Started by Greta, May 01, 2007, 08:06:38 PM
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Quote from: Jo498 on December 12, 2022, 11:31:08 PMKubelik is very "natural", IIRC. Main drawback today probably average ca. 1970 sound. For a very different take of the 7th and wild ride, try Kondrashin (totally hysterical Russian brass in the finale). There are one or two live recordings that are supposedly superior (or less extreme?) than the Melodiya but I only know the last one.
Quote from: relm1 on December 13, 2022, 05:28:41 AMI love his Symphony No. 5 which is with LA Philharmonic.
Quote from: SurprisedByBeauty on December 13, 2022, 02:05:53 AMThere's the Mahler Survey, of course... https://ionarts.blogspot.com/2013/08/gustav-mahler-symphony-no7-part-1.htmlhttps://ionarts.blogspot.com/2013/08/gustav-mahler-symphony-no7-part-2.html
Quote from: Brian on December 13, 2022, 06:01:23 AMI've heard the Kondrashin Concertgebouw live recording is absolutely crazy and very extreme, on Tahra. This is as close as I've gotten to understanding the Fifth, which seems to be a disconnected suite of different ideas to me. But the Mehta/LA recording makes all five individual parts sound really great.
Quote from: Brian on January 17, 2023, 10:59:29 AMThank you for that post. I really will have it open and re-read before listening to the Fifth again.-I know I said I would listen to Barenboim or Kubelik next, but could not resist trying this on streaming:Very glad I gave it a try. Obviously this is only my second listen to the work so you should not trust me as an expert, but goodness, what an incredible orchestral performance. The divided violins' parts in the scherzo whiplash from left to right channel with amazing speed. The strings lean hard into glissandi. The woodwinds have tons of character, especially the snappy, savage bassoons. Bloch has his players commit everything to every moment: no holding back, no being tasteful, no saving energy for the next movement. Pizzicato strings feel like you're being hit by darts.It reminds me of Jens' quote of Bruno Walter as saying that conductors should be unafraid to be vulgar in Mahler. This is an incredibly vulgar, "loud" (in the metaphorical sense) performance, full of detail and color and absurdity. The scherzo is mind-boggling. The mandolin is not spotlit at all in Nachtmusik II, which I appreciate. (In general, the sound is incredible, offering a clear orchestral picture while allowing every single instrument to shine independently. It is the kind of recorded sound [not artistic sound!] I associate with late Boulez DG stuff.) My only critique on the madcap finale, which is very silly and clearly enunciated at all times, is that the "Turkish" stuff is not sufficiently Turkish.What a sumptuous treat. The first movement of the symphony still leaves me a little tired, and I can hear some of the banality Salonen hears in the second. But man...I think I love this!Rough timings of the Bloch reading 21 / 15 / 10 / 11 / 17 = 74.
Quote from: relm1 on January 26, 2023, 04:37:59 PMThe reason why this narrative is so important is because he was in a horrible state of mind. We have his letters to Alma to prove this. He was glowing with adoration in his final moments. He was not morose. He was had no existential dread. He had eternal love and admiration and his final letters and music prove that.
Quote from: Mahlerbruck on January 26, 2023, 05:34:54 AMOne of my favourite early Mahler conductors is Hans Rosbaud.A few year's ago this in my opinion great Boxset was released.If you're not already familiar with his Mahler performances, I would strongly recommend you check them out.
Quote from: Madiel on January 30, 2023, 02:52:20 PMIt's part of a belief system where music is portrayed as being about baring the artist's soul.
Quote from: Florestan on February 07, 2023, 10:57:03 AMA mostly misguided notion inherited from Romanticism.
Quote from: relm1 on January 26, 2023, 04:37:59 PMOne thing I've been struggling with, I've read the book "Mahler's letters to his wife". and it paints a different picture of Mahler than the narrative of him being terribly morose and manic. I think there is a false narrative that he was a manic, negative, depressed man. Part of me believes his persona was based on Alma's exploitation on the Mahler myth. Much of his letters including the last ones were very mundane. Talk about getting paid for a gig, frustrations over a bad review, lots of performance notes (wrong notes, etc), tons of adulations for Alma (from August 1910, "Fairest, dearest one, my lyre...you wonderous thing, what music could I write whose words conveyed to you my mortal plight?" There is practically no existential dread. This is very important because he had already completed Das Lied von der Erde and Symphony No. 9 and was working on his final Symphony No. 10. The reason why this narrative is so important is because he was in a horrible state of mind. We have his letters to Alma to prove this. He was gloving with adoration in his final moments. He was not morose. He was had no existential dread. He had eternal love and admiration and his final letters and music prove that. That's why I strongly believe Symphony No. 10 must be heard in its entirety. It should be considered canon.
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