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You know the true music lovers
They'll go to the Met for Wagner but will skip La Boheme
Those who understand how important Arturo Toscanini’s recordings of the Beethoven symphonies are aren't bothered by monoaural sound and scratchy backgrounds.
I want to take a moment here and thank all the true connoisseurs of classical music. They are out there fighting the tide that continues to rise across our current zeitgeist.
I'm not talking about those souls who listen to classical music “to relax.” To those cultural tourists, I'm tempted to say, “Get the f-outta here with that weak shite.” However, I would never say that to anyone who at least visits the classical realm from time to time.
No, I'm talking about those true champions. I’m talking about the people who know that the conductor Bruno Walter was a student of Gustav Mahler and that Mahler was a student of Anton Bruckner and therefore, one should give Walter's recordings of Bruckner a good listening to.
Video:
Bruckner, Symphony No. 9
Bruno Walter, Columbia Symphony (1959)
I'm talking about those who have a favorite recording of Richard Wagner’s Parsifal and it is the one conducted live at Bayreuth by Hans Knappertsbusch. I'm talking about those who know and love the Act I recording of Die Walkure Lauritz Melchior and Lotte Lehmann as conducted by Bruno Walter. They know Jonas Kaufmann is OK as a heldentenor, but he's no Melchior.
I'm referring to those who understand how important Arturo Toscanini’s recordings of the Beethoven symphonies are. They aren't bothered by monoaural sound and scratchy backgrounds. They recognize what's happening in the music.
These rare few keep the fire of tradition burning. They're not impressed with gimmicks such as augmented reality goggles at Bayreuth.
These are the people who are going to plan a trip in the Spring of 2026 around Lise Davidson’s performances of Wagner's Tristan und Isolde at The Met. They might also visit in the fall of 2025 to hear the production of Umberto Giordano’s Andrea Chenier. They know productions of that warhorse don't come around that often. LA Boheme is playing at the same time. They'll skip that because do they really need to see Boheme again?
Bayreuth 1959, Parsifal, Act I
Knappertsbusch
These are the people who can pass the fire down to the next generation. With the demise of physical recordings, it's difficult for upcoming generations of aspiring classical music mavens to find the titans of the past.
Once upon a time, you could flip through recordings at the record store and at least see the names of previous masters. You could look through Bach Cello Suites and at least see the name Pablo Casals. You could go through Beethoven’s piano music and at least see the name of Wilhelm Kempff.
To all who are out there passing on their knowledge–that far exceeds mine – I thank you.
Here's something you might be interested in.
You know the true music lovers
They'll go to the Met for Wagner but will skip La Boheme
You know the true music lovers
They'll go to the Met for Wagner but will skip La Boheme
Those who understand how important Arturo Toscanini’s recordings of the Beethoven symphonies are aren't bothered by monoaural sound and scratchy backgrounds.
I want to take a moment here and thank all the true connoisseurs of classical music. They are out there fighting the tide that continues to rise across our current zeitgeist.
I'm not talking about those souls who listen to classical music “to relax.” To those cultural tourists, I'm tempted to say, “Get the f-outta here with that weak shite.” However, I would never say that to anyone who at least visits the classical realm from time to time.
No, I'm talking about those true champions. I’m talking about the people who know that the conductor Bruno Walter was a student of Gustav Mahler and that Mahler was a student of Anton Bruckner and therefore, one should give Walter's recordings of Bruckner a good listening to.
Video:
Bruckner, Symphony No. 9
Bruno Walter, Columbia Symphony (1959)
I'm talking about those who have a favorite recording of Richard Wagner’s Parsifal and it is the one conducted live at Bayreuth by Hans Knappertsbusch. I'm talking about those who know and love the Act I recording of Die Walkure Lauritz Melchior and Lotte Lehmann as conducted by Bruno Walter. They know Jonas Kaufmann is OK as a heldentenor, but he's no Melchior.
I'm referring to those who understand how important Arturo Toscanini’s recordings of the Beethoven symphonies are. They aren't bothered by monoaural sound and scratchy backgrounds. They recognize what's happening in the music.
These rare few keep the fire of tradition burning. They're not impressed with gimmicks such as augmented reality goggles at Bayreuth.
These are the people who are going to plan a trip in the Spring of 2026 around Lise Davidson’s performances of Wagner's Tristan und Isolde at The Met. They might also visit in the fall of 2025 to hear the production of Umberto Giordano’s Andrea Chenier. They know productions of that warhorse don't come around that often. LA Boheme is playing at the same time. They'll skip that because do they really need to see Boheme again?
Bayreuth 1959, Parsifal, Act I
Knappertsbusch
These are the people who can pass the fire down to the next generation. With the demise of physical recordings, it's difficult for upcoming generations of aspiring classical music mavens to find the titans of the past.
Once upon a time, you could flip through recordings at the record store and at least see the names of previous masters. You could look through Bach Cello Suites and at least see the name Pablo Casals. You could go through Beethoven’s piano music and at least see the name of Wilhelm Kempff.
To all who are out there passing on their knowledge–that far exceeds mine – I thank you.
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