Started by SurprisedByBeauty, April 26, 2017, 05:25:41 AM
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Quote from: J.A.W. on April 27, 2017, 04:52:56 PMI have Haitink/BPO's EU No.7 in a fat jewel case, but my Haitink/BPO Mahler 6 is from Japan, so I guess you're not interested. If you don't mind my asking, why do you want to trade your Japanese Mahler set for the individual 6 and 7 issues?
Quote from: J.A.W. on April 28, 2017, 08:02:05 AMMaybe I got it wrong, but I was originally under the impression you wanted to trade your Japanese Haitink/BPO Mahler 1-7 set for EU Nos.6 and 7.
QuoteNow that you managed to find a EU No.6 I guess that offer is off the table. Sorry, but trading my EU No.7 for a Japanese pressing doesn't sound very attractive to me, the more so since overseas shipping would be rather expensive for me, especially if you're in the US.
Quote from: J.A.W. on April 28, 2017, 10:24:27 AMSorry, but even with cheaper shipping trading my EU 7 for a Japanese one is not a good deal for me.
Quote from: J.A.W. on April 28, 2017, 10:51:05 AMSorry, not interested in those. Van Zweden and Rattle are no favourites of mine, on the contrary, and I've got more Abbado than I'll probably be listening to for the rest of my life
Quote from: PerfectWagnerite on April 28, 2017, 11:00:10 AMI can't see for the life of me how that guy got the gig as next music director of the NYPO.
Quote from: SurprisedByBeauty on April 28, 2017, 11:01:58 AMHehe... there's a reason they're on the trading block. Well, not van Zweden, actually, whose Bruckner I think very highly of. Those are simply duplicates since I've got the complete set now.The Abbado -- some like him and there are lots of late recordings I do consider great -- is quite a dud. But a very nicely presented set, it must be said. What are some of your favorites? (Composers and their respective interpreters.)
Quote from: SurprisedByBeauty on April 28, 2017, 11:03:22 AMReally? I must say that I've been quite impressed every time I heard him live, with Dallas or other orchestras. Bit under the radar, but unspectacular, and allegedly he's capable of being quite the a-hole, but musically I've found him super solid in that very best sense... Like when you sit in a concert and it oozes quality without any particular "take"; rather than just being middling-good.
Quote from: PerfectWagnerite on April 28, 2017, 11:18:06 AMNot sure what exactly he brings to the table. Orchestras more or less play Bruckner on auto-pilot nowadays. I don't see any special repertoire that he specializes in or champions. I would have thought someone like Marin Alsop or Joann Falletta or if you want to go after bigger names Andrew Litton, Daniel Gatti or Paavo Jarvi would have been better choices. With Alsop or Falletta or Litton at least you got the added benefit of giving the job to home grown talent.
QuoteSome ten years after that recording he traded the bow for the baton and worked his way up through the provincial orchestras of the Netherlands, first in Enschede, then in The Hague, then in Hilversum and finally in Antwerp (which is, if one is going to be nitpicky, in Belgium, not the Netherlands). This brought about the second time I noticed him, when out of nowhere Philips issued what was the first Beethoven cycle recorded in the Super Audio format (with The Hague's Residentie Orchestra). I didn't bite, because I was as skeptical as I was surprised, but the reviews were promising.
QuoteFrom the Netherlands, Jaap van Zweden followed Andrew Litton as the music director of the Dallas Symphony where he continued to increase the orchestra's profile and, by all accounts, quality. It is with this orchestra that I heard van Zweden first, live, when the Texans stopped in Munich to deliver a top-notch program of Wagner-Stucky-Strauss-Korngold. More recently, I heard him with the venerable but moody Vienna Philharmonic at Vienna's Konzerthaus in what turned out a most gratifying Bruckner Eighth Symphony. Any conductor, no less substituting for a more famous colleague (Yannick Nézet-Séguin, in this case), who can make the Vienna Phil play very good Bruckner at 11AM, impresses me.
Quotehe scene is set for him to impress with quality work—much like his alleged co-contender for the position, Manfred Honeck who is doing marvelous, slightly low-key work in Pittsburgh—while leaving the more breathless headlines about conductors to his colleagues in Boston, LA, and Philadelphia.
Quote from: PerfectWagnerite on May 01, 2017, 07:05:57 AMWell maybe Alsop and Falletta are jokes like you said but no more of a joke than when they appointed Gilbert. Wasn't there a rumor that Christian Thielemann was in the running? Certainly a big name that conducted every big orchestra you can name and seem to be very charismatic and carries a lot of podium allure.
Quote from: SurprisedByBeauty on May 01, 2017, 10:34:23 AMI don't think that Thielemann was even remotely considered, for a host of reasons.And don't get me wrong, I think that Alsop is a very fine conductor. Very selective appeal and saddled with political baggage which, although probably just anecdotal, is enough to torpedo his candidacy.Also he's said that he won't conduct in the US anymore, so there's that minor aspect. And he's obnoxiously difficult to work with. (I love him as a musician, though.)Sort of Thomas Sanderling-level. And I think highly of him. But a "joke" as far as consideration for the NYP is concerned. You're quite right that Gilbert was kind of a joke, too. But I think it worked out well for the NYP and they have emerged strengthened from the experience... that it helped them realize that they don't need to shoot for the "big name" if they think the ingredients are right, otherwise.
Quote from: PerfectWagnerite on May 01, 2017, 12:34:26 PMJust to be clear the entire post above refers to Thielemann right? The only thing that refers to Alsop is that she is a very fine conductor? I sort of like Thielemann because he is pretty old school as far as interpretations go. In this day and age where even veteran conductors try to incorporate "HIP" elements into their performances he tries to find new ways to express himself in fairly traditional readings of the score.
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