wait, think I found something, even if it's only the fifth movement...
www.youtube.com/watch?v=IrezpUWIY98
my first response: Wow, did Berlioz
write those pitch-bends?
well, it appears he did:
"All the demons creep out howling in Berlioz’ finale. The woodwind glissandos are unearthly here, much better than the note-by-note glissandos Davis let the Concertgebouw winds get away with in his recording. Here the players correctly achieve the glissando by slowly depressing their keys so that the pitch bends down to the new pitch. ..."
(from a review of another performance)
second response: ah, Hector was a stalker, too. Like Dante.
third: Beethoven, one of the first to work with interruptions and discontinuities?
Here, it's especially striking at 2:41
Then Berlioz, then Mahler?
fourth: random thought: Dies Irae used in The Shining...cornily
damn, the brass sounds good at 4:14, the whole band sounds good
more Beethoven influence in the persistent off-beats, I'm thinking, maybe, like 5:59
love the um fughetto thingy at 7:10-ish--violas, man! gnarly diminished chords!
Dies Irae never sounded so happy as at 8:00
How do orchestras follow conductors when they conduct ahead of the beat? I never figured that out...it's miraculous...Doing film-scoring and working with a computer all the time taught me to distinguish timings down to the frame (1/30 sec) and it's a hard habit to break...I couldn't follow a conductor like this! Or maybe you listen with your ears, get cues for entrances and dynamics with your eyes....?
Great stuff. Excellent performance.