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richard barrett
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« Reply #30 on: 20:42:33, 12-02-2007 » |
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You bloody well were a noisy audience, George. Was that you falling off a chair somewhere in front of the first violins near the beginning? The audience noise is pretty obtrusive in the first movement, but lessens gradually as the piece goes on, and by the end everyone seems to be almost afraid to breathe.
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George Garnett
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« Reply #31 on: 20:53:55, 12-02-2007 » |
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Oh dear. Sorry about that. It's a horrifyingly long time ago (1971 it turns out !!!) but I don't think it was me falling off a chair. I suspect my contribution was doing my very fiercest Paddington Bear stares at the serial shufflers. Looks like one for the list though, noisy audience notwithstanding (or notwithsitting all that successfully either).
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oliver sudden
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« Reply #32 on: 21:16:10, 12-02-2007 » |
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1971? Sudden Year Zero...  Meanwhile, cop this for hair. |
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Rob_G
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« Reply #33 on: 21:33:26, 12-02-2007 » |
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God I love Mahler, all those emotions packed into each and every Symphony. You could live your life through his music. Thank goodness he wrote what he did
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oliver sudden
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« Reply #34 on: 21:35:12, 12-02-2007 » |
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I suspect my contribution was doing my very fiercest Paddington Bear stares at the serial shufflers. I hope you don't include Maderna himself in that category... |
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oliver sudden
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« Reply #35 on: 21:39:22, 12-02-2007 » |
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..."Erm... I've come about the advert.
You know, for sharing the flat."
"Wouldn't you just die
without Mahler?"
"Oh! What am I doing?"
"Come in, come in."...
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mahlerei
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« Reply #36 on: 23:36:37, 12-02-2007 » |
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Educating Rita?
Oops, sorry, wrong thread.
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Tam Pollard
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« Reply #37 on: 17:59:03, 13-02-2007 » |
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Oliver,
Stopped by my local CD shop on the way home from work. Hadn't intended to buy any Mahler but remembered your fulsome praise of the Barbirolli Testament 6th, they happened to have it and I couldn't help myself - I'll let you know how I get on with it. I also chanced across a disc of the second from Klemperer and the Concertgebouw with Ferrier (Apparently this was the building a library choice when it was done). Should make for interesting listening.
regards, Tam
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Rob_G
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« Reply #38 on: 18:06:21, 13-02-2007 » |
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Let us know Tam, it will be interesting since I don't have this Mahler 6
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oliver sudden
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« Reply #39 on: 18:16:09, 13-02-2007 » |
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your fulsome praise Of course fulsome has a couple of senses. Still, depending whether you like it at least one will be appropriate! The live Rattle 6 from 1987 I mentioned earlier: I've had a chance to hear it all now and it's great. Might be one of those things that doesn't stay in active circulation long so if you're curious it might be good to snap it up. |
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Tam Pollard
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« Reply #40 on: 18:22:48, 13-02-2007 » |
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I meant fulsome in its most positive sense (as I hope I will do when I'm finished listening). As for the Rattle, I did flick through many of the recordings in that new Berlin series, but that one wasn't there. Out of interest, how does it compare with his EMI recording? |
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oliver sudden
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« Reply #41 on: 19:30:41, 13-02-2007 » |
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The 'new' recording (in fact older than the CBSO EMI one!) struck me as being a lot more of a piece than the EMI recording; rather more urgent with lots of risk-taking (not all the risks come off, especially in the brass, but I don't have a great problem with that. As you'll notice when you hear the live Barbirolli!).
On looking at the timings I see there's a reason it seemed more urgent:
I: Berlin 23'17", CBSO 25'36"
II (Andante!): Berlin 15'9", CBSO 16'51"
III: Berlin 12'24", CBSO 13'18"
IV: Berlin 28'37", CBSO 30'32".
My memories of the EMI aren't the very freshest though - must find 1 1/2 hours when I'm in the mood to hear it again.
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MeKurwenal
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« Reply #42 on: 19:58:04, 13-02-2007 » |
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Always happy to talk Mahler.....mainly a question of where to begin !
Gustav was a genius : his music has such depth and richness.
I disagree (respectfully) with those above opting for the Barenb. Mahler 6 though. I have always found it to be too driven, so much so that towards the end of the first movement it feels as if it is coming apart as a performance.
I have long lived joyfully with the Bernstein, but recently I have been deeply affected by the Abbado which seems to touch new depths of understanding and expression in this complex work.
MK
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tapiola
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« Reply #43 on: 20:03:21, 13-02-2007 » |
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Hey everyone
Sorry for the late joining of this marvellous thread, but I've oly just made it to this board.....
Mahlerei:
You mention the Gielen set on Hanssler. Well, I think it's pretty marvellous. I have *several* complete sets and still more separate recordings on top, and it still ranks high in my honest opinion. One word of warning though.....I find the 8th to *sound* like it's on too small a scale for my tastes. In conception it's huge, but the choir just simply sounds too small. Great clarity, but isn't the impact reduced somewhat?). There's particularly good seventh in the set.....
6th Symphony as mentioned before? It's very difficult to find a 'definitive' recording, but I would very much like to add my vote for the Abbado/Berlin version. I'm rather keen on many, many others too but Abbado wins by a whisker, for me anyway (though on some days Bernstein in Vienna, Boulez and Karajan might make me doubt myself.....).
Given that some of you have given lists for the symphonies, I thought I would indulge too, though my opinion would be different in an hour or so if you asked me again.....
1. Bernstein/Concertgebouw (Special mention: Abbado/Berlin)
2. Rattle (Special mention: Bernstein on DG)
3. Abbado in Vienna (Special mention: Chailly)
4. Maazel in Vienna (Special mention: Bernstein/Concertgebouw).
5. Bernstein in Vienna (Special mention: Abbado in Berlin).
6. Abbado / Berlin (Special mention: Bernstein + the rest of the above).
7. Abbado in Chicago (Special mention: Tilson Thomas in London).
8. Tennstedt LPO (either on CD or on DVD, both different but I love them equally)
(Special mention: Bertini).
9. Karajan/Later BPO recording (Special mention: Chailly).
10. Rattle/Berlin (Special mention: Rattle Bournemouth).
Das Lied von der Erde: Haitink (Special mention: Boulez).
Das Klagende Lied: Chailly (Special mention: Rattle).
OK....waffling now....sorry.
Nick
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"...and woodsprites in the gloom weave magic secrets..."
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mahlerei
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« Reply #44 on: 20:23:34, 13-02-2007 » |
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Hi Nick
I take it you're referring to Gielen's Hanssler 8 and not the Sony one, the latter of which sounds suitably large-scale to me. As I taster I have ordered Gielen's Resurrection.
I'm surprised more people don't hold the Horenstein 8 in very high esteem. Despite its faults it really has the excitement of a live occasion and sounds remarkable for its age.
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