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The Radio 3 Boards > The Radio 3 Boards > Classical Music on Radio 3 > Mahler - Let's talk Mahler
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Author Topic: Mahler - Let's talk Mahler  (Read 13875 times)
Il Grande Inquisitor
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« Reply #360 on: 21:41:46, 12-06-2008 »
Tam,

I think you may enjoy hearing this when it's released in Europe later this month...



I need to give it another listen after hearing it for the first time yesterday, but it struck me as very fine, much broader than I expected, almost Bernsteinish in pacing. I had read bad things of the Haitink/Chicago 6th, which is a pity. I rather enjoyed his French National Orchestra account.

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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
Tam Pollard
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« Reply #361 on: 22:01:24, 12-06-2008 »
I may try and hear the French reading at some point (possibly actually catch it next time it crops up on TTN). However, I've never felt Haitink had enough weight in the 6th - either with the Concertgebouw or when I heard him in concert with the EUYO so I'm not sure I want to try again.

Zinman certainly is knocking out apace. I haven't been grabbed by any of the exerts I've heard from the cycle so far - he comes across a little bland for my tastes.
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Rob_G
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« Reply #362 on: 21:49:48, 18-08-2008 »
I've been watching the new Mahler 3 dvd from Abbado http://www.classicalsource.com/db_control/db_cd_review.php?id=6156 and yes it is great, fantastic playing albeit Reinhold Freidrich does crack a couple of notes at the end of the Finale, but what puts me off Abbado's Mahler? Is it because it sounds a little too slick, too carefully crafted, over rehearsed too much polish? I don't but something is missing. I found I came to the same conclusion about his Mahler 6 dvd, to me some of that seemed utterly lifeless!

still, good to have a decent Mahler 3 on video.  Undecided
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oliver sudden
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« Reply #363 on: 22:24:16, 18-08-2008 »
I remember seeing that orchestra, conductor and piece at the proms... was very taken by the brasses' use of a bit of cloth hung over the bell as a rather subtle muting device. (Don't know if that has a name. Seemed to me it should be called the trouser mute.)

I too have found Abbado's recent Mahler not generally as gripping as his Mahler was a couple of decades back. Often wondered exactly why that might be. Maybe indeed because everyone in the Berlin Phil and LFO knows all the notes too well. Or at least think they do.
« Last Edit: 22:26:27, 18-08-2008 by oliver sudden » Logged
richard barrett
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« Reply #364 on: 22:28:30, 18-08-2008 »
Quote from: oliver sudden on 22:24:16, 18-08-2008
(Don't know if that has a name. Seemed to me it should be called the trouser mute.)

(decides not to lower the tone by using the phrase "breathing in short pants")
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