This is a beautiful live performance of CREATION. But there is another, EVEN BETTER one, conducted by Eugen Jochum, with Irmgard Seefried, Walther Ludwig, and Hans Hotter. From Munich, 1951.
Could you let me know who is singing the part of Gabriel? Is it Felbermayer or Stich-Randall? Very sweet and engaging sound she has. Thanks for posting. This helped me relax after a pretty rough night.
The Vanguard CDs about [though deleted as a current issue I suspect] are superb, but costly. If anyone [listening to this LP transfer on MP3] thinks this really is a great performance [as I do] would be wise to search the internet for this on CD. Mono but lucid and gripping as transferred to CD. The performence does not appear to have been bettered.
Surely the wonderful Mozart was long deceased by the time The Creation was composed? But Mozart certainly studied Haydn's earlier music, ... just as Bach studied Marcello and Vivaldi. Even geniuses can learn from their contemporaries and forebears ...
"Rest is routine"? . . . No offense, folks. Lots of people don't have the time to experience such frequently AND lots of people can't afford to know 'differences' of other attempts. That said: Something that ought to be done for 'Live' performances and an audience' ability to enter into the music is this . . . When the doors open to a venue for a performance, there should be someone/someone(s) ALREADY performing. Continue on in "reply" . . .
It's difficult to experience music by just walking in off the street. How can performers expect appreciation for their labors (months of rehearsals) by an audience who had to deal with noise, encounters, decisions, etc. BEFORE they enter the auditorium? Getting into frame of mind is a proper listening experience. Radio interplay? How about if a trio, quartet, septet, small chorus, soloists, etc. were performing ALREADY
Andre R. Newcomb when the doors open up until the time the conductor lifts a baton? How can anyone expect an oratorio, symphony, opera to 'fit' time and ears with the cacophony of life before entering a theater? Just suggestions.
Stich-Randall is fabulous !!!! The rest is routine...
In 1956 no performance of Haydn was ever simply routine. It was rare as hens’ teeth ...
In reality this is wonderful!
This is a beautiful live performance of CREATION. But there is another, EVEN BETTER one, conducted by Eugen Jochum, with Irmgard Seefried, Walther Ludwig, and Hans Hotter. From Munich, 1951.
Is this a “live” [concert] recording? My understanding is that it is the premiere “studio” recording.
The one I mentioned--Jochum, Seefried, Ludwig, Hotter--is a live concert.
Sorry that I mistook your initial comment.
Have wanted to listen to this for quite some time. Now I know why. Pretty nice.
Stich-Randall.
thanks
Could you let me know who is singing the part of Gabriel? Is it Felbermayer or Stich-Randall? Very sweet and engaging sound she has. Thanks for posting. This helped me relax after a pretty rough night.
Gabriel was sang by Randall.
The Vanguard CDs about [though deleted as a current issue I suspect] are superb, but costly.
If anyone [listening to this LP transfer on MP3] thinks this really is a great performance [as I do] would be wise to search the internet for this on CD.
Mono but lucid and gripping as transferred to CD. The performence does not appear to have been bettered.
"Heart Is a Drum" . . . you can hear where Mozart got some of his inspiring/learning.
Surely the wonderful Mozart was long deceased by the time The Creation was composed? But Mozart certainly studied Haydn's earlier music, ... just as Bach studied Marcello and Vivaldi. Even geniuses can learn from their contemporaries and forebears ...
"Rest is routine"? . . . No offense, folks. Lots of people don't have the time to experience such frequently AND lots of people can't afford to know 'differences' of other attempts. That said: Something that ought to be done for 'Live' performances and an audience' ability to enter into the music is this . . . When the doors open to a venue for a performance, there should be someone/someone(s) ALREADY performing. Continue on in "reply" . . .
It's difficult to experience music by just walking in off the street. How can performers expect appreciation for their labors (months of rehearsals) by an audience who had to deal with noise, encounters, decisions, etc. BEFORE they enter the auditorium? Getting into frame of mind is a proper listening experience. Radio interplay? How about if a trio, quartet, septet, small chorus, soloists, etc. were performing ALREADY
Andre R. Newcomb when the doors open up until the time the conductor lifts a baton? How can anyone expect an oratorio, symphony, opera to 'fit' time and ears with the cacophony of life before entering a theater? Just suggestions.