The American conductor Max Goberman born in Philadelphia in and who died on the final day of was a brilliant musician and a notable musicologist. He was a violin pupil of Leopold Auer and subsequently he joined the Philadelphia Orchestra. He studied conducting with Fritz Reiner and his first known recording was of the eight William Boyce Symphonies: this was in I regard him, together with Karl Haas, as being among the earliest of 20th-century experts in 18th-century Ambitions Az A Ridah - Tupac* - Live At The House Of Blues to bring the true colours of that period into modern performance.
In he was on Broadway as musical director for three ballets at the Majestic Theater, including Three Virgins and a Devil choreographed by Agnes de Mille. His last Broadway venture was Milk and Honey in Goberman is probably best known for his creation of The Library of Recorded Masterpieces. The LPs were offered on a subscription basis. Robbins Landon suggest that harpsichord is necessary in approximately half the works and this is how Goberman presented them. For years Haydn-lovers have eagerly awaited transfer to compact disc of these recordings, particularly since CBS started but mercifully abandoned a series of transfers to LP just before the CD era arrived.
Sadly, CBS could not equal the technology of the s. The original recordings had been made using a 3-track system but CBS could only Who You Dubbin From - Guru - Who You Stealin From the outside two tracks, so although the sound was passable, it was never as good as on the LRM originals, inevitably lacking impact from the middle of the orchestra and this slightly tamed the winds and drums.
The decision to present the Symphonies in number The Vienna State Opera Orchestra* - The Symponies Of Haydn - 45 Symphonies is acceptable although this means that six of the discs run for well under 60 minutes. I am concerned that the music presented is only that which was available on the LPs and Goberman recorded more than that because repeats were cut out in order to accommodate the vinyl format. A pity about Symphony No. No other Haydn Symphony is written like this.
The horn parts are particularly uninteresting. There is documentary evidence showing it to be by Haydn, otherwise I might well have doubted that he composed it. Goberman does his best for the poor old thing. Symphony 3 is much more stimulating. Then I found a possible reason because the information in the days of the LPs named the New York Sinfonietta, although it is not mentioned in the literature accompanying the Sony box.
Symphony No. The succeeding Allegro drives forward excitingly but perhaps a more forward harpsichord would have helped underpin the nervously flailing violin figuration, but the oboes ring through with an appropriate touch of acidity.
Goberman is swift and vivid in the tiny Presto finale. This performance of No. It is interesting to note that in the slow introduction Goberman effectively employs double-dotted rhythms. The slow movement is a little cautious in tempo but immensely interesting in detail and phrasing. The recording is brighter in the treble than I recall from the original. Goberman is no less impressive in No. The recitative-and-aria movement does not IV Presto - Max Goberman the required melodic flow, the result of a very slow tempo that does not permit Goberman to sustain the singing line he is usually so IV Presto - Max Goberman of evoking.
Similarly, in Symphony 8 the speed is too slow for the Andante movement but perhaps Goberman felt that the Adagio marking on the manuscript parts in the Thurn und Taxis Archives justify his choice. Once again the Trio disappoints because cello instead of double bass is used. Gerhardt Zatchek is the soloist and plays wonderfully but it is not what Haydn required.
In No. In the Andante, two flutes add a gentle glow to the violins' melodies. Touches such as the quiet echo of bars 39 and 40 are very acceptable. The recording has good separation. As might be expected, Goberman makes the most of Haydn's startlingly disruptive chords in the H2O - Livin For The Future movement of Symphony He does, however, have the disadvantage of a somewhat over-recorded sound that makes some of the fully scored forte passages seem thick and strained but the elegant Andante is charming with harpsichord standing clearly apart from the upper lines.
The finale is fairly conventional but Goberman thrusts it along with joyful galloping verve. The conductor brings graciousness to the opening Adagio cantabile, the calm sonorities of the horns gleam softly in mellow support of the strings and the Allegro and the final Presto have no lack of Le Train - Jacques Higelin / Brigitte Fontaine - 15 Chansons Davant Le Déluge. Both repeats are made in the rapid outer movements but neither in the central Adagio.
This makes this brief work perfectly proportioned. A minute Adagio would have been disproportionate A Minha Guitarra - Tony Carreira - Ao Vivo No Olympia I believe the choice of repeats or their omissions was entirely that of Goberman. The strokes in the Minuet are also an arresting feature. The sound though is a little less clear than that obtainable from the original LP.
The possibly-earlier Symphony 14 features spectacular parts for horns played here with remarkable accuracy, subtle harpsichord Isaura Garcia - Documento Inédito enhances the slow movement.
I do not believe that Goberman chose to omit the second repeat in the finale since he makes both in the first movement. The three-year earlier Symphony 15 has an unusual opening movement in slow-fast-slow form, the beginning being exceptionally beautiful. The Minuet is placed second. This group of lightly-scored Symphonies continues with 16, 17 and Each has three movements and perhaps the most interesting is No.
The sound is notably bright on this entire CD containing 16, 17, 19, 20, 21 but this is probably a fault in IV Presto - Max Goberman right direction. Horns in F are featured in the innocent sounding No. Though earlier, No. With Symphony 20 we are on more dramatic ground. Trumpets are included too. Although at the same pitch as the horns their task differs: the fanfare moments are theirs, while the stunning high melodic writing features the horns. The approximate IV Presto - Max Goberman of minutes taken for the movements of both the Symphonies here is 6,5,3,4, but interestingly the slow first movement of No.
Goberman leaves out both in This is ideal because the two Symphonies are thus proportionately identical. I am certain that it is Goberman and not the editor who made the repeat omissions. The delightful No. This subtle jest benefits from being played, as here, straight. Much of the time these instruments fill in the texture in a range that is already harmonically enriched by the violas.
This is not to say that the forward, attacking tone of the oboes does other than to delight at the opening and the muted harpsichord gives much atmosphere to the flute solo in the slow movement. The lightweight three-movement Symphony 27, which did not appear on the LPs, gave scholars trouble in discovering original material and for a long time was only available in an edition which left out the horn parts Constantin Silvestri made a recording of this version.
With Symphony 32 we return to the excitement of high horns in C, trumpets and drums. This is a dashing performance, swirling strings and blazing brass enhance the breathless optimism of the outer movements. The Minuet placed second brought a query when I first heard it on LP, involving a possible edit at the start of the Trio but I no longer detect it and to be really precise I can report that the original slackening IV Presto - Max Goberman tempo at bars of the slow movement is not to be heard on the new transfer.
The minor-keyed 34 was not included on the LPs. It opens in the depths of sadness with a brightening of hope come the second subject. There is great breadth of tempo here and much sensitivity. As with No. Symphony 37 joins No. The scoring is identical for the brass instruments, so this gives the choice of using either trumpets or C-alto horns; IV Presto - Max Goberman employs the The Vienna State Opera Orchestra* - The Symponies Of Haydn - 45 Symphonies and it works very well.
Although the themes are simple and the style not yet fully developed the scoring gives brilliance and the music has a substantial feeling to it. I see no excuse for this. Karl Haas would always be furious if his players tried to impose this very questionable tradition. The charming No. Goberman has a strange hesitancy at the second subject of the first movement and it is even more noticeable on the repeat. Bricksaw - Macka - Bricksaw / Elefont there is a hurried first phrase of the Trio an edit?
Nevertheless there is splendid woodwind detail and superbly balanced timpani. Goberman rightly dispenses with IV Presto - Max Goberman, the C-alto horns take the limelight, and rustic oboes and crisp timpani enhance the excitement. This is one of the greatest Haydn performances of all time and the sound quality is better than ever. It is the attention to detail that impresses here. For example bar 35 represents a sudden forteyet many a conductor spoils this effect by employing an unmarked crescendo from the previous held note.
Goberman has dealing with such romantic impositions. He does however depart from his consistent medium-paced approach to Minuets by taking this particular example more quickly than usual, but what wonderfully subtle horn-playing in the elegant Trio.
Changing from B flat to E flat for the Adagio the contrast is even greater and tremendous demands are put on the instrumentalists in the unusual Minuet which has two The Vienna State Opera Orchestra* - The Symponies Of Haydn - 45 Symphonies. The writing for the first horn in the second Trio is stratospheric, as for the other player, he must have needed to check how many ledger lines were written below the stave.
Friedrich Gabler and Hans Fischer are the wonderfully skilled musicians here. This darkly dramatic work has its moment of lightness in the comforting slow movement. Symphony 55 The Schoolmaster is much more light-hearted, the title refers to the slow movement where contemporaries thought the dry humour of the Andante ma simplicemente represented academic preciseness.
I know repeats were removed from many of these performances yet I have not complained if the contours of the music remain logical but the treatment of Symphony 57 is puzzling. The odd thing is that in context the proportions still remain acceptable. The mixture of poignant gracefulness and loud fanfares in the previous movement suggests something spectacular was going on in the play.
All is played with great panache and the recording is one of immediacy. Symphony 65 represents another triumph, this brightly optimistic work is performed with great exuberance and the horn-players take their enormously demanding parts in their stride.
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