Végh in Hungary
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schubert, Joseph Haydn, Ludwig van Beethoven, Wolfgang Amadeus Mozart
Genre:
Orchestral
Magazine Review Date: 09/2014
Media Format: CD or Download
Media Runtime: 114
Mastering:
DDD
Catalogue Number: BMC194
Tracks:
Composition | Artist Credit |
---|---|
Coriolan |
Ludwig van Beethoven, Composer
Ludwig van Beethoven, Composer Salzburg Camerata Sándor Végh, Conductor |
Symphony |
Wolfgang Amadeus Mozart, Composer
Salzburg Camerata Sándor Végh, Conductor Wolfgang Amadeus Mozart, Composer |
Symphony No. 103, 'Drumroll' |
Joseph Haydn, Composer
Joseph Haydn, Composer Salzburg Camerata Sándor Végh, Conductor |
Symphony No. 9, 'Great' |
Franz Schubert, Composer
Franz Schubert, Composer Salzburg Camerata Sándor Végh, Conductor |
Author: Rob Cowan
As to Haydn’s Drumroll Symphony, I should warn readers about two sources of irritation. The first is the amount of coughing that bothers the opening of the Andante second movement. This is a great pity because Végh is at pains to draw out the solemn bass-line for those opening bars. Also, in the same movement, in case you check the timing and think that 8'56" is inordinately slow for the Minuet, you would be right. The reason for the timing hiccup is that track 8 actually starts three-quarters of the way through the Andante, thus ‘adding’ an extra four or so minutes to the Minuet (at least in theory).
Back in 2010 a Végh collection of selected Schubert symphonies (formerly) on Capriccio featured as ‘one of the 250 greatest classical recordings, as selected for Gramophone by more than 30 leading musicians’ (6/10, page 31). ‘Collegiate music-making in Schubert’ was the appended critical comment (page 38), a not inappropriate description. This Budapest recording of the ‘Great’ C major is, like its Capriccio alternative, full of energy and personality. The dramatic high points in the second and fourth movements make their full effect and the Scherzo and finale are rhythmically driven, while the transition into the middle section of the Andante con moto is marginally subtler in the version under review. Recording-wise, Capriccio offers a more consistent sound frame, but the musical virtues of both performances are never in doubt. As a matter of interest, comparing one with the other, the movement timings are virtually identical.
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