So frequently recorded, and often very well, the best versions of La Mer are the ones that lift the impressionist fog that too often settles over the score.
I always return to the Szell/Cleveland recording because having followed with the score on numerous occasions I am always amazed that Szell follows every marking in the score to the letter and you hear everything Debussy wrote!
The first classical music disc I bought was a Debussy disc with La Mer, Prelude à l'Apres Midi d'un Faune and Les trois Nocturnes by Eugene Ormandy and The Philadelphia Orchestra. My God that I listened to That disc! With the years and several other Debussy recordings that I bought, I believe that no other has surpassed it!
Dear Mr. Hurwitz: Thanks again! Your comments are very illuminating. Concerning Szell, a friend in Vienna told me a funny "Klemperer Story" going like this: Klemperer is attending a Szell concert; they are playing La Mer and K. is not satisfied; at the end he remarks with his blurred speech "Das ist nicht La Mer, das ist Zell-am-See!!" Do you know a Jean Fournet version with the Czech Philharmonic, recorded in 1963? I ask because you like the Czech woodwinds!
Thanks for the tip-off Dave. Ever since your review of the Images I've been looking for modern recordings of Debussy's orchestral works, Haitink's Nocturnes being the only one I own that completely satisfies me. Had a chance to sample many of those you're recommended on that review and this and finally landed, heavily, on the Deneve set. From my samples, it has everything I've looked for these works, clarity and dynamism without losing atmosphere - I never ascribed to the fashion for arc-light playing and recording of Debussy (for both piano and orchestra) that started back in the 70s. Can't think why I missed the Deneve when it first appeared, it's now becoming difficult to find on cd.
What you say about owning multiple recordings of a work, yes! On your recommendation I'm going to hear the Martinon (I own the Rosenthal on Adès and the early Boulez). While I'm a big fan of Debussy in general, La Mer has always eluded me....I've never come to grips with it. Your videos always inspire me to listen again
Hi Dave- to my knowledge Debussy didn't add the cornet fanfare parts, he actually removed them. The story goes that someone mentioned to him that they sounded a lot like Puccini, and Debussy was so offended by the comparison that he took them out. God knows if it's true, but it's a good story! Cheers- love your channel.
That's very interesting--I always thought it was the other way around, probably because they get "added" in the recordings that have them. Thanks for setting me straight!
The fanfares were not written for cornets, which do not appear in the score, but for four horns and two trumpets. Personally, I insist on them, and their absence is a deal breaker for me.
I totally second that, Martinon is the champ here. The Martinon CD box you mention is cleared off from hiss and hum but not the HD version. I bought the HD (24bit/96kHz) version - it sounds better than the CD box and I cleared the hiss and hum with Steinbergs WaveLab software and enhanced the highs and bass a bit - now it sounds marvelous! The recording quality is superb, more 3D than any other recording of Debussy I know.
I love your reviews, and I agree that the Martinon is very special. Have you heard Van Beinum with the Concergebouw, Monteux with Boston, Desormiere with the Czech Phil., Cantelli with the Philharmonia, and Munch with Boston or the ORTF? I've listened to practically every recording of this masterpiece and think these six are worth special mention; I'm especially surprised you didn't mention the Monteux or the Munch outings.
Thank you for your kind endorsement. As I have said previously, I am not trying to be comprehensive when dealing with a work that has been recorded dozens and dozens of times. That's not practical. I stand by my recommendations based on a range of criteria that I believe offer a representative sample. That fact that I leave something out does not mean I don't like it, haven't heard it, or that it wouldn't make "the list." I just felt that enough was enough. I have heard the recordings you list. I like some, and dislike others. My overall preferences are as stated in the video.
This is a delightful short survey of La Mer recordings and a wonderful way to encounter your RU-vid channel. I would love to hear more of your thoughts on Leopold Stokowski in a future commentary. Perhaps, from time to time, you would enjoy focusing on just one conductor or instrumentalist and highlighting some of his or her best recordings, best recordings in a certain repertoire (Stokowski in Wagner, Toscanini in French music or opera, and so on) and occasional calamitous failure. Some of us are devoted to the giants who recorded prior to the arrival of stereo, so don't hesitate to include the odd mono gem for inclusion.
There are some very fine recordings of "La Mer" and a whole bevy of ones that are just "meh" ... but if forced to take just one with me to that proverbial desert island, for me it would have to be Paul Paray's recording (Mercury Living Presence, 1955 stereo). Gotta love that sea-spray in the second movement -- and how about those final measures in the last movement -- guaranteed to give you goosebumps!
Enjoyed your review. I agree entirely on the Martinon version. He was a terrific conductor on French music and underappreciated, perhaps because Solti followed him in Chicago. As to Boulez, I know only one version, and it's very good (Cleveland?) but definitely #2. Surprised you didn't discuss Toscanini, who could whip up quite a frenzy.
I have had the 1955 recording by Paray and the 1956 recording Munch for decades; I'll have to look for the recording by Martinon. I have admired his recordings of other orchestral works by Debussy.
Stokowski's recording is tremendous and coupled with a thrilling Daphnis Suite No.2. Another recording of that same coupling comes from Sinopoli and the Philharmonia. Yes, speed can be a drawback but I have never heard such a climax as he delivers in the final pages of the first movement, you really can feel those waves crashing! Barenboim doesn't do a bad La Mer either.
I'm not a sycophant of conductors, but I like everything I've ever heard with Martinon. Would you consider doing a feature on the Martinon/Chicago/RCA box?
The Debussy Edition is available on iTunes at a very good price still. A question please , Dave. Is there anyone comparable to the Kontarsky piano duets? I can’t find anything vaguely as good for comparison. Thanks for your fantastic work!
Is that that one coupled with his Mahler 2nd on cd? To be honest I couldn't get along with either performance but I'd be interested to know what you like about it specifically? Thanks
@@curseofmillhaven1057 Yes, that's the one, recorded live at the Lucerne festival in 2003. You better ask me what I *don't* like about it, which is not much honestly! The orchestra is top notch with some really famous names in it. The music making is really inspired and colorful, well-balanced, there's great attention to complex rhythmic details and balance of sound without ever losing track of the evocative, dramatic quality of the music. Abbado is just in great form here IMO.
@@pianopera Thanks for the detailed reply. It's interesting how people sometimes react so differently to performances - I actually think that's all to the good, as there nothing more boring than homogeneity of opinion and not particularly healthy. It's a been long time since I last heard these performances but from what I remember, they struck me a bit fussy, and fixated on detail at the expense of the whole. Certainly the Debussy suffered less than the Mahler, but there were still balance issues - for example the brass seemed really reticent in places, and Abbado made some weird tempo choices which didn't seem always effective in my opinion. However you've really encouraged me to get it down off the shelf and give it a re-listen! Thanks for that and who knows maybe I'll need to reevaluate! Thanks again
@@curseofmillhaven1057 You're welcome! I think I can understand what you mean with "fixated on detail at the expense of the whole"...it's a question of taste perhaps...I loved the detailed approach and could still hear the long lines. Perhaps the DVD gives a slightly other impression than the audio only CD? Anyway, so many valid approaches with these masterpieces! Cheers
Ah ah! Great! I would bet on the fact that at first place it would has been Martinon :) naturally he is the perfect La Mer interpreter. In my opinion superb performances are also Van Beinum & Concertgebouw, Barenboim & Orchestre de Paris (oh yes, it still sound french), Lombard / Philharmonique de Strasbourg, Ansermet / Suisse Romande and, perhaps closer to Martinon's view, Paul Paray with Detroit Symphony: wonderful! I always thaught that La Mer is the most "Franckian" of Debussy's compositions and I noticed also a Puccinian influence...are you agree?!
I often dislike the way the timpani stroke at the end sounds distant and out of focus. Interestingly all 3 Cleveland orchestra recordings (Szell, Maazel and Boulez) capture this moment well
Regarding glock vs celesta, one difference is that they play in different octaves, so a glockenspiel w hard mallets will stick out more. I usually change mallets for different passages, and if I have a low F, which not all glockenspiels have, I’ll play certain passages an octave lower, where the celesta would play, but with harder mallets it will come through differently. Just saying.
Hi David, I just wanted to say that I really enjoy your insights and recommendations. I just started listening to the Martinon, and what a treasure this recording is! Possibly the most 'sea-like' La Mer out there. As for my own pick, I would like to highlight Van Beinum's 1950s recording with the Concertgebouw. It has withstood the test of time remarkably well, both in terms of interpretation and engineering. Also, on an unrelated note, I would be very interested to hear your recommendations for which Mahler 2nd recording to listen to. I often find one recording doing one particular thing really well, but failing in other departments. It makes me doubt whether one go-to recording even exists. I'd love to be proven wrong though! Greetings from Italy.
Thank you very much. I also think Van Beinum is excellent. Mahler 2 will be the subject of another video in due course. I have to really think about it because, as you say, there's so much to get "right." Does anyone do it all? I'm not sure either.
Muchas gracias para su pregunta. Creo que Gergiev es un artista con mucha energía, pero no tan mucha profundidad. Además, ha hecho demasiados discos mediocres. Estoy muy feliz tener la oportunidad escribir a Usted en Español. Necesito practicar!
@@DavesClassicalGuide Muchas gracias por su respuesta. Es un buen canal el que aporta a RU-vid, creo que su conocimiento es muy importante, espero que sea conocido y seguido por otros, que como yo, nos aproximamos a la música desde un nivel amateur. Post Data: su español es muy bueno, sólo una observación, quizá quería traducir "so much" por tan (so) mucha (much), pero "so much" en español se traduce por tanto (o tanta, tantos, tantas); por ejemplo "Juan tiene tanta (so much) profundidad en la interpretación de..." ¡Cordial saludo!
“Composer writes something for keyboard glockenspiel and some Lang Lang glockenspiel virtuoso figures it out with two mallets” - a story of every. Single. Glock. Audition. Excerpt. Ever.
Stokowski is indeed wacky, but so is late Bernstein and Celibidache! Especially this second one is astonishing here. It is not La mer anymore, it is an Iceberg ;)
As usual, most informative. I have more recordings of this piece than any other: Long Beach SO,J.Falletta Southwest German RO Baden-Baden,E.Bour Singapore SO,Z.Long Ulster O,Y.Tortelier RSNO,S.Deneve SRO,E.Ansermet SRO,E.Ansermet Montreal SO,C.Dutoit LSO,L.Stokowski BPO,H.Karajan BPO,H.Karajan BPO,H.Karajan BPO,H.Karajan Cleveland O,P.Boulez RCO,E.van Beinum Cleveland O,L.Maazel PCO,C.Silvestri Munich PO,S.Celibidache LSO,A.Previn LPO,S.Baudo LAPO,E.Leinsdorf Orchestre de Paris,J.Barbirolli Halle O,M.Elder Orchestre National de Lille,J.Casadesus Boston SO,C.Munch SRO,E.Ansermet DSO,P.Paray Royal Concertgebouw O,B.Haitink Concertgebouw O,B.Haitink Philadelphia O,E.Ormandy Boston SO,C.Munch Boston SO,C.Munch CSO,F.Reiner New Philharmonia,P.Boulez BSO,C.Munch Cleveland O,G.Szell Philadelphia O,E.Ormandy Cleveland O,G.Szell Czech PO & Chorus,J.Fournet Cincinnatti SO,P.Jarvi Philharmonia O,G.Cantelli BPO,H.Karajan Philharmonia O,C.Giulini FNRO,J.Martinon
Wonderful Mr. Whittle! You are unbeatable! I have only 22 CD/SACD and DVD, Bluray versions. I see you possess the Jean Fournet version with the Czech Philharmonic as well, what do you think about it?
Alfred von Suppé just heard it. Though it’s always a pleasure to hear the Czech Philharmonic, the performance and sound were nothing special. The performance lacked some excitement and majesty.
All the above suggestions are great. But I still prefer Roger Désormiere!!! And in the modern Abbado wtih the Lucerne Festival Orchestra is out of this world. And a live concert with the Montreal Symphony Orchestra conducted by Charles Dutoit had put me on cloud 9.
Stereo Review was really pushing the Boukez Debussy recordings so I bought a couple. Afternoon of a Faun is just great. Such lucid sound quality and those bells at the end are to die for. But I did not care for the La Mee because the sound was so dry! Ironic huh! Awful. Then Images. Loved it! Oh well.
This was a great favorite of Toscanini. In his 1953 rehearsal (link below), he stops the orchestra and spends a couple of minutes with the cymbal player ( 7:20 mark) to get it to sound "more like water." ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5s903i6yRbI.html
