Post by ***@gmail.comPost by Alex BrownHaving just listened I can no longer detect the pre-echo!
Not sure whether to be cheered or depressed by that :/
- Alex Brown
This is turning into a good start to a Saturday morning after the cat woke
me up for no good reason. I'm sure I'm going to have Fetes in my head the
remainder of the weekend.
comprehension of humans. Never question their intelligence, wisdom,
Post by ***@gmail.comI learned the Haitink from LP and have too easy a time imagining there was
bleed through at the start of Fetes, though the place I usually hear bleed-
through is at the beginning of a side, and Discogs says that Fetes was at
the middle of side A. I don't have it any more, so can't check.
Post by ***@gmail.comI also looked a little harder and remembered that I did own Tortelier, so I
listened to that. And then van Beinum. It isn't everything, but times here
really do suggest some difference. Tortelier-Haitink-Beinum = 6:35-6:15-5:48.
Beinum makes clear I was giving Haitink too much credit- all the phrasing is
sharper in the earlier performance. But Haitink still seems to me the better
compromise between the two, as I find JPT just too relaxed. Listened to Solti,
too, as I wanted to see what strict time sounded like through the quieter interlude
in the middle of the piece before the big climax. Sounds rather as I expected- most
interesting is the phrasing differences here vs the the RCO, how the CSO brass turns the
six note theme into the suave "Pa-pa! Pawawawaaa!". I wondered if the orchestra had a
tradition of playing like, that- no, the '57 Reiner broadcast is basically the same speed
and the horns don't slur anything. Too bad Reiner never recorded it in the studio. Even
this performance is incredibly tight.