Cheap Bruno Walter In Paris (1938-39) (Music) (Franz Joseph Haydn, Hector Berlioz) Price
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| ARTIST: | Franz Joseph Haydn, Hector Berlioz |
| CATEGORY: | Music |
| MANUFACTURER: | Video Arts Int'l |
| MEDIA: | Audio CD |
| TRACKS: | Symphony No. 92 In G Major, 'Oxford': Adagio - Allegro spirituoso, Symphony No. 92 In G Major, 'Oxford': Adagio, Symphony No. 92 In G Major, 'Oxford': Menuetto (Allegretto) And Trio, Symphony No. 92 In G Major, 'Oxford': Presto, Symphonie Fantastique: Episode de la vie d'un artiste: Reveries, Passions (Largo-Allegro agitato e appassionato assai), Symphonie Fantastique: Episode de la vie d'un artiste: A Ball (Valse: Allegro non troppo), Symphonie Fantastique: Episode de la vie d'un artiste: Scene In The Fields (Adagio), Symphonie Fantastique: Episode de la vie d'un artiste: March To The Scaffold (Allegretto non troppo), Symphonie Fantastique: Episode de la vie d'un artiste: Dream Of A Witches' Sabbath (Larghetto-Allegro) |
| UPC: | 089948108122 |
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Customer Reviews of Bruno Walter In Paris (1938-39)
The patina of age Somehow I think that the patina of age has made us think these recordings are better than they really are...but since Bruno Walter's involved, we're more likely to listen around some antiquities than we would otherwise.
Walter didn't spend a lot of time in Paris...the city's aesthetic (if you will) wasn't all that friendly to him. It took some courage for him to program the Berlioz; the advocacy of Paul Paray had made the work pretty much his (and his associates') piece. Nevertheless, Walter gives it his usual treatment of quick tempi, no repeats, and good old fashioned drama.
The orchestra responds in kind, but sloppily. It's hard to believe that this kind of execution was typical of the old Conservatoire orchestra before Carl Schuricht arrived in the late 1940s. The same approximate attacks, staccato-phrasing, gulps and warbles that passed for character plagued Munch and Weingartner, too. So the slop--or style if you believe it--becomes more noticeable as the drama gets all hotted up.
The Haydn is no more tidy, but somehow it doesn't bother you as much. Old Haydn can come through lots of liabilities and the charm is turned on full-force here. It turns out to be a fun performance, sprightly and dance-like, full of melody and dignity, despite the allowances you have to make.
Buy this as a curiosity or for some plain fun, historical listening. The sound isn't bad (better than the 78 and LP-transfer antecedents) and it allows you to listen in on a couple of Walter's more obscure leavings.