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I rather like Richard Hickox's Dream of Gerontius, I also Have Marki Elder's The Apostle's and Barbirolli's doG,a s well, ah let alone those reocrdings on the EMI Elgar's Collection!
Donโt cry for me
I go where music was born
J S Bach 1685-1750
I rather like Richard Hickox's Dream of Gerontius, I also Have Marki Elder's The Apostle's and Barbirolli's doG,a s well, ah let alone those reocrdings on the EMI Elgar's Collection!
Gerontius was a work that remained a closed book for me for many years until I heard (then bought) the Hickox recording. It was, for me, as if a light had been shone on a dark corner.
Frankly, I was put off it after the Prelude where Britten re- writes the timpani part to spill over the bar lines. And, in my opinion, Peter Pears sounds more constipated than usual.
My favourite in the recorded performance by Sir Malcolm Sargent with Heddle Nash, closely followed by the Britten and the two recordings by Barbirolli (with Richard Lewis and Jon Vickers), Lordgeous
My favourite in the recorded performance by Sir Malcolm Sargent with Heddle Nash, closely followed by the Britten and the two recordings by Barbirolli (with Richard Lewis and Jon Vickers), Lordgeous
yes ams.heads up for Heddle. Hearing him first and LIVE, he will always be Gerontius to me. Richard Lewis with Sargent [1954] my second choice.
It's there as my number 1 version in the opening post.
It's only drawback is some nasty overloading in the Demons' Chorus by the normally excellent Decca engineers. The interpretation is magnificent and all three soloists are excellent. Barbirolli's is a close runner-up though.
It's there as my number 1 version in the opening post.
It's only drawback is some nasty overloading in the Demons' Chorus by the normally excellent Decca engineers. The interpretation is magnificent and all three soloists are excellent. Barbirolli's is a close runner-up though.
It is good. If only Britten hadn't chosen to rescore the Prelude. It was all based on a faulty understanding of Elgar's squiggles for bass drum rolls. Britten had seen the autograph score and believed that Elgar's rolls actually crossed the barline. Well, the trill sign does, barely. But you only have to listen to Elgar's live recording from the RAH to know what was intended.
Interesting. Also interesting that he chose to record it at all, or was Pears influential in that respect? I was brought up on the Sargent but thrilled by the Britten on first hearing. Re the Prelude, did I read somewhere that there were many, many takes of it before Britten was satisfied??? Sorry I didnt notice the first recommendation E A.
Interesting. Also interesting that he chose to record it at all, or was Pears influential in that respect? ...
There had been a televised performance from Canterbury Cathedral, conducted by Boult, with Peter Pears (and Janet Baker?) and the story was that Britten was impressed and wanted to make a recording.
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