a considerable coup in their caps, but the harsh press reviews of the London concert put paid to that.
Thanks! It’s a pleasure to exchange opinions on music not only on equipment. I admire conductors in particular.
Best regards.
Hello graham55,
There are two references to CK in Morrison’s book.
The first relates to two concerts in 1981 when he conducted the LSO in Milan and as you refer also in London. No further details on the trip to Italy.
However the para on the LSO and CK starts by saying there are two big personalities involved in this. The orchestra were keen to have the conductor visit them for a once in a lifetime RFH concert. It proved to be so as one critic only (not named) in the book took a tiny swipe at the conductor. The implication being only one person but that was enough. When he heard about this: that was it and he never returned to the LSO.
I don’t think you get far in the classical music industry if you only have an average size ego.
Thank you, Douglas, that’s interesting. I read the reviews at the time in all the quality press, and I can assure you that there was more than one review and that all were negative. So I understood (although I was dismayed at the time) Kleiber’s furious reaction.
What should have been one of the highlights of my musical life was marred irretrievably by the critical reaction to that concert.
I still look at my concert programme from time to time and think what might have been.
Incidentally, if you haven’t seen them, there is a DVD of Kleiber conducting the Concertgebouw in two Beethoven symphonies and two more of when Kleiber conducted the Vienna PO in his two New Year’s Day concerts. All are wonderful, and so much better than just about anything else around .
Yes, videos of CK conducting show just how his performances were on another level above almost everyone else.
After CK’s RFH performance the negative reviews were typical of the know-it-all critics. It was and still is fashionable to shoot down anyone who is at the top of their game. I was talking to someone who had also attended that concert & he said it was by far the best concert he had ever attended. I agree, the DVD’s you mention should be essential viewing/listening.
Well, I’m glad that you’ve spoken to someone else who was at the infamous RFH concert. I still look at my treasured programme from the concert occasionally and think what might/should have been.
Another excellent Hungarian conductor at risk of oblivion! His Bartok Piano Concertos with Gaza Anda can be bought for peanuts and are still a reference. His Mozart is usually very enjoyable and mature. Tempos a little too animated perhaps sometimes, but in those years one was either a little Toscaninian or a little Furtwænglerian…
I’ve seen - and lost - a post here about Reiner the man. They say he was a dictator on the podium.
But there are other aspects of him. When Bartók came to the United States in 1940, Reiner never forgot his old piano teacher in Budapest and helped him in a number of ways. They remained friends until Bartók’s death.
This is a self-portrait of Bartók and Reiner made by Reiner himself.
Reiner also asked Robert Russell Bennet, in 1942 when he was conducting in Pittsburg, to prepare an orchestral suite from Gershwin’s Porgy and Bess. A man who loved Gershwin’s music so much cannot have been a total failure.
I’ve long loved this LP of “The Reiner Sound” with Reiner conducting the CSO, and really like the picture used on the sleeve, like he’s been spied upon running through a score in the garden and the “spy” has just broken cover through the shrubbery and snapped a picture.
Image courtesy of Popsike.