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24.10.10.7
I've previously mentioned over at VA that--to this day--Scherchen's Beethoven 5th is my hands-down favorite for its pure energy. (I've not heard every performance available obviously, who has?)
His Berlioz recording doesn't disappoint. The "Witches' Sabbath" (shock) sounds like a Witches' Sabbath! There's a physical import to the playing--by the simple employment of heavier accents, increased distinction between dynamics, abrupt tempo changes and unapologetically "raw" playing if need be.
I know we I veer into the Subjective above, but there are some objective "advantages" which help: the less homogenous orchestral sound of the "past," less-refined wind and brass instrument designs, and the up-front (but warm) mono sound of the recording itself. Mono-phobics take note: Westminster mono's are warm, a touch spacious, extremely "immediate"-sounding as a rule. Did they achieve what Decca did with Boult's first Vaughan Williams cycle? No. (Listen to the Decca Sea Symphony and be amazed.)
In any case one can't fail to note the sheer enthusiasm of Scherchen's London band: are modern musicians just too bored with sounds they make? Is mastering the music too easy? Are modern conductors too embarrassed by subtitles such as "Witches' Sabbath?" Too silly?
I know I'm generalizing, (but it's so fun), and surely there are imaginative conductors out there but in my experience the usual suspects--the Rattle's and Sinopoli's for instance--go too far, perversing and/or distorting the overall architecture too much.
We need a new Scherchen.
Follow Ups:
Not likely.
We'll get more of what we've already gotten: Norrington and countless HIP imitators, each one distorting the historical record for their own benefit, and sucking every ounce of musical feeling and expression out of the music.
I've heard a couple live concerts with him and they were lively affairs. My view? Studio recordings (even in a hall) stifle creativity. It wasn't that way in the old days when musicians knew they only had a couple of chances to get it right, so they played as if before an audience. I think Scherchen, used to that style, was unintimidated by the recording machinery and just went for it.
P.A.
Never heard his SymFan, but Herm is one of the very best, IMO.
-Bob
Scherchen is terrific. The Beethoven cycle he did for Westminster in mono can be found for a pittance on vinyl and has splendid energy and (for mono) sound. Probably my favourite 2nd (although Leibowitz on the Readers Digest box is also great).
And to my mild surprise, it's available on CD... albeit unheard by myself. I just bought one.
If you're a mere middle class mortal with a sub $3500 CD player, like myself, I discovered that Scherchen's Lp Beethoven set sounded infinitely more involving than the 2 CD set of his symphonies.
But if you don't spin vinyl anymore, no worries.
...sounds pretty good. But even the LPs vary, with some of the earliest being rather poor. But I confess to no direct LP/CD comparisons... yet.
P.A.
Do you know who you are talking to, jdaniel? I think he still spins vinyl, mono especially. ;)
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nt
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nt
He's a collector of 78s and mono LPs, and is an advocate of their sound quality, when played on appropriate high-end equipment, of course. ;)
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