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Larger context for LACK in Corpus USbrown_UKbncw/US_brown.txt


Yet you feel the orchestra is near at hand, and the individual instruments have the same firm presence associated with listening from a good seat in an acoustically perfect hall.
Command has achieved the ideal amount of reverberation.
The music is always allowed the living space needed to attain its full sonority; yet the hall never intrudes as a quasi-performer.
The timbre remains that of the instruments unclouded by resonance.
All of this would be wasted, of course, if the performance lacked authority and musical distinction.
For me it has more of both elements than the majority of its competitors.
Steinberg seems to have gone directly back to the score, discounting tradition, and has built his performance on the intention to reproduce as faithfully as possible exactly what Brahms set down on paper.
Those accustomed to broader, more romantic statements of the symphony can be expected to react strongly when they hear this one.
Without losing the distinctive undertow of Brahmsian rhythm, the pacing is firm and the over-all performance has a tightly knit quality that makes for maximum cumulative effect.
The Presto ma non assai of the first trio of the scherzo is taken literally and may shock you, as the real Allegro con spirito of the finale is likely to bring you to your feet.
In the end, however, the thing about this performance that is most striking is the way it sings.