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Rather you didn't. I can find nothing to admire about a recording which seems so clueless. It is almost as if he had recently listened to Richter's glacial tempo in the first movement of Schubert's D960 and decided to take it out on Elgar.
Originally Posted by Hornspieler
Total agreement EA. Like Walton, the first symphony was written from the heart - something that just had to come out.
The second symphony, wonderful orchestral rk though it is, was written because Elgar's admirers wanted more and Elgar obliged with a very fine symphony, but without the emotional content of his first. (Again, I feel, as is the case with Walton's 1st and 2nd)
HS
I find myself in agreement with you in this, HS. It's no great disparagement to the Second to recognise that it is not really up to the magnificent standard set by the First. In the 1-9 thread I was very much torn between the Walton and the Elgar as my prime choice for a 1st symphony. I do admire the Elgar Second, but it has never quite had the impact on me that the First has (the latter especially, but not exclusively, when under the baton of Sir Roger Norrington).
Speaking as a player, there are certain works where the emotions of the composer affect ones playing.
Wagner's "Liebestod", Puccini's final Acts of "La Boheme" or "Madame Butterfly", Mahler's "Kindertotenlieder" or the last bars of von Flotow's "Martha" (we discussed this subject on another thread). When playing a solo passage, one feels that emotion, somehow wants to give more - in some ways almost feels inadequate and despairs of ever achieving that ultimate interpretation.
I always felt that way when playing Walton's and Elgar's First Symphonies, but never when playing their Seconds, although, technically speaking, both of those are more demanding of a horn player.
So for me, Elgar wrote two great symphonies and I cherish them both but for different reasons.
I find that too, whjen I am playing with a brass band or ochestra, HS. I get involved with the process of what the composer wrote, in this case the music of Elgar. You dont just play the notes, I think you give your body and soul to the music.
Don’t cry for me
I go where music was born
J S Bach 1685-1750
Yes indeed, Sir Mark and the Halle truly understand Elgars music. Also full marks for their Alassio 'In the South', bringing out details and nuances that are lacking elsewhere.
Yes, I rate this In the South as at least as good as Silvestri's...
I find that too, whjen I am playing with a brass band or ochestra, HS. I get involved with the process of what the composer wrote, in this case the music of Elgar. You dont just play the notes, I think you give your body and soul to the music.
(this relates to the thread about Britten and Wagner)
how much of this , would you say, is to do with things inside the specific piece of music, the order of the pitches and their relationships etc
and how much to do with things that are outside that specific piece ?
Rather you didn't. I can find nothing to admire about a recording which seems so clueless. It is almost as if he [Sinopoli] had recently listened to Richter's glacial tempo in the first movement of Schubert's D960 and decided to take it out on Elgar.
Not happening for me.
I would agree with you about Sinopoli's No 2, but actually his No 1 is very good - in fact it is my favourite for the work.
(this relates to the thread about Britten and Wagner)
how much of this , would you say, is to do with things inside the specific piece of music, the order of the pitches and their relationships etc
and how much to do with things that are outside that specific piece ?
The whole point I think is how it effects you, when your playing, say, with pitches, I think that this depends on a harmonic progression that a composer has written, like in the slow movement of Elgar's 2nd symphony(although I know not much tuba writing here), but when your involved inside the music making I sometimes get carried away with the ,music and forget where i am and just let the music take me somewhere else?
Don’t cry for me
I go where music was born
J S Bach 1685-1750
No, but it's not the first. Novellos published a solo piano arrangement by Karg-Elert at the time. It's virtually unplayable. They did the same with the Second Symphony.
No, but it's not the first. Novellos published a solo piano arrangement by Karg-Elert at the time. It's virtually unplayable. They did the same with the Second Symphony.
That recording is of the Karg-Elert arrangement. I have it and he did a fine job. It was Elgar who recommended Karg-Elert for the job IIRC.
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