I wonder if this is a similar effect as the “classic white marble” impression of Greek & Roman architecture - we have an entire aesthetic (both artistic and cultural) built off of the “purity” of the white marble remains; meanwhile it turns out in their time they were garishly colored and decorated because the Greeks and romans, like all other humans, actually enjoyed living in places and looking at things.

It's quite similar. There's definitely a "white marble effect" coming from the original sources, that tend to be a very barebone notation of the music with basically no indications on how to perform it. But we know from written discussions that creative improvisation was key to performance in that era, and regarded as the very peak of music instruction even more so than composition itself! Sometimes we get lucky and have more detailed sources, that tell us how some pieces might have been performed in detail.

That’s a great point.

I wonder if in future there will be slow, dignified recordings of Nicky Minaj et al

Exactly! Furtwängler is just Beethoven chopped and screwed

You can find those all over Spotify already ;) More so if the artist does not have any music on there.

Between the two examples, the historical style feels much more alive, vibrant, dynamic. There's a real energy there.

I went back to the Furtwängler version and it felt like what my mind feels like when my depression kicks in. It's flattened out and lethargic, like it's lost the will to live.

I'm no classical music connoisseur, I rarely listen to it. But the difference is night and day to my untrained ears. One is boring and the other captures my attention.

I went to a performance by the Seattle Symphony back when Gerald Schwartz was conducting and he managed to make Beethoven's 9th symphony sound dull. It was an impressive feat. He explained, for reasons I've forgotten, that he even muted the violins. I went to a second performance a few years later by the same conductor, and it was equally devoid of spirit. It was enervated by far more than just the plodding tempo.

On the other hand, John Eliot Gardiner's Orchestre Révolutionnaire et Romantique plays Beethoven on period instruments at the tempo the composer indicated, and it's absolutely gripping.

I was with you up until you mentioned Christoper Hogwood. Not that there's anything wrong with him just that that wouldn't be the first name to pop up in my head when I think music vs 'stodgy music for wealthy old people'. It makes me think what you're trying to say in so many words is that you prefer music played on period instruments using something close to the orchestra that would have been available to the composer in their own time. That would limit you to music from sometime before the mid 1800's since composers since then pretty much have had the modern orchestra we have today so 'period' orchestras would be anachronistic and not what the composer intended. If you like period orchestras you should check out recordings of the Philharmonia Baroque Orchestra in San Francisco. They also play 'Hogwood' style on authentic period instruments.

I have [this CD](https://www.allmusic.com/album/vivaldi-the-four-seasons-conc...) from 1990 of Vladimir Spivakov and the Moscow Virtuosi playing Vivaldi's Four Seasons. I have never heard a version of the Four Seasons that was so vibrant. Unfortunately I've never been able to find the exact recording on a streaming service, but I cherish that album.

As someone who doesn't listen to classical music, I'd say I prefer Furtwängler's recording to your other link. It sounds more epic, like an action movie, while the other one sounds more like the backdrop to some village festival. But I was surprised for sure how different the two sounded, and that's not something I had ever really considered before, so thanks for showing me this.

I totally agree with this. I used to listen to a lot of classical music (radio, vinyl, in concert). There seems to be something about the mid-20th century conductors where all their recordings are slow, ponderous and somnolent. Beethoven in particular, but many other composers get the same treatment. Hogwood's recordings are great. IMHO the best recording of Beethoven's 9th that I've heard is Leonard Bernstein's.

How is Bach routinely butchered, and do you have recommended recordings of Bach's keyboard works (let's say WTC and the inventions/sinfonias)?

Maybe try Nikolayeva's recordings?

WTC: https://www.youtube.com/watch?v=sNpwAZf6thY

Inventions and sinfonias: https://www.youtube.com/watch?v=_bL7oyuqEwA

Lots of people recommend Gould in this thread. Check out the difference of the first invention in the link above with the first invention of Gould, and see what you prefer: https://www.youtube.com/watch?v=vQot-jM6FSw

I don't have an opinion about whether anyone has butchered Bach or not, but, after listening to a half-dozen interpretations of the WTC (all on piano), I find that I like Zhu Xiao-Mei's the best.

Harpsichord parts played on piano...

Glenn Gould was unsurpassed.

It's indisputable that he was a virtuoso on the keyboard, but unfortunately he accompanied that with annoying humming that many recordings pick up way too much of.