** Octobre 2000 sur RMCR ========== Newsgroups: rec.music.classical.recordings From: "ElShaddai Edwards" Date: Sat, 7 Oct 2000 11:50:38 -0500 I had the distinct pleasure of attending this Minnesota Orchestra concert last night at Orchestra Hall. Also on the program was the Bartok Concerto for Orchestra. Background: Skrowaczewski was celebrating his 77th birthday and the 40th anniversary of his initial concerts with the Minnesota Orchestra. Not being familiar with the Bartok, I can only report that it sounded and felt marvelous. Total time was around 50 minutes and set up the sound world of the Fantastique very nicely. A piece worth exploring some more. After the intermission, the orchestra embarked on a very fine performance of the Fantastique. Tempi were quite broad, especially in the second movement and the March, but there was never a sense of slacked momentum or a loss of tension. Skrowaczewski balanced the phrasing of individual passages with a long-range architectural approach that worked and was quite attractive. [i] "Reveries - Passions" set the mood for the entire symphony with a dream-like atmosphere and prominence given to the low strings, especially in their entrance after the exposition. The coda was well balanced. [ii] The "Ball" was taken slow, but sparkled nonetheless. The balance between the waltz and the idee fixe was fresh and tempi were contrasted. I missed the optional cornet part. [iii] The slow movement was marvelous, with the soloists and timpani in very fine form. Hard to believe the main theme was originally conceived for the "Messe solennelle". [iv] At the slower tempo, the March was laden with a sense of the inevitable [the repeat was taken and the bassoons were spotlighted]. The horns were appropriately nasty with their hand-stopped parts at the start. [v] The opening of the Sabbath was quite atmospheric, with very fine playing from the clarinets and low strings. The tubas and bassoons snarled admirably in the Dies Irae, while the trombones played their variations with a legato that equally mocked the plainchant. My only wish was that they would have augmented the orchestra 'bells' with a prepared piano or some other device that would have added the lower register [not sure what they added in the Ormandy recording, but these remain my ideal bells for this piece]. The fugue built up to a tremendous finish, with the muted violas and col legno passage sounding admirably spooky. If any radio stations out there carry the Minnesota Orchestra, I'd recommend listening for the concert. Also, it would seem that Skrowaczewski's previous recording of the Fantastique is out of print - this listener would welcome a return to the studio. ElShaddai Edwards ========== ==========