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Trevor Cooper's Brahms 4 Traversal.
Posted by dieter barkhoff on March 7, 2023, 1:41 am
A lovely appraisal of the value of this great work, and appreciation of what 'works' and what doesn't work for Trevor. Whilst these kinds of appreciation are all about one's sensibilities, to not mention the recording many critics on many continents and sides of the Atlantic regularly nominate as at least one of the best is shall we say a wee bit boggling. I refer, of course, to the Kurt Sanderling Dresden Recording made in the early 70's. Try and listen to it, Trevor, I urge you...
I have just played that 70s recording with Sanderling and the Dresden SO, and it is indeed very fine: grand, monumental yet also lyrical - sometimes daringly slow, as in the opening of the finale, yet never draggy; I can quite see why it would be a favourite. The other three in that series are very fine, too.
Previous Message
A lovely appraisal of the value of this great work, and appreciation of what 'works' and what doesn't work for Trevor. Whilst these kinds of appreciation are all about one's sensibilities, to not mention the recording many critics on many continents and sides of the Atlantic regularly nominate as at least one of the best is shall we say a wee bit boggling. I refer, of course, to the Kurt Sanderling Dresden Recording made in the early 70's. Try and listen to it, Trevor, I urge you...
Thanks for your response. I became acquainted with them when I worked in a Melbourne record shop - the Fabled John Clements - and had until then held Klemperer's set in the highest regard. The Sanderling rocked my socks, as they once said, though I believe Klemperer's 2 is more urgently cogent. Since those ancient times, I have also become fond of Van Zweden's set, and the Mackerras. I am not boasting, but I have 43 sets of the Brahms Symphonies, plus another 19 single recordings of 4, including three live Sanderling recordings - Munich, Swedish Radio, and Bavarian Radio. Then there is the Berlin Symphony set recorded for Capricccio which certainly represents autumnal music-making qualities.
Previous Message
I have just played that 70s recording with Sanderling and the Dresden SO, and it is indeed very fine: grand, monumental yet also lyrical - sometimes daringly slow, as in the opening of the finale, yet never draggy; I can quite see why it would be a favourite. The other three in that series are very fine, too.
Previous Message
A lovely appraisal of the value of this great work, and appreciation of what 'works' and what doesn't work for Trevor. Whilst these kinds of appreciation are all about one's sensibilities, to not mention the recording many critics on many continents and sides of the Atlantic regularly nominate as at least one of the best is shall we say a wee bit boggling. I refer, of course, to the Kurt Sanderling Dresden Recording made in the early 70's. Try and listen to it, Trevor, I urge you...