The possibilities for this sort of thing are enormous - imagine Bach’s Chromatic Fantasy and Fugue as arranged by Mozart and performed by Beethoven, or, closer to home, "I Wanna Hold Your Hand" as arranged by Liszt and performed by Godowsky. Recorder and violin trade solo duty, the recorder particularly appearing where bird-songs are being imitated. Of course the violinist improvises generously but not outrageously during his solos. By the time the whole orchestra gets into the act, the final storm in L’Inverno is one storm you don’t want to be out in. The beautiful melody in L’Inverno which Jan Tomasow plays with such a gorgeous, generous, singing line is here fussed over and fiddled with, and loses all cantilena. Naturally the horn calls at the beginning of L’Autonno are played by, among other instruments, horns. The last movement of La Primavera begins with what sound like wooden trombone fanfares.
The famous dog barks are played on wooden cornets, and don’t sound quite so canine as the col legno viola notes in the Harnoncourt version. You know you’re not in Kansas any more when the opening tutti clearly has trumpets in the orchestra and the first violin solo turns into a duetto with sopranino recorder.
Federico Guglielmo has reconstructed a hypothetical arrangement in the style of Pisendel for the Dresden Orchestra, with wind parts - an inauthentic version is of a highly authentic nature.
But all the various arrangements of Schoenberg’s work (I’ve never heard it with horns, but the string orchestra version with timpani is quite a good one) don’t begin to compare with the numerous outrages wreaked upon this helpless Vivaldi composition.Īnd here we hear it with horns. He was in the midst of teaching a class at UCLA when a colleague burst in excitedly proclaiming "Arnold! I am just hearing Verklärte Nacht mit HORNS!" Amid much startled posturing the two rushed out to destinations unknown, leaving the class unacknowledged. There is a story about Arnold Schoenberg that bears retelling now.
0 kommentar(er)
