Introduction to classical music # 4: versions, opus 3.

To conclude these entries about versions, I would like to speak to you about two other methods which make it possible to determine the quality of a recordings in classical music: in store listening and, finally, the famous method which is, in my opinion, the most effective.

It is always pleasant to be in the classical music section of a big record store, among salesmen and listening posts. But even if qualified salesmen and the fact of being able to hear music on the spot are major assets, I would like here to underline some of their disadvantages.


First of all, in store listening only makes it possible to listen to extracts, and for a short period of time. Not only is it often impossible to make a fast-forward through the recording with listening posts, but it is not the most comfortable setting. Also, it is highly improbable that they will let you listen to 9 or 10 different recording of the same music, because no record dealer has to unpack all the CD's they have in stock for you.

In fact, I think that in store listening is useful especially when you want to make sure that the title of music you have in your head or on a small piece of paper is the right one.

These disadvantages are about the same ones when you shop for classical music online, like the iTunes Music Store or at Naxos’ site, where it is only possible to hear extracts.

A small note here about salesmen: don't forget that a good salesman can often give the impression that he knows more than what he really knows. If you allow me one advice on the subject: the best way is to often discuss with the salesmen; then, when you find the most qualified one, always refer to him. The more that salesman will get to know your tastes, the more honest and open he will be.

Finally, there is, in my opinion, a way of determining the ultimate version of a classical recording which is the best: first impression. I'm talking here about this particular moment when your hear for the first time a classical piece, that moment when the music literally grabs you. And that will happen to you if you open your ears, I promise! And, ideally, take note of the details for the recording that made you liked the music in question, because it is this version - and only this version - that will give you the same pleasure in listening over and over.

Therefore, in my opinion, the ultimate version of a classical music recording is a matter of luck. This fortunate coincidence usually occurs when you are browsing in a music store when the salesmen play a disc which will make you look up ; it can also occur when listening to a few minutes of classical music on the radio, or when you are with a friend or a relative to whom you asked to listen to his best classical recordings.

Because classical music, like all other kinds of music, is all about emotions...

By the way, essential information to jolt down for a classical music recording are the name of the conductor, the name of the orchestra, as well as the names of the interpreters, if it is a concerto or a vocal piece.

So, next time, I will talk about classical music labels and the wonderful world of disc jackets.

See you next time!

Introduction to classical music # 3: Versions, Opus 2.

The last time, I told you that the great number of versions in classical music raises the following question: how does one knows which is the best version for a classical music composition? Well, I will present here several ways of doing it, but there is a method which is, in my opinion, the best way to go.

First, there are many versions which are considered by critics and specialists as ultimate versions. These are these versions that you will find in lists like the ideal classical discotheque. Of course, these recordings are reliable, but I would like here to add some comments.

For starters, I don’t really like these famous lists of the best recordings of all times; the problem with lists, is that you should always carry them with yourself, and, when one wants to consult them, it is always at that precise moment when one forgot the list at home...

Secondly, it often happens that these ultimate and historical versions were recorded several decades ago, which means that the technical quality of the recording can be disturbing to some.

We can see here a historical recording where Rachmaninov plays his own works, recorded between 1919 and 1929. Stay away from this if you don’t like the scratching sound of old recordings.

Furthermore, I don’t know for you, but I’ve always had problems trusting critics and specialists; their criterias of evaluation are often obscure, and have nothing to do with the simple pleasure of listening to music...

A second way of determining the quality of a version, is to refer to guides, like the Penguin Guide, which is one of the most popular. The advantage of such guides it is that they compare several versions of a same composition, which gives the consumer, I believe, more choice and latitude. Moreover, the majority of record stores have at hand this kind of guide, if you really can’t decide (you can always trust a salesman, but I will talk about this later on).

Pay attention, however, to the country of origin of those guides: for example, a guide made in France will talk about recordings that could be rather difficult to find on the American market.

So, these few methods in order to find the ultimate version of a classical music composition are very popular; of course, we assume here that you already know the music you’re looking for. That brings me directly to what is, I believe, the best way to find the ultimate version for any classical composition…

I’ll talk about it in my next post. Until then, keep your ears opened!

Introduction to classical music #2: Versions, Opus 1.

Yep, you guessed it, I will devote the next entries of my blog to the phenomenon of the versions, phenomenon which is rather unique to classical music (and to jazz, but that it is another history).

And for whoever wants to explore classical music, I believe that it is essential to determine the most significant aspects and impacts of the phenomenon of the versions.

As I said, a single composition can be recorded several dozens of times (and even several hundreds of times), as it is the case for Mozart's Little Night Music, Strauss' waltzes, Pachelbel's Canon, Ravel's Bolero; in short, the compositions which belong to the basic repertory (I will talk about this another time) exist under an incalculable number of versions. For the rest, I would say that more than half of classical music compositions are recorded at least four or five times. In fact, it's especially the more obscure or more recent compositions that are recorded only one or twice.

But the fact of having as many choices isn't always a good thing. When I worked in music stores, I believe that there was nothing worse for the majority of the customers than wanting to buy Vivaldi's Four Seasons. Why? First of all, because any music store worthy of that name must have in stock at least ten or fifteen recordings of the Four Seasons; secondly, because all these versions have something in particular: this one is recorded on period instruments, that one has improvised parts, and so on...

This small collage presents about 20 versions of the famous Four Seasons; this is what I call a huge selection...























You know, I noticed that the fact of gaining access to so many versions almost always led the customers (the beginners like the experts) to raise this same question: how does one know which is the best version, the ultimate version for each composition of classical music?

I'll give you my answer next time!

So take care, and don't be afraid to have a curious ear!...

PS: By the way, the term Opus is simply a way of numbering the compositions; for example, a Symphony #5 Opus 17 means that this symphony is a 17th composition.