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sunnydaler said:
http://webcache.googleusercontent.com/search?q=cache:dNam6KlM3EEJ:www.fanfaremag.com/content/view/47618/10254/
Brahms/Schoenberg Quartet: "a dreadful performance. Even Rattle’s early Bournemouth Symphony recording was preferable to this Berlin monstrosity." - James H. North (Fanfare)
http://www.arkivmusic.com/classical/album.jsp?album_id=390880
Brahms/Schoenberg Quartet: "a vast improvement over the first recording." - Christopher Abbot (Fanfare)
I can't compare with the earlier recordings, but I would agree with Abbott's positive review. I think this is a brilliant disc, both interpretively and soundwise. Cf. also the positive Gramophone review (Oct 2011), which points out that Craft's version, which North thinks is the 'the epitome of clarity, power, and excitement', is 'featureless and limp' compared to the Rattle/BPO.
EDIT: the comparison concerns of course the Brahms.
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Post by lennyw June 21, 2012 (3 of 5)
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Post by seth June 21, 2012 (4 of 5)
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fausto K said:
I can't compare with the earlier recordings, but I would agree with Abbott's positive review. I think this is a brilliant disc, both interpretively and soundwise. Cf. also the positive Gramophone review (Oct 2011), which points out that Craft's version, which North thinks is the 'the epitome of clarity, power, and excitement', is 'featureless and limp' compared to the Rattle/BPO.
EDIT: the comparison concerns of course the Brahms.
Wait, he's saying that the Craft/CSO recording is "featureless and limp"?
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seth said:
Wait, he's saying that the Craft/CSO recording is "featureless and limp"?
yes, he (Philip Clark) does, but only in comparison to Rattle's. Here's what he says regarding the Brahms orchestration in Rattle's interpretation:
"...the first movement Allegro does take the weight and world-from-his-window latitude of pukka symphonic writing and Rattle lodges it far inside our collective memory-bank of Brahms's sound world. The BPO woodwind and strings, with horn priming the canvas, are absolute dead ringers, but a deeper truth emerges from Rattle's delight in (or celebration of) moments where Schoenberg's orchestration goes a bit Mike Yarwood. With bass drum and crash cymbal oom-pahs, the march section of the Andante has no place inside the Brahmsian symphonic archetype. Rattle frames it like some gross intrusion, while the gypsy-toned finale's high-velocity pace and jibbery attack (hear those lower string pizzicato's!) scrapes off any remaining veneer of symphonic pleasantries. Compared with this, Robert Craft's famous 1964 Chicago SO recording (Sony) is featureless and limp. [...]"
I think this is a pretty apt description of what I hear on the disc.
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