Harrison/Elgar is indeed splendid, and I'm surely scrupulously faithful to Elgar's conception apart from the tuba being rather more active than the score indicates! I will continue to listen to Du Pré and Barbirolli though (both in the studio and live in Prague) for more or less the same reason I listen to, say, Furtwängler's Beethoven, which when all is said and done boils down to: I'm pretty sure that's not what the composer expected or even meant but gosh it's good.
I'm always a little disappointed though that in the Larghetto of the second symphony Elgar himself seems to be the only one who has some of the string surges go in tempo, especially in the bar after figure 85 heading up to the climax. Extremely effective just as it stands and by comparison the usual slowing down just weakens the gesture for me.
I'm always a little disappointed though that in the Larghetto of the second symphony Elgar himself seems to be the only one who has some of the string surges go in tempo, especially in the bar after figure 85 heading up to the climax. Extremely effective just as it stands and by comparison the usual slowing down just weakens the gesture for me.
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