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Our Summer BAL no. 22: Beethoven's Fourth Symphony
Ok then: let's take the first movement. What are the issues? What is it about your favoured versions ?
Can anyone 'show their working' ?
Richard Osborne's sleeve note to the DG Accolade LP issue of the Beethoven 4 is a thing of wonder in itself and wish I could reproduce it all here. His description of the very opening 'the waters move strangely over the face of the earth' gives you a flavour. Of this opening movement RO goes on to say: '[it is] richly various, a movement that is both expansive and abrupt, playful yet controlled, skittish yet inveterately responsible, exuberant yet given to moments of hypnotic quiet. Shakespeare's Peter Quince's guileless phrase "very tragical mirth" would suit the music well'.
Don't you just wish you could write about music like this? Makes me want to play it right now!
The timpani play a vital role in this movement and Karajan gets it spot on.
"The sound is the handwriting of the conductor" - Bernard Haitink
This symphony has always held a special place in my affections as it was the first symphony by anybody that I heard live (RPO/Kempe, 1972) I recently bought the CD of Kempe's Munich PO account of this wonderful score set down at roughly the same time but my all time favourite just has to be Karajan's 1962 recording. Simply perfect
In fact, the first recording I ever bought of it, Karajan from 1977, is about to released with its original artwork when the mammoth 1970's volume of Karajan's is released on Monday!
Already picked up the Karajan 1970s recordings box - actually the Korean version (as I live in Australasia). Many of the recordings have been specifically remastered for this release. Whether the international version has the same remasterings, I do not know...
I am very impressed with the sound on other remastered CDs in the set, namely the Bruckner (pre-1980 ones) and Beethoven symphonies. The Mahler 5 also sounded great, though not heard that previously (or the studio Mahler 9, also in the box).
'Not too loud on the banjoes here, Herbert...' (with apologies to Eric Morecambe):
I've also just listened to the Liszt transcription of No 4 by Cyprien Katsaris. Remarkable performance, right from the mysterious beginning. There are always new details to be heard in these "living room" versions.
I've also just listened to the Liszt transcription of No 4 by Cyprien Katsaris. Remarkable performance, right from the mysterious beginning. There are always new details to be heard in these "living room" versions.
I think I will follow your example, though I await the eventual release of Yury Martynov's recording of the Liszt transcription played on an 1837 Erard with bated breath. His 1, 2, 6 and 7 (those so far released) are very much to my taste.
.... Yury Martynov's recording of the Liszt transcription played on an 1837 Erard with bated breath. His 1, 2, 6 and 7 (those so far released) are very much to my taste.
... yes, I have been much enjoying 1, 2, 6, 7, - and hope we will be getting the others in due course....
I'd like to have a complete cycle on period instruments. My only HIPP recordings are all on modern(ish) instruments - Harnoncourt's cycle, and two discs each from Dausgaard and Jarvi. Would Krivine be your overall recommendation, Bryn?
For 20th century traditional, yes, Cluytens (far, far preferable to Herbie with the same orchestra a little later, to my ears), but for me the 'winner' has to be Krivine. The YouTube performance is a later one than those used for the CD issue but it gives a fairly good idea:
I'd like to have a complete cycle on period instruments. My only HIPP recordings are all on modern(ish) instruments - Harnoncourt's cycle, and two discs each from Dausgaard and Jarvi. Would Krivine be your overall recommendation, Bryn?
It's only fair to say that I would not want to be without Immerseel and the Anima Eterna, or both the Brüggen sets, but if I had to limit myself to one HIPP set it would indeed be the Krivine (now again generally available, I think, after the original run quickly sold out). I was put on to the set by fellow contributors to r3ok.com, and am very grateful to them for the tip. The CDs draw from a number of live performances and generally observe more repeats than the YouTube offerings. The sound is, of course, very much higher fidelity than YouTube can offer.
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