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 *********************************************** The CLASSICAL mailing list is powered by L-Soft's renowned LISTSERV(R) list management software together with L-Soft's HDMail High Deliverability Mailer for reliable, lightning fast mail delivery. For more information, go to: http://www.lsoft.com/LISTSERV-powered.html