donderdag 5 januari 2012

Sir Hamilton Harty 4, Hallé Orch.: Elgar (Columbia, 1931)

Hallé Orchestra + Sir Hamilton Harty
We zetten de serie van opnamen met de Ierse dirigent-componist-pianist-organist Hamilton Harty (1879-1941), die van 1920-1933 het Hallé Orchestra dirigeerde, voort met een opname van de Enigma Variaties van Sir Edward Elgar uit 1931. Voor alle posts met Sir Hamilton Harty op mijn blog, kijk hier; voor meer informatie over Sir Hamilton Harty, lees Wikipedia
De platen ruisen zeer sterk, te wijten aan de katoenvezel die men door de schellak mixte om de platen steviger te maken, maar die opzwelt als er vocht wordt aangetrokken. Bovendien was kant 4 extra beschadigd. Ik heb m'n best gedaan en kan goed leven met het resultaat.

Sir Edward Elgar: 
1  Enigma variations op.36 (1898-1899)    26:37
2  Dream children op.43 (1902)    4:35
The Hallé Orchestra o.l.v. Sir Hamilton Harty
78t 30 cm: Columbia DX 322-5  WAX 5852-9
Opname 9/10 - 04 - 1931

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10 opmerkingen:

  1. Allereerst de beste en muzikale wensen voor 2012.
    Ik volg je blog bijna op de voet omdat ik de oude opnamen van de klassiekers erg waardeer.
    Ik vrees dat er ditmaal met de link iets niet helemaal goed is gegaan, de link komt uit bij de Mozart symfonie uit 1926, die je in november hebt gepubliceerd.
    Zou je die alsjeblieft kunnen herstellen ? Ik ben erg nieuwsgierig naar deze, en met mij hopelijk nog meer mensen.
    Vriendelijke groet van Marc Muijzer.

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  2. Marc, jij idem de beste wensen voor 2012! Je hebt gelijk: zeer vreemd. Ik heb de link gecorrigeerd.

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  3. Dazzling! And I love all the downward portamenti! Thanks.

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  4. Satyr,
    Dazzling! I love the downward portamenti!

    After hearing this whole performance of the Enigma Variations, I have to tell you it is very close to my heart! I have always thought the place at reh. 79 in the Finale (the Alla Breve in 3) should be an Accelerando, which makes sense of the whole coda and makes the very ending "work" and have always been frustrated with contemporary renditions which aggrandize this moment, thus slowly unraveling the piece to the end like an old moth-eaten sweater. This was satisfying!

    Harty was not without his 'personal touches" however, and I don't quite know what to make of his Nimrod!

    Thanks, friend.

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  5. Thanks for your interesting comment! I must say I also listen with much pleasure to Harty's interpretation. What you say about the accelerando: it gives a more natural flow indeed. It woud be nice to compare Harty with Elgar's own version from 1926, but unfortunately I don't have that recording... Can you compare the two?

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  6. I +MUST+ have the Elgar 1926 recording but I have no idea where it would be, and I don't recall how he does it. The score says clearly, in the bars before that, there should be an accel. to Presto (at bar 78) and then there's no tempo marking at 79.- the alla-breve which he bars in 3-measure triplets. Doing what Elgar writes precisely makes an enormous SWEEP that is thrilling.

    The Nimrod variation that Harty gives us seems to be all about avoiding the sentimentality, while the pulling and pushing of the rubato suggests Richard Strauss' lovemaking music in Don Juan or Sinfonia Domestica (and I think Harty, at least, liked it rough!)
    :)

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  7. I found a copy of Elgar's 1926, and have listened to it! Elgar makes quite a bit of accel. before 79 but then SLIGHTLY broadens the tempo at the alla breve at79 (though he stays in tempo). It does no real harm, but I prefer Harty's, which accelerates less, yet "arrives" at the new faster tempo at 79 and stays on the edge of the beat until the end. A brilliant stroke.

    Also, there might have been a splice, or something, RIGHT at the moment of the downbeat of 79 in Harty's version. Perhaps he cared a great deal for this moment like I do, and was particular about getting it just-so?

    cheers

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  8. That's very interesting indeed! Thanks for your detailed comment about the comparison! To handle the rhythm and the flow of a composition is, apart from the melody, harmony a.t.l., an important part of the art of conducting!

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  9. Belated thanks Satyr for this - and after your discussion with Squirrel I can't want to hear it!

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  10. Thanks Buster! Don't hesitate to write your opinion about Harty's interpretation!

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