The 2006 recording of LSO/Haitink's version of LvB's 6th Symphony has greeted me upon my return from holiday. I am hugely disappointed in it. A live recording, but it simply just doesn't soar where it should. The playing is ho-hum. Anyone else who might have this recording may care to comment and, possibly, recommend a good version of this wonderful symphony please.
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Haitink's Beethoven 6 with the LSO
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Originally posted by Peter View PostI'd recommend either Gunter Wand/North German Radio Symphony Orchestra or
Karl Bohm/Vienna Philharmonic.
I was reading a review of a recent concert where Roger Norrington gave a really fresh and brisk account of the symphony. This conductor actively encourages applause between movements and does his best to take the "stuffiness" out of this music. At the start of the "Storm" movement, he gave a nervous glance up at the ceiling, causing the audience to dissolve into laughter.
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Originally posted by Michael View PostExactly my choices! It's amazing how difficult it is to find a satisfactory "Pastoral". Leonard Bernstein gives a fine account with the NYSO (an old recording - 1962 or so - but it sounds great.) Karajan should never have been left within a mile of it - especially in his 1962 set where he leaves out the repeat in the scherzo.
I was reading a review of a recent concert where Roger Norrington gave a really fresh and brisk account of the symphony. This conductor actively encourages applause between movements and does his best to take the "stuffiness" out of this music. At the start of the "Storm" movement, he gave a nervous glance up at the ceiling, causing the audience to dissolve into laughter.'Truth and beauty joined'
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Originally posted by Peter View PostI'd recommend either Gunter Wand/North German Radio Symphony Orchestra or
Karl Bohm/Vienna Philharmonic.
Listen to the 5th mvt, starting 4'11 (bar 117) where after the "schepherd's singing" has been heard twice (one + an alternative of that one), the music goes quiet.
Here you hear beneath the whirling first violins a little four note motiv pizzicato played piano by the 2nd violins, supported by pizzicato chords piano in the 'celli.
It goes on and then (bar 125) it is heard crescendo played staccato but with the bow by the first violins "accompanied" by the violas pizzicato repeating this motive.
This again goes on, slightly crescendo, and then suddenly (bar 133) the orchestra "answers" with a full chord, and that little motive from the beginning is heard fortissimo in the horns, supported by trumpets.
This passage ends at 5'04 (bar 140).
Böhm is one of the very few to illustrate this passage as brilliantly as he does here.
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Originally posted by Roehre View PostThe latter is my absolute favourite, and i'd like to illustrate this choice of mine with just one example:
Listen to the 5th mvt, starting 4'11 (bar 117) where after the "schepherd's singing" has been heard twice (one + an alternative of that one), the music goes quiet.
Here you hear beneath the whirling first violins a little four note motiv pizzicato played piano by the 2nd violins, supported by pizzicato chords piano in the 'celli.
It goes on and then (bar 125) it is heard crescendo played staccato but with the bow by the first violins "accompanied" by the violas pizzicato repeating this motive.
This again goes on, slightly crescendo, and then suddenly (bar 133) the orchestra "answers" with a full chord, and that little motive from the beginning is heard fortissimo in the horns, supported by trumpets.
This passage ends at 5'04 (bar 140).
Böhm is one of the very few to illustrate this passage as brilliantly as he does here.
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Originally posted by Roehre View PostThe latter is my absolute favourite, and i'd like to illustrate this choice of mine with just one example:
Listen to the 5th mvt, starting 4'11 (bar 117) where after the "schepherd's singing" has been heard twice (one + an alternative of that one), the music goes quiet.
Here you hear beneath the whirling first violins a little four note motiv pizzicato played piano by the 2nd violins, supported by pizzicato chords piano in the 'celli.
It goes on and then (bar 125) it is heard crescendo played staccato but with the bow by the first violins "accompanied" by the violas pizzicato repeating this motive.
This again goes on, slightly crescendo, and then suddenly (bar 133) the orchestra "answers" with a full chord, and that little motive from the beginning is heard fortissimo in the horns, supported by trumpets.
This passage ends at 5'04 (bar 140).
Böhm is one of the very few to illustrate this passage as brilliantly as he does here.
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Originally posted by Philip View PostGood Lord, I always thought you were into latex! How easy it is to misjudge people.
A quick question : which was composed first, the sixth or the fifth?
If you mean which was "completed" first, I would guess the Fifth. I believe it was started soon after the Eroica but he ran into difficulties and took a break from it. The result was the Fourth Symphony. There is a theory that the slow introduction to that work gave him the idea of connecting the third movement of the C minor to the blazing finale. (The third Razumovsky was composed around the same period and has a similar dark opening to the B flat symphony.)
But then again, some sketches for the slow movement of the Pastoral were floating around even before all this.
Damn it, I don't know! All this is off the top of my head and subject to correction. It doesn't help either to know that at the famous concert of 1808 where these works had their premiere, the Pastoral was described as his "Fifth" symphony and the C minor as his "Sixth".
Can I phone a friend?
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