Post by nickc December 13, 2005 (31 of 62)
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Edvin said:
I think Haitink´s first recording still sounds very fresh and vital. The second is my favorite of all, both with Concertgebouw.
Speaking of Concertgebouw and applause, the new Stravinsky/Rachmaninov from RCO-Live is terrible in that aspect. The applause bursts upon you even before the music has ended in the Rachmaninov, no tam-tam diminuendo there. The performance is brilliant though.
Just got tho RCO Live Petrushka/Symphonic Dances today-listened to the first half of Petrushka-could have a bit more fire but the Symphonic Dances are fantastic.
Applause does come in fairly quickly but at least the idiot who travels the world shouting BRAVO!!!! a millisecond before the end of the performances wasn't there! Review coming.
Cheers
Nick
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Post by Edvin December 13, 2005 (32 of 62)
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To get back to tream´s original question. I recommended this recording because I don´t think Haitink is able to give a bad Bruckner performance. Haitink knows this piece and the main caveat is that the performance has lost some of its freshness and that the recording itself is quite dull and muffled. But you can´t go wrong with Haitink in this repertory. However, I think we have had enough of his Bruckner by now and maybe RCO-Live could give us some of his Debussy, R.Strauss or Ravel instead.
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Post by nickc December 15, 2005 (33 of 62)
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nickc said:
Just got tho RCO Live Petrushka/Symphonic Dances today-listened to the first half of Petrushka-could have a bit more fire but the Symphonic Dances are fantastic.
Applause does come in fairly quickly but at least the idiot who travels the world shouting BRAVO!!!! a millisecond before the end of the performances wasn't there! Review coming.
Cheers
Nick
Both sides of the applause debate can rest happy (or unhappy!)because bizzarely there is no applause after Petruchka (live) but the Symphonic Dances (live) do! It must be a conscious decision, not a patch-up due to something?
Cheers
Nick
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Post by Edvin December 16, 2005 (34 of 62)
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nickc said:
Both sides of the applause debate can rest happy (or unhappy!)because bizzarely there is no applause after Petruchka (live) but the Symphonic Dances (live) do! It must be a conscious decision, not a patch-up due to something?
Cheers
Nick
Nothing strange there. Petruchka ends quietly and therefore the audience waits a bit. I don´t think they know when the piece is finished. The dances, well that´s another thing. It ends with a bang.
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Post by Castor December 16, 2005 (35 of 62)
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Edvin said:
Nothing strange there. Petruchka ends quietly and therefore the audience waits a bit. I don´t think they know when the piece is finished. The dances, well that´s another thing. It ends with a bang.
As you ponted out in an earlier post Edvin, the Symphonic Dances end with the tam-tam stroke dying away to silence.
This is what Rachmaninov wrote, so any performance which does not observe this, or allows intrusive audience participation is unacceptable to me. I heard this work recently in Manchester and the conductor, Hugh Wolff, kept his arms raised after the tam-tam stroke. Result - no cheering or clapping until he lowered his arms - perfect!
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Post by Edvin December 16, 2005 (36 of 62)
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I agree completely. But I can also understand if people are carried away if they don´t know the piece. And also, not all conductors allow the tam-tam to resound. But as you say, if the conductor holds his hands in the air people would probably wait with the applause.
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Post by Calypte December 21, 2005 (37 of 62)
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Haitink's 1969 recording was fresh and vital. This new one suffers from an excessively slow first movement, as have all of his post-1969 recordings of the piece. Oddly, Haitink is still much too fast at the beginning of the finale, ignoring Bruckner's carefully considered metronome marks. There are tempo relationships here that Bruckner expected us to hear that everybody ignores. Worst here are Mehta, Rosbaud and Nanut. Also, as always, Haitink persists in playing the corrupt Haas edition.
Having said all that, I think this new one is superior in most respects to the oft-touted 1988 Karajan recording -- a snooze-fest if there ever was one. The multi-channel SACD sound, of course, adds a welcome sense of depth. Of interest is the vibratoed horn playing. I suppose the modern Concergebouw gets players from all over.
I like the Brahms Fourth, dissed in one of the earlier posts.
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Edvin said:
the main caveat is that ... the recording itself is quite dull and muffled.
Yes I to would like to hear his Ravel and Debussy but I just finished listening to disc one of this Bruckner - at a pretty high level - compared to other SACDs.
There was nothing at all dull and especially not muffled about the sound I heard. My thought was that this is quite a beautiful recording although I agree that the performance is a little too relaxed, and of sparkle there was none.
I wonder why we have such different takes on the sound quality of this disc? Is it possible that there is a quality control problem in pressing these things?
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Post by Peter December 22, 2005 (39 of 62)
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Windsurfer said:
Yes I to would like to hear his Ravel and Debussy but I just finished listening to disc one of this Bruckner - at a pretty high level - compared to other SACDs.
There was nothing at all dull and especially not muffled about the sound I heard. My thought was that this is quite a beautiful recording although I agree that the performance is a little too relaxed, and of sparkle there was none.
I wonder why we have such different takes on the sound quality of this disc? Is it possible that there is a quality control problem in pressing these things?
I also listened at a higher level than usual and thought the sound splendid. However, I enjoyed the performance and thought the slightly slower tempi worked for me. I wish I'd been there. As for different takes on sound quality, who knows?
There won't be any Ravel or Debussy this year; Bruckner's seventh is theoretically possible (Haitink's only scheduled appearance with the RCO).
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Post by canonical October 22, 2010 (40 of 62)
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