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In Reply to: RE: Sound Samples from the new Andris Nelsons Boston Symphony Brahms set posted by John Marks on April 18, 2017 at 07:33:40
and sound at its best.
Seems like the BSO survived the "deconstructionist" era (think Abbado in Berlin, Muti in Philadelphia), with their corporate sound intact. Speaking of which, the massed string sound was among the best I've heard without having to drop a needle. Wind playing was a joy, especially the bassoon supporting the lower strings.
I've noticed over the years that conductors seem to have a hard time pacing the first movt. IMHO Walter get it just right in his Columbia stereo remake. No awkward gear-changes with Nelsons, so far as I can tell, though Walter and Furt wring just a touch more tragedy out of the climax.
At first I thought the 2nd movt was going to be too indulgent, but the playing! The string climax over open fifths in the bass...who wouldn't want to hold onto that dark, burnished sound? The strings are particularly atmospheric in the misty ending of the symphony, too.
A keeper for me.
Edits: 04/19/17Follow Ups:
Phot credit: Cheryl Fleming for the Boston Symphony
Seriously, this is why I continue to write about music, post Stereophile.
BTW, let me take the opportunity to give hat tips to Grace Design, whose mic pres and ADCs are important parts of the recorded sound, and Bricasti, whose gear is also in the BSO recording shack, pictured above.
Should I win the Lottery, on my list is buying a nice pair of Vivid Audio loudspeakers for the BSO recording shack.
Brahms doesn't ask the conductor to pick up the pace at all, though so many do. Nelsons' slight broadening of tempo at that momement is growing on me.
May they do Ravel cycle.
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