If you are only used to more recent recordings the opening will come as a shock and the shock will hardly leave you as the work proceeds. Mengelberg is more mannered and more moulded than anyone else, with sharply accentuated tempo changes forward and back, often in the space of a few bars. This extreme interventionism continues right through the work but in the first movement especially. Passages of nostalgic repose are delivered with every ounce of care and feeling, wrung from them like ripe fruit being made to yield every drop of juice. The movement contains a double Exposition and it's in the second of these you also hear the full treatment of string slides the era this performance comes from, and which Mengelberg's and Mahler's audiences would have been used to and have expected, provides. But Mengelberg is good at the menacing shadows of the work, the lyricism and the nostalgia. Though I do wonder how much we today have ears that can take the bar-to-bar control he exercises, however brilliantly or authentically. In spite of his interventions, though, the underlying pulse of the music never flags. You know Mengelberg's intimate knowledge of this music, and that of his orchestra with it and his methods, means there is clear vision right through and it's this which ultimately saves the recording and makes for a remarkable experience. In the centre of the movement comes one of the few points of real crisis as the music is whipped into a dissonance that comes down on a trumpet fanfare Mahler will later recall at the start of his Fifth Symphony. Mengelberg's treatment of this shows him aware of the link forward, but he is also aware enough of the internal structure of the movement to make the clinching climax that follows it soon after more imposing where nostalgia and good humour carry the day. Following this, Mengelberg's second movement sees very much the same approach. He invests every bar with character and detail. We also hear what a superb instrument the pre-war Concertgebouw was and how at home they were with Mahler's music. Note especially the mellow sound of the superb principal horn. In general this is an orchestral style and sound now lost in an age where orchestras sound alike.
Following concert performances in October 1970, Jascha Horenstein went into Barking Town Hall in London with the London Philharmonic to record the Fourth (in between bursts from pneumatic drills doing road works in the street outside). This was to be one of the first recordings for the new Classics For Pleasure bargain LP label and the result was musically deeply satisfying even though the sound on the LP left a lot to be desired. For what ever reason, the recording failed to sell very well so was never really considered among the recommended versions in the way others have been down the years. Then for a long time it was out of the catalogue leading many to be unaware of its existence until a fine remastering job was done for an LP reissue by CFP in the 1980s. Now that remastering has been reissued for CD (5 74882 2) and it can more than hold up its head among the greats at last. Horenstein's first movement starts out a degree more distanced than Kubelik's, less distinctive, but just as aware of the work's special tone colouring. Compared with Kubelik, Horenstein is more "through-thought" and symphonic, preferring a slightly tighter rein on proceedings. So this is not a performance in the Mengelberg tradition. Horenstein was a different kind of conductor even though he admired the Dutchman. Even so, this is Horenstein more unbuttoned than we are perhaps used to, showing what anyone who has ever heard his recordings of Viennese Waltzes knows that he can charm and beguile with the best of them. Listen to the way he gets his cellos to slide if you want more convincing, for example. In the Development a slight hesitancy pays off in introducing a degree of trepidation. As if, master of the developing argument that he was, Horenstein makes us aware that the one true crisis in this work is casting a very long shadow back. His slower tempo, judged to near perfection, allow for the ghosts to peek out from the filigree with real drama and the climax itself to be grand and imposing. So the first movement under Horenstein is remarkable for its structural integrity, breadth, but also charm, delicacy and feelings of menace. Again in the second movement Horenstein is that bit more distanced from the music than Kubelik and some others - his woodwind not quite as prominent and his tempo just that little broader - but this approach is not to be discounted. By keeping a degree of distance Horenstein seems to accentuate the dream-like quality. His clarinets chuckle wonderfully and there is a trace of elegy in the Trios Kubelik misses rather. More nostalgia with Horenstein, I think. I also like the way the music seems to be fading into the distance as the movement draws to a close. It is as if we are walking away from the scene.
Essay about Hard Work Pays Off - 695 Words - …
No matter what you do or when you do it, hard work always pays off in the end. Hard work is what we have to do if we plan on going or doing anything in this life. We cannot sit back and take it easy all the time, we have to get out there and work for what we want. When we have to put forth hard work then you know the rewards will be that much greater. I’m here to tell you that hard work always pays off in the end. Hard work is what you have to do if you want to achieve the rewards from the effort you put forth.