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trained-pianist
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« Reply #120 on: 20:03:36, 27-02-2007 » |
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I heard Mahler's piano quartet today. It is an early piece. I thought it was very good. I am sorry he did not compose more chamber music.
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Rob_G
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« Reply #121 on: 20:16:01, 27-02-2007 » |
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It is a lovely piece, already full of haunting melody and darkness
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trained-pianist
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« Reply #122 on: 20:19:05, 27-02-2007 » |
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I thought you would like it, Rob_G. When I was listening to it I thought that you would lilke that. I liked it a lot too.
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musodave
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« Reply #123 on: 10:42:53, 15-03-2007 » |
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I love the Baker/Barbirolli recording of the song-cycles but there's a dreadful stuff-up in Kindertotenlieder. The bell that's required at a few crucial moments is in F rather than in D. As one of the songs relies on a D major/minor ambiguity that's maintained until the very end it's a horrible error. Did no one spot it? Shame!
Yes, I spotted the glockenspiel error. In the last song it's particularly bad, sounding a C instead of an A and completely ruining the tonality. Also in the closing bars of that song the celeste plays an octave too high, significantly changing Mahler's intended sound. I'm amazed that such blatant mistakes could have been overlooked by player, conductor and producer, spoiling what is otherwise a sublime interpretation and a great recording. |
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oliver sudden
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« Reply #124 on: 10:57:47, 15-03-2007 » |
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Aha, F instead of D and C instead of A - someone was clearly reading in bass clef.  The celesta thing is also a pity but a little more forgiveable - not all celestas have always had all the necessary notes. In other words it only wrecks the sound rather than the harmony as well.  |
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musodave
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« Reply #125 on: 09:40:36, 17-03-2007 » |
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Strangely enough they get it right in "Lieder eines fahrenden Gesellen" - same orchestra, same recording date.
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Tony Watson
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« Reply #126 on: 21:15:16, 17-03-2007 » |
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This is quite an old thread and I hope I'm not repeating something that's already been said but... Talking of wooden flutes there was Gareth Morris of the Philharmonia: http://www.guardian.co.uk/obituaries/story/0,,2022771,00.htmlAlso, I don't think anyone's mentioned the fifth symphony yet. If only he hadn't put that middle movement in it. I never tire of hearing the first two movements and the last movement in many ways represents what I love about Mahler - there's a bit of just about everything there. As for recordings, don't overlook Mackerras with the RLPO, even though the opening trumpet is a little over-ripe for my taste. |
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thompson1780
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« Reply #127 on: 23:13:12, 18-03-2007 » |
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I thought the Piano Quartet was a bit too full of teenage angst when I played it. I had enough of teenage angst when I was, er, a teenager.
The other interesting think for me playing Mahler was the 'Chamber' version of Symphony No.1. Not exactly Chamber, but smaller forces than you would imagine. Meant a lot of clarity.
Tommo
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« Last Edit: 23:29:47, 18-03-2007 by thompson1780 »
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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roslynmuse
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« Reply #128 on: 23:19:51, 18-03-2007 » |
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Has anyone heard Schnittke's "completion" of the Piano Quartet? He adds a second movement which presumably takes some incomplete sketches, adds reminiscences of mt 1 and glues it all together with some wild, Schittke-esque expressionism. A bit of a culture shock after early Mahler, but worth listening to.
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richard barrett
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« Reply #129 on: 23:23:00, 18-03-2007 » |
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Well, Gustav was only 16 when he wrote it, if I'm not mistaken. I don't think anyone would be interested in hearing it if its composer hadn't gone on to do the astonishing things he did; and (reaching for my coat) I must say I feel quite similarly about Das klagende Lied.
Haven't heard that Schnittke though, that sounds like an interesting idea.
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« Last Edit: 23:25:49, 18-03-2007 by richard barrett »
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oliver sudden
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« Reply #130 on: 23:30:12, 18-03-2007 » |
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Also, I don't think anyone's mentioned the fifth symphony yet. If only he hadn't put that middle movement in it. Hm. I've just tried the mental experiment of imagining the scherzo crashing and shuddering its way to a halt to be succeeded by the gentle opening insinuations of the Adagio and I'm not quite sure that would have been a good idea. Has anyone else had their jaw abruptly lowered to floor level by the arrangement of said Adagietto on this disc? Especially Solange Anorga's helium act? |
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oliver sudden
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« Reply #131 on: 23:31:21, 18-03-2007 » |
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I must say I feel quite similarly about Das klagende Lied. Are you familiar with the three-movement version? (I'm not.) |
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richard barrett
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« Reply #132 on: 23:34:44, 18-03-2007 » |
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...er, I thought the Adagietto DID follow the scherzo.
No, I don't know the three-movement version of the Klagende Lied (although I think I have a recording of it with Boulez).
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Tony Watson
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« Reply #133 on: 23:39:03, 18-03-2007 » |
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But at what point would the scherzo shudder to a halt? I think the symphony might work without it at all. But if it is felt that there should be some buffer between the second and fourth movements, I think there must be something better. I could say more but I would be interested in the views of anyone justifying it.
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oliver sudden
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« Reply #134 on: 23:39:49, 18-03-2007 » |
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Bother, by scherzo I meant the second movement. I hope it's clear now...  |
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