Thanks for uploading this! I have an LP of this performance, but it has a SKIP, about halfway through. Ehrling was a MASTER of bringing-out the inner voices of a work; his tempos were also exemplary, in almost anything that he recorded or gave! Of course, his GREATEST work was with the Scandinavians - Sibelius, Nielsen and Berwald - but this is a fine example of his command of tempos.
This is the same orchestra where they did backup arrangements with the Funk Brothers on all of Motown's biggest hits in the 1960's with the Temptations, the Four Tops, Stevie Wonder, Smokey Robinson & the Miracles, Diana Ross & the Supremes and just to name a few. They released a series of classical albums on the Mercury label back in the 1950's before Motown came in and shared with the entire Funk Brothers and the entire company.
This is an excellent performance of the 8th, but perhaps a little hard-driven. I've been looking for a conductor that catches all the good-natured humor in this score as much as Mengelberg did, and I still am, but Ehrling comes closer than most I've heard.
Thanks for uploading this! I have an LP of this performance, but it has a SKIP, about halfway through. Ehrling was a MASTER of bringing-out the inner voices of a work; his tempos were also exemplary, in almost anything that he recorded or gave! Of course, his GREATEST work was with the Scandinavians - Sibelius, Nielsen and Berwald - but this is a fine example of his command of tempos.
This is the same orchestra where they did backup arrangements with the Funk Brothers on all of Motown's biggest hits in the 1960's with the Temptations, the Four Tops, Stevie Wonder, Smokey Robinson & the Miracles, Diana Ross & the Supremes and just to name a few. They released a series of classical albums on the Mercury label back in the 1950's before Motown came in and shared with the entire Funk Brothers and the entire company.
This is an excellent performance of the 8th, but perhaps a little hard-driven. I've been looking for a conductor that catches all the good-natured humor in this score as much as Mengelberg did, and I still am, but Ehrling comes closer than most I've heard.