Originally posted by Caliban
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Weller is complete and part of a double Australian Eloquence of all 3 syms, I had the LP years back - v good. The Sanderling has minor cuts in finale but despite that a long-term favourite by which I got to know the work. I think P Katin over-condemning. -
I haven't yet had a chance to listen to this week's BaL: I hope to catch up before it expires... Did WM mention the Jansons/St Petersburg? I do like the 1st Symph in that set: haven't listened as much to his 2nd.
Yes, the Weller is complete (and the Sanderling isn't). I've got the former, and like it a lot. The American (but based in the UK) conductor Ken Woods writes a nice blog about conducting: he makes a point of not passing judgments on living conductors, but made an exception for Weller in this post.Comment
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Exactly what I thought. I somehow don't find the passion that I hoped for; the strings in particular are almost business-like. I can't remember the earlier recording, which was full of cuts which Previn told me were authentic. I think for now I will throw in my lot with Pappano's live version.Originally posted by Panjandrum View PostComment
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But I'm not condemning! I prefer to hear the whole work. The 3rd concerto went through this phase but it didn't do the structure any good.Originally posted by cloughie View PostComment
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A friend who is a player of the French horn and has some experience of recording orchestral ensembles commented to me this weekend that his big reservation with the Previn / LSO recording is the string-saturated recording. Occasionally in tutti passages you can hear from the sound they make that the horns are absolutely belting it out, yet, as recorded one can only just hear them against the rest of the orchestra.
I've known the recording since the mid 70s and never spotted this, although do appreciate hearing other performances as one can hear other things from the more rearward portions of the orchestra - especially since playing trombone in the piece (in an orch with said friend in fact).
Any comments, particularly from our horn playing fraternity here? Waldhorn (I think the friend in question is a mutual friend!
)? 
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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And any comments, please, about the later Sanderling recording with the Philharmonia? I was much impressed by the opening excerpt played.Comment
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I've known the LSO/Previn recording since 1977 and I can't say I've noticed the horns at a sonic disadvantage. If memory serves, the original Gramophone review (by Edward Greenfield) specifically mentioned the glorious horn playing and I'd agree. Better played and recorded than most I'd say.Originally posted by Caliban View PostA friend who is a player of the French horn and has some experience of recording orchestral ensembles commented to me this weekend that his big reservation with the Previn / LSO recording is the string-saturated recording. Occasionally in tutti passages you can hear from the sound they make that the horns are absolutely belting it out, yet, as recorded one can only just hear them against the rest of the orchestra.
I've known the recording since the mid 70s and never spotted this, although do appreciate hearing other performances as one can hear other things from the more rearward portions of the orchestra - especially since playing trombone in the piece (in an orch with said friend in fact).
Any comments, particularly from our horn playing fraternity here? Waldhorn (I think the friend in question is a mutual friend!)? "The sound is the handwriting of the conductor" - Bernard HaitinkComment
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I agree about not cutting the works . Did you ever record Rach 3 ? ....I grew up with your recordings of the 1st and 2nd concertos on Decca , I still love them.!Originally posted by Peter Katin View PostComment
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Enjoying the Kletzki at the moment - for want of a better description I like the balance that the slightly lemony Suisse Romande strings give .Comment
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I don't think you do "want for a better description", Barbi - if you mean a slightly "tart" tang to the sound which perfectly balances the composer's more "sugary" harmonies, then you've expressed it perfectly.Originally posted by Barbirollians View Post
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]Comment
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Would "Sawtooth" be a more apt description I wonder ?Originally posted by ferneyhoughgeliebte View PostI don't think you do "want for a better description", Barbi - if you mean a slightly "tart" tang to the sound which perfectly balances the composer's more "sugary" harmonies, then you've expressed it perfectly. Comment
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Good heavens no !
What I was trying to get across is summed up well by FHGL. There is an astringency to the string sound that in no way is vinegary or sour.Comment
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I've always liked the Kletzki and I think it was probably the first 'complete' recording. I often wonder if Walter Weller's recording of the 1st with the SRO was originally scheduled for Kletzki - it took place around about the time of his death!Originally posted by Barbirollians View PostComment
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#50 Roehre
"... sleeve ... proudly announcing (in German) this was an uncut version ... Never seen this with English sleeves though."
I have the English HMV LP of this work (ASD 2889) and it states "(complete version)" front and back, with a note by Previn on how much he and the LSO love playing it. The main sleeve note, c. 1973, is by Edward Greenfield.Comment
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23.-6.12 - 9.30am Building a Library
Another chance to hear William Mival with a personal recommendation from the available recordings of Rachmaninov's Second Symphony.
According to the new listings on the BBC website, this week's BaL is a repeat.Comment
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