It is obviously a delight for me to see that observing the first movement exposition repeat has become the mainstream performance practice even if the chosen tempi is quite slow, like the one we listened to, over here. I have always strongly believed and argued that the exposition repeat must be observed, because it makes a huge statement and gives not only enhanced structural integrity but also richer musical language in romantic tradition. In this recording, there is no tempo variation between the introduction (Allegro moderato) and the exposition (Allegro molto) and almost all of the rest of the first movement, but we must take into consideration that this is a profoundly romantic piece of music in terms of tradition, although it is quite late in the 20th Century, 1906-07. I must admit that I enjoyed the performance, and I liked the rich orchestral texture throughout the performance, in fact, as the, again, excessively romantic score demands. Thank you for sharing. 🎁💝💐
It is obviously a delight for me to see that observing the first movement exposition repeat has become the mainstream performance practice even if the chosen tempi is quite slow, like the one we listened to, over here.
I have always strongly believed and argued that the exposition repeat must be observed, because it makes a huge statement and gives not only enhanced structural integrity but also richer musical language in romantic tradition.
In this recording, there is no tempo variation between the introduction (Allegro moderato) and the exposition (Allegro molto) and almost all of the rest of the first movement, but we must take into consideration that this is a profoundly romantic piece of music in terms of tradition, although it is quite late in the 20th Century, 1906-07.
I must admit that I enjoyed the performance, and I liked the rich orchestral texture throughout the performance, in fact, as the, again, excessively romantic score demands.
Thank you for sharing.
🎁💝💐
Bravo!