Wolfgang Sawallisch, willingly rational leader, did not seem a priori the most comfortable with Schumann's orchestration, fairly compact and even supported or redundant. He did not choose to betray Schumann, although it clarifies the extent possible; Szell went further, probably too far away: indeed, the musical thought of Schumann, his very personality, can not be separated from his language. Fidelity to Schumann translates as a teenager fever prancing Sawallisch makes that very well, unlike his then rival, Rafael Kubelik, whose recording of symphonies was less aged, while was almost as estimated by record stores there thirty years, according to my memories. This does not preclude finding that Furtwängler, who has not carried out fully, much less in stereo, is a more imposing dimension in his recordings of the First and above all the Fourth; drooping of engineering in the most estimable talent, one can also enjoy the most massive design, drawing some to the second romance, Konwitschny, which itself fully assumes the lack of ventilation of the orchestra of the Saxon composer and enjoys not a sound recording as modern as that of Sawallisch. The recording technique is no significant faults, which has not always been the case with EMI in the 70s, before and after. Unless competitors of the same caliber have appeared since then, which is not safe is measured instead of the here-present in the current full discography.
The quicksilver Schumann, who lives with a profuse abundance and which is struggling to find its order, is even more present than here Sawallisch leads the Staatskapelle Dresden, nervous musicians and frank tone, lacking the kind of curves and Robust massiveness of his colleagues in Berlin. The sharpness of their attacks and the lack of collective inertia make possible dynamic, clarity and relative sense of spontaneity that emerges this interpretation.
