I've never had so much fun listening to the Beethoven symphonies!
Scherchen's Beethoven is the most athletic, giddy, dramatic yet verdant
I've yet heard. As for his "second rate" orchestras, I'm often more
surprised at the superhuman unanimity of attack, given Sherchen's over
I've been able to put together ultra-quiet Lp pressings of Symphonies
3-8 so far, no small feat considering the calamity-ridden Westminster
pressing process not to mention that most of these Lp's turned 50 last
year. I can be done though, and the silky tube-cut sound is worth the
work. I'll just give two examples of Scherchen's uniqueness: the first
involves the tired, over-played 5th Symphony. Scherchen treats the first
three "pickup" notes of the opening motif, (da da da dah) more like four
eighth notes with the first eightnote missing, or "imagined." (da) da
da da dah. It's psychological, but such a treatment gives the whole
first mov't a much more invigorating sound and propulsion. Then listen
to the enthusiasm of the trombones in the joyous outburst of the finale:
it sounds as though they had a few beers ahead of time, and more power
to 'em! The other example is the last mov't of the 3rd--usually it
sounds (IMHO) like just another plodding 15 minute extension of the 3rd
mov't Scherzo. Not here! Scherchen takes things at such a highwire
quick clip (with no flattening of texture) that for once it's not
anti-climactic. The Funeral March second mov't moves along, but with
amazing tone color; it's as if Mahler had written instructions over every
note, yet it doesn't sound fussy at all. Great stuff. the top tempi.
Scherchen often puts the proverbial dime in the road and by God, they
turn on it. Scherchen uses both the "Philharmonic Society of London,"
(Royal Philharmonic), and the Vienna State Opera Orchestra. The set to
which I'm referring was recorded in the '50's.
I've been able to put together ultra-quiet Lp pressings of Symphonies
3-8 so far, no small feat considering the calamity-ridden Westminster
pressing process not to mention that most of these Lp's turned 50 last
year. I can be done though, and the silky tube-cut sound is worth the
work. I'll just give two examples of Scherchen's uniqueness: the first
involves the tired, over-played 5th Symphony. Scherchen treats the first
three "pickup" notes of the opening motif, (da da da dah) more like four
eighth notes with the first eightnote missing, or "imagined." (da) da
da da dah. It's psychological, but such a treatment gives the whole
first mov't a much more invigorating sound and propulsion. Then listen
to the enthusiasm of the trombones in the joyous outburst of the finale:
it sounds as though they had a few beers ahead of time, and more power
to 'em! The other example is the last mov't of the 3rd--usually it
sounds (IMHO) like just another plodding 15 minute extension of the 3rd
mov't Scherzo. Not here! Scherchen takes things at such a highwire
quick clip (with no flattening of texture) that for once it's not
anti-climactic. The Funeral March second mov't moves along, but with
amazing tone color; it's as if Mahler had written instructions over
every note, yet it doesn't sound fussy at all. Great stuff.
John
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