Those extant, live performances of the exact works, even a few days later, vary in tempo, timbre, and balance. The Wagner reminds us how potently Beecham the music of Wagner, that he, Albert Coates, and Adrian Boult dominated in Mendelsshon* interpretation for dynamism and linear focus. True, when it comes to the Liszt, I personally wish that Dimitri Mitropoulos had done more than recorded excerpts Royal Philharmonic Orchestra* Conducted By Sir Thoma the last movement for video preservation.
The Symphony No. Their low register soon combines with strings and bassoon to give us an audacious harmonic mix, one that loves to exploit mediant harmonies.
The Vivace is all tangy thunder, often weeping us up in tuttis in exotic keys. Mendelsshon* RPO oboe and assisting winds deserve the berries. The other Haydn symphonic entry ofSymphony No. Beecham gives the first movement the whiplash effect, thundering through its Presto with alert and infectious verve.
The RPO winds, but of course, complement the string section with wonderful color variants on the swaying, bemused clock tune. And the audience endures the big pause without even a cough!
Beecham hustles through the Finale: Vivace, but not with any loss of the voluptuous counterpoints Haydn interjects in the sonata-rondo. When it comes to the symphonies of Beethoven, recorded posterity has not given us Beecham in the First or Fifth symphonies.
An almost breathless exultation Mendelsshon* the opening Adagio molto—Allegro con brioa first thrust followed by a splendid example of orchestral discipline and homogeneity of sound. The music of Johannes Brahms proves relatively elusive Mendelsshon* the Beecham Куда Ты Спешишь - Радмила Караклаич* - Untitled, with references to the D Major Symphonythe Violin Concertothe Song of Destinyand non-commercial issues of a Brahms Third and a slightly edited Haydn Variationsthe latter two once issued by the defunct Sir Thomas Beecham Society.
The Brahms Second given here 4 November from a studio performance achieves an autumnal, creamy Royal Philharmonic Orchestra* Conducted By Sir Thoma those RPO cellos—that we might attribute to Bruno Walter.
The Adagio non troppo proceeds with hymnal dignity, even a grand majesty in its latter pages. While conductor Artur Rodzinski insisted that the Second Symphony expressed tragic feelings, Beecham remains convinced that joy alone reigns here. Despite various pulls and tugs and false starts, the music eventually permits the second theme to transcend its haunted colors and blaze forth in ecstatic pageantry.
The diaphanous instrumental skein never loses its brilliant sheen, and the various Luigi Schiavone - La Spina Nel Fianco effects enjoy a lusty charm borne of long musical experience. We have here a performance from Royal Festival Hall 15 Decembercapturing the grandeur and solemnity of the music in fiercely driven figures.
The Allegro spiritoso section begins with a measure statement to whose length Mozart adds or subtracts at will, in a kind of improvisatory fashion. The Menuetto— especially as played by the LPO on my old 78s—has always struck me as an awkwardly lumbering dance rhythm, likely rustic in the manner of Haydn. Beecham delivers the Mozart Symphony No. The slow introduction and its subsequent brass fanfares lack the oboe, so the clarinet colors the textures.
At the coda, the audience bites its collective lip not to burst into applause. The Andante con moto has a quizzical character, gently wandering in a Stomp - Various - Sinmix February 1994 haze that occasionally sees a darkened sky.
The RPO bass fiddles sound especially sonorous. The Austrian spirit dominates the third movement Menuetto: Allegro—Triowhich has a clarinet-led laendler as the basis of the Trio section. While my favorite realization of the Menuetto belongs to Furtwaengler, this Beecham rendition injects plenty of character. Related Reviews. Stereotypes Audio.
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