Когда я, впервые услышал коду финала (естественно, оригинальную, тихую), у меня она навсегда соединилась в памяти с названием заключительной главы у Милна "Винни-Пух в зачарованном лесу" (кажется, так :)))) Вообще вся эта симфония - волшебная сказка. А еще есть параллели с Четвертой Малера, там тоже тихая кода, всё под конец растворяется в тишине.
Really enjoyed this. Gofman added to weight in her interpretation of this, what was once mooted as a symphony for children, which is slighter work than the towering 6th. Also she stuck with the original ending rather than the Stalin pleaser.
Always a pleasure to watch this piece performed and conducted well. The rhythms are so fun and dazzling, especially in the Allegretto. Thank you for sharing this.
Many people will think I am a chauvinist in saying that most women do not look as if they are really in control and the few I have played or sung under were clearly unable to lead. This seems to me true of most, going right up into the higher echelons of the profession. The few who worked when it was almost entirely male were exceptional (Veronica Dudarova and Camilla Kolchinsky), but they are nearly all dead (Agnieszka Duczmal isn't). Anyway. .... that said, I enjoyed this greatly: it seems to me a sound interpretation very well directed, with the conductor leading apparently without effort and very much in charge of everything..
Bravo! The first 3 movements were a bit slower than I’m used to, so the ‘Vivace’ seemed especially zany. Some orchestral detail is more apparent at the slower tempi...no wonder it was the favorite of DSCH.
