Mahler Mania, Rebooted

Started by Greta, May 01, 2007, 08:06:38 PM

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Opus106

Quote from: Wanderer on May 31, 2009, 09:57:25 AM
Any insights on Eschenbach's Mahler?

You can download his eighth here.
Regards,
Navneeth

Bunny

Quote from: Wanderer on May 31, 2009, 09:57:25 AM
Any insights on Eschenbach's Mahler?

Eschenbach's Mahler so far is a mixed bag.  He has a predilection for women with very light vocal timbres so that affects his choice of soloists in the song driven symphonies.  His recording of the 6th is as menacing and crushing as anyone would wish from a 6th.  I know he's got a recording with the Houston Symphony of the Mahler 1st, but I haven't heard that.

I have his recordings of the 6th which as I said before, is excellent, and the 2nd which is slightly less so.  I have also heard him conduct the Philadelphia in the 4th and the 2nd at Carnegie Hall, with mixed results.  The 4th was not an optimal performance. Characterized by ragged play all over the place, it was also cursed with a singer, Marisol Montalves, who just didn't have a voice big enough to fill the hall.  For those critics who didn't like the way Dorothea Röschmann looked on stage, I must say that Montalves looked like the beauty pageant winner she is.  However when you go to a Mahler concert, you aren't there to judge an evening gown competition.  In contrast to the less well dressed Röschmann, Montalves' (I presume light, silvery,) voice was largely inaudible -- a killer for the finale.  

The 2nd was much better, and the chorus sang brilliantly to a rousing finale -- they were the best thing about the concert.  The only fault I can think of is that for some reason the earlier movements didn't generate quite as much emotion and excitement. From the Urlicht through to the finale, however, it was indeed terrific.  The soloists were the same, I believe as in the recording.  Their voices while to my ears a bit too light for Mahler (especially the mezzo whom I did not like as much as the soprano),  were easily heard, and not drowned out by the orchestra as Montalves was to be later in the season.  They also had all of the necessary range, if not heft for the work.  A woman sitting to the side of us went through a pack of Kleenex as the tears streamed down from the Urlicht through the finale, so you will know that all of the right emotional buttons were being pressed. 

The symphony as a whole was very satisfying.  It was aces and spades above Boulez's cold and flat Mahler 2nd which was barely redeemed by excellent vocal performances. 

Brünnhilde forever

#882
December 25th, 1987, Concertgebouw Amsterdam, the last strains of Gustav Mahler's 9th Symphony are floating through the packed house, Mahler's well-known portrait is being projected onto the famous organ, Maestro Bernard Haitink raises both arms to conduct the last notes of the long fading coda, ..."he opens his right hand and lets the baton clatter to the floor; his last gesture of control at his final Christmas matinee. This was his penultimate concert as Chief Conductor in Amsterdam with only his farewell performance of Mahler's 8th to follow." [from Kasper Jansen, Music Editor, NRC Handelsblad.]

Then the ovation erupts, and I am breathing again, having spent the afternoon with the DVD of this historical performance.

Thank you, my Dutch friends, who helped me purchase the Philips set.  :-*

greg

Quote from: Brünnhilde forever on June 01, 2009, 03:44:00 PM
December 25th, 1987, Concertgebouw Amsterdam, the last strains of Gustav Mahler's 9th Symphony are floating through the packed house, Mahler's well-known portrait is being projected onto the famous organ, Maestro Bernard Haitink raises both arms to conduct the last notes of the long fading coda, he opens his right hand and lets the baton clatter to the floor; his last gesture of control at his final Christmas matinee. This was his penultimate cancert as Chief Conductor in Amsterdam with only his farewell performance of Mahler's 8th to follow. [from Kasper Jansen, Music Editor, NRC Handelsblad.]

Then the ovation erupts, and I am breathing again, having spent the afternoon with the DVD of this historical performance.

Thank you, my Dutch friends, who helped me purchase the Philips set.  :-*

That date is 3 days before I was born. Maybe I should listen to Haitink's Mahler 9...

Brünnhilde forever

Yes, that one, and the 7th, my favourite. Goodgod, that man is totally involved in his Mahler, and so are his musicians!  ::)

Lilas Pastia

For many Haitink's Mahler is the Word. Simply because he lets this complex music speak for itself and breathe. Of course, having the COA at his disposal (and his lifelong association with it) is part and parcel of the magic. My first association with symphonies 1, 2, 5, 7, 8 and 9 was though his Philips recordings. They not only made a deep impression, but helped expose the errors and exaggerations of 80% of the other recordings I heard afterwards.

Senta

Quote from: Wanderer on May 31, 2009, 09:57:25 AM
Any insights on Eschenbach's Mahler?

Big fan here. His Mahler has come up several times in earlier pages this thread. From what I understand he seems to be stronger in some of the symphonies than others - does anyone have any experience of him #3, 7, or 10? Would love to hear a 7th from him because he is particularly awesome for in the 5th and 6th.

The Ondine Philly recording of the 6th is excellent, very musical, wonderful playing/recording and packs quite a wallop indeed.

Here is a great video too on YouTube (musically might be even better! and at least as good) with Orch de Paris. Somewhere I have links for those I think.

I. (1, 2, 3)
II. Scherzo (1, 2)
III. Andante (1, 2)
IV. (1, 2, 3, 4)

The 8th - links to download the vid above - here it is on YouTube as well, again w/ Orch de Paris. For some reason, this one isn't as successful to me - he lets the huge arc of the thing meander and wander at times (always hard with the 8th!)

Part I (1, 2, 3)
Part II (1, 2, 3, 4, 5, 6, 7)

The 1st - the recording with Houston is from early 90s on Koch and is certainly very good. Spirited playing and interpretation, a well-done live recording worth a hearing.

The 2nd, 3rd, 4th have radio broadcasts floating around either with NDR, Orch de Paris, maybe 2nd w Philly I haven't checked them out yet due to time and some subdued reviews.

The 9th - there was a recording I was impressed with, from radio with the NDR SO in 1996, great performance.
Here is a link:
http://rapidshare.com/files/239895879/M9EschenbachNDRSO1996.rar

Okay - now the 5th. As said, the 5th and 6th are some of his strongest. It is such a pity he never recorded the 5th with Philadelphia, it might've been a new favorite based on their 6th, and on the fact that his general interpretation for me is close to ideal.

There is a great, great video (in HD!) to watch of them in Japan in 2005:

1st mvmt (1, 2)
2nd mvmt (1, 2)
3rd mvmt (1, 2)
4th mvmt (1, 2)
5th mvmt (1, 2)

The audio of that is here:
http://rapidshare.com/files/239827495/M5EschenbachPhilly2005Japan.rar

Now - there is an extremely interesting and fantastic recording of his 5th with Houston on tour in Vienna in 1992. This one is fascinating interpretively and as such draws me back to it again and again, plus the playing just catches fire by the 2nd mvmt and they really smoke on through to the end.

Eschenbach goes further than he should with many, many things in that performance, though they follow him perfectly and it certainly makes you think of the music in a different way. I honestly can't say that it doesn't work on some level - it is so musical and committed throughout. There are sections in the 2nd mvmt where he just pulls time like taffy, and no more so than in the Adagietto which is very broad and hangs in the air as a misty timeless haze, it is really unique and special. The Philly recording is far less radical, more mellow and straightforward, but he still makes some of the same points.

Here is the Houston recording, was only on a private subscriber CD:
http://rapidshare.com/files/239815244/M5EschenbachHouston1992Vienna.rar

If you get a chance to stumble on some of their other 90s live recordings too, go for it, the awesome Prokofiev 5, the Bruckner 6 on Koch - but skip the DSCH 5.

Wanderer

A lot of illuminating answers so far, thank you all!  8)
I'm going to begin with the Sixth on Ondine as well as the other online resources so far specified.

greg

Just finished watching the Mahler movie.
It was enjoyable, given the subject, though I'm not a big fan of that type of style. The guy looked just like Mahler (especially in the profile).
Overall, though, his life doesn't seem that interesting- probably more exciting would be movies of Prokofiev, Shostakovich, Schoenberg, etc. though I have no idea if there are any movies of them.

Lilas Pastia

Anyone can comment on the 1956 Mitropoulos 3rd?

Opus106

A question on the use of cowbells in the 6th symphony. It's not a musical instrument per se, but is it specified in the score "how" they should be played, or can the cowbell-ist just make soft sounds anyway he or she (or more likely - the conductor) wants to create a pastoral atmosphere?
Regards,
Navneeth

Drasko

Quote from: Lilas Pastia on June 06, 2009, 06:37:20 AM
Anyone can comment on the 1956 Mitropoulos 3rd?

Very fast and cut, I'm told. Havent' heard it myself.

jlaurson

Quote from: Lilas Pastia on June 06, 2009, 06:37:20 AM
Anyone can comment on the 1956 Mitropoulos 3rd?

Love Mitrop. in general and in Mahler in particular... but avoid this one. In English and heavily cut and bad sound. Only for those who NEED to have every Mitrop. Mahler recording.

ChamberNut

Quote from: opus67 on June 06, 2009, 06:50:14 AM
A question on the use of cowbells in the 6th symphony. It's not a musical instrument per se, but is it specified in the score "how" they should be played, or can the cowbell-ist just make soft sounds anyway he or she (or more likely - the conductor) wants to create a pastoral atmosphere?


I think it is specified in the score....I'd actually be shocked if it wasn't.  Navneeth, from hearing and seeing this symphony performed live, the percussionist is taking great care with these cowbells, just at times hardly touching them, gliding over the set gently.  Most of the time it is very faint and subtle.

Opus106

Quote from: ChamberNut on June 06, 2009, 10:22:15 AM
I think it is specified in the score....I'd actually be shocked if it wasn't.  Navneeth, from hearing and seeing this symphony performed live, the percussionist is taking great care with these cowbells, just at times hardly touching them, gliding over the set gently.  Most of the time it is very faint and subtle.

Thanks, Ray. Reply much appreciated. :)
Regards,
Navneeth

ChamberNut

Quote from: opus67 on June 06, 2009, 10:27:20 AM
Thanks, Ray. Reply much appreciated. :)

As for the hammer blows.......nothing subtle about them.  Whack the large wooden mallet with all the force your body can project.  ;D ;D

Opus106

http://www.youtube.com/watch/v/UwljE3HsfSM

The cowbell-ists are not cool enough to warrant a YouTube video.
Regards,
Navneeth

Lilas Pastia

Thanks for the Mitropoulos 3rd comments guys!

MDL

Quote from: Bahamut on June 06, 2009, 05:57:13 AM
Just finished watching the Mahler movie.
It was enjoyable, given the subject, though I'm not a big fan of that type of style. The guy looked just like Mahler (especially in the profile).

Do you mean Ken Russell's Mahler, with Robert Powell? That's a quirky little film and no mistake. Some bits I love, other bits I watch through my fingers, the conversion scene especially; Mahler as one of the Groucho brothers, then as Stan Laurel?! Ken, what were you thinking?!

Apologies if you're referring to some other Mahler doc/film, by the way.



Jay F

I saw -- or is it "heard"? -- the Pittsburgh Symphony perform the M2 on Friday night. There were at least a points where one of the percussionists used a hammer. How come no big deal is made of this the way it is in the M6?

It was a splendid performance, especially the last two movements.