Διαλέγω αυτή την αδισκογράφητη ερμηνεία από την Royal Scottish National Orchestra, διευθ. John Wilson, αφενός γιατί είναι η τελευταία που έχω ακούσει (2024) αφετέρου γιατί προβάλλει περισσότερο τη μεγαλειώδη από την “τρομακτική” παράμετρο του έργου. Χωρίς να υστερεί σε εγρήγορση, εννοείται. Εδώ η εκτέλεση “αναφοράς” της Berliner υπό τον Karajan. 🔴 🔴 I’m going with this interpretation from the Royal Scottish National Orchestra under John Wilson – it’s unrecorded, but I picked it both because it’s the latest one I’ve heard (from 2024) and because it really brings out the grandeur and majesty of the work more than the sheer terror/fear factor. That said, it certainly doesn’t skimp on the urgency and drive! Here’s the Berliner’s reference performance under Karajan.
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Firstly, Holst – you can’t go wrong. This piece (indeed the entire suite) fills my heart no matter how many times or how many versions I listen to.
Secondly though…oh my goodness I did guffaw when I realised I have never noticed until watching this recording that Holst gave the opening one-note ostinato to the violas! I found this hilarious that Holst seemingly followed the humorous myth of viola players not being very good. Wonderful!