Why didn’t Furtwängler here is a delay, George Szell but? What if this part would be Half a beat instead of the usual four quarters? About such things we talked normally at the dining table in the house where I grew up.
Since my earliest youth, we talked with my father about interpretive things. He left us several recordings of Beethoven symphonies to listen to and the conductor rates. I was familiar with the classic interpretations of Beethoven’s symphonies, and each of us had a home of its favorite interpretation. My was the of Bruno Walter, particularly the second sentence of the second Symphony. To discuss the music of Beethoven and other composers the way we were starting to get big was just. And so one might forgive me, when I was about the age of ten years, no doubt, to know everything about Beethoven.
Later, after we had moved to the United States, was then the new, historically informed movement always prominent. And that was something that spoke to me pretty strongly. When I first heard about Roger Norringtons recording, I thought, something’s wrong with my stereo. The had to be broken. Everything sounded too fast and just “wrong” in comparison to what I was used to. On the other hand, there was something infallible, in the end, Logical and Exciting, so compelling in what I was hearing. For example, the two opening chords of the third Symphony: like two slaps in the face, quite different than the Wagnerian Severity of the classic recordings. Or the second sentence of the second Symphony, the – different than Bruno Walter’s slow and expressive Version, close to a of the Adagio from Brahms or Bruckner in Norringtons recording sound significantly faster, lighter and more song-like, as he was, in fact, been written.
