BaL 18.01.20 - Beethoven: Symphony no. 1 in C, Op.21

[verismissimo]

Of the 13 recordings that I appear to have, so far I've re-listened to 5 of them: Cluytens (1961), Konwitschny (1963), Karajan (1963), Bruggen (1985) and Zinman (1998).

Quite surprisingly (to me), the dullest (by far) is the Bruggen and the most inspiriting (by far) is Zinman with the Tonhalle.

[verismissimo]

I've now re-listened to another 5 firsts: BBCSO/Toscanini (1937), VPO/Furtwangler (1956), Columbia SO/Walter (1959), Staatskapelle Dresden/Blomstadt and Leningrad PO/Mravinsky (1982). What an array (and a privilege)!

Of those, it was the Toscanini that really hit the spot, but, of the ten I've reviewed this week, it's still Zinman for me. Full of life and joy. All the repeats. And wonderful recording.

[visualnickmos]

I've now re-listened to another 5 firsts: BBCSO/Toscanini (1937), VPO/Furtwangler (1956), Columbia SO/Walter (1959), Staatskapelle Dresden/Blomstadt and Leningrad PO/Mravinsky (1982). What an array (and a privilege)!

Of those, it was the Toscanini that really hit the spot, but, of the ten I've reviewed this week, it's still Zinman for me. Full of life and joy. All the repeats. And wonderful recording.

Indeed; Zinman's is a real joy to listen too. In fact, I listened a few days ago (n°1) and so enjoyable was it, that it seemed over too quickly! His complete cycle is (I think) a real gem in realm of LvB symphony cycles.

[BBMmk2]

I have
Karajan(1962)
Abbado(2008)
Harnoncourt(from complete orchestral music)
Rattle(Wiener, 2002)
Mackerras

[Oakapple]

The recordings I have are

Zinman, Tonhalle
Masur, Gewandhaus
Schuricht, VPO
Rattle, VPO
Immersel, Anima Eterna
Karajan, BPO (1984)
Cluytens, BPO
Reiner, Chicago SO

I would not be without the Zinman, though it can feel a little too hard driven at times.
The Schuricht I bought on a Decce Eclipse LP because, like someone else here, I was studying it for music O-level. For me it lacks a spring in its step which I think should pervade this symphony.
The Immersel is a little disappointing because it doesn’t have quite the fresh approach the other symphonies have in his complete cycle.
I should like to put in a good word for the Reiner, though. Difficult man though he was, he brings out a lot of the joy in this work.

[jayne lee wilson]

I've now re-listened to another 5 firsts: BBCSO/Toscanini (1937), VPO/Furtwangler (1956), Columbia SO/Walter (1959), Staatskapelle Dresden/Blomstadt and Leningrad PO/Mravinsky (1982). What an array (and a privilege)!

Of those, it was the Toscanini that really hit the spot, but, of the ten I've reviewed this week, it's still Zinman for me. Full of life and joy. All the repeats. And wonderful recording.

Gosh yes, I overlooked the Zinman in my earlier summary #49, outstanding in the first 4 symphonies & No.8 at least, but especially 1 and 2....would be interesting to compare this with the DCO/Adam Fischer........Toscanini? NBC/1939 for me (see above).... but The Real Life keeps getting in the way of extensive comparative listenening...
Good reviewer for this BaL though.... high hopes.

[BBMmk2]

I haven’t come round to listening to the Zinman yet, shock! Horror!

[Alison]

A superior BaL by the standards of the day.

No argument with the winner, much enjoyed in my household over the last few weeks.

Good descriptions of the music and the special features of extracts played.

Maybe the Karajan bashing needed toning down; that extract was perfectly enjoyable in its own right.

[Barbirollians]

I only caught the end no surprise at the narrow range of the final choices.

[ardcarp]

Richard Wigmore seemed in charge for the most part. I always ponder on the incredible agility of modern performances both period and otherwise. Would Beethoven really have experienced such fleet of foot? And does it matter?

[Ein Heldenleben]

I thought the presenter had really mastered the art of saying a lot in a few words and had a lively idiomatic turn of phrase. I wonder if there should have been more Fischer examples . I hadn’t picked up on the need for Violins divided left and right so this BAL had the added benefit of confirming my system is set up correctly. I was surprised at the narrowness of the stereo image on the Gardiner and (highly praised ) Chailly recordings . No quibbles with the winner.
Referring to upthread comments on the blurb surely both Zinman and Fischer can be considered “grizzled maestros”?

[HighlandDougie]

Richard Wigmore seemed in charge for the most part. I always ponder on the incredible agility of modern performances both period and otherwise. Would Beethoven really have experienced such fleet of foot? And does it matter?

I don't think that it does greatly matter when faced with such nimble performances as we heard from the short list of the short list this morning. I really enjoyed Richard Wigmore this morning. Maybe it was his authoritative manner which kept AMcG under control but no complaints about any of it. It's just possible that there has been a higher-level "discussion" with AMcG and the dissatisfaction, not just on this board, with his interjections. I know from an acquaintance who, as an old friend of Alan Davey, raised his strong preference for a return to the old format with him. AD's response was that he - AD - also liked the the former approach but that AMcG ("likes talking") and, as they were described, "the children", liked the chatty format. So, it's just possible that AMcG has been allowed to keep the current format but at the price of cutting down the otiose interruptions. Iain Burnside next week, who, to go by an earlier twofer, stands no nonsense from the host. Whatever, AD is certainly not impervious to the general unease about "Building a Library" having become a pale shadow of its former self.

[Eine Alpensinfonie]

I hadn’t picked up on the need for Violins divided left and right so this BAL had the added benefit of confirming my system is set up correctly.

I've said this before, but I think the left-right thing is often over-egged. It's barely discernible in the concert, unless you're sitting right at the front (or conducting). On recordings, it's more obvious when close multi-miking is being used.

[Pulcinella]

I've said this before, but I think the left-right thing is often over-egged. It's barely discernible in the concert, unless you're sitting right at the front (or conducting). On recordings, it's more obvious when close multi-miking is being used.

Is that really the case, Alpie (just asking, not wishing to be contrary)?
I would have thought that it had an effect on the aural/tonal spectrum throughout the hall.

[Ein Heldenleben]

I've said this before, but I think the left-right thing is often over-egged. It's barely discernible in the concert, unless you're sitting right at the front (or conducting). On recordings, it's more obvious when close multi-miking is being used.

You’re right about left and right being only perfectly discernible if you are central- depending on the acoustic the further back you get the more difficult it is to pick up directional information because you are hearing more reflected sound . I tend to sit very near the front on left side because I’ve found it’s the only way of really hearing the woodwinds in most concert halls and I don’t like an overly heavy bass sound . On the recording side I would have thought a well placed co-incident pair should be enough to pick up left and right without the need for multi mic-ing. On that note congrats to the sound engineers on the vintage Toscanini recording - the woodwind was beautifully clear. I guess they were spot miked?