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You may call me Paul.
The conundrum of the two clarinets in Beethoven's Fifth cannot be answered exactly as in a Chamber Music question. Tjh is quite correct about the (sound) "spectral content" rather than focusing on the distinct way each instrument should be heard -all the time throughout the score- in an orchestral work. What counts is that none would dare to make the clarinets silent, because they cannot be heard as such. In any case, this is how Beethoven wanted his score!
P.S.: O.K., Paul. Paul it is, from now on.
I have taken your recommendation and ordered the Badura-Skoda, so I will see what it is like ( I will have to stop ordering cd's this month, since coming to this site I am 14 over my monthly alocation)
Thanks a lot for your kind consideration to follow my suggestion. I believe you will find it enlightening and informative.
Having exposed in a public forum and sharing information of all kinds can lead you to over spending, but consider it as a sort of "investment" to musical adventure...
Regards as well,
Bit late I suppose, but I ususally steer clear of the Forum these days. Many years ago I knew an upstanding Hampstead (actually Belsize Park citizen by the name of Herbert Stark, a timpanist who played in the orchestra run by Vladimir Ashkenazy's father-in-law, a friend of Walter Gruner, and an Underground electrical engineer and student of parapsychology, who had once worked for Breitkopf and Hartel, Beecham, and Sylvia Fisher. He knew all about the Furtwangler Tristan, including the origin of the high Cs. They were Fisher's - there is somewhere a letter in Gramophone from someone who met her in retirement in Australia to whom she confirmed this. Herb, more than a decade and a half after the issue, contemptuously added that she had never been paid for them. Hard world - but presumably Schwarzkopf was the better news story.
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