|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
98.208.117.121
In fact, fabulously recorded.The opening of the 5th mov't starts off so promisingly! The solo tuba player, bass clarinet, muted horn and (even gong) very successfully project the expressive weight of Mahler's spare lines. Then comes the flute solo, which hangs in the air between the speakers, fully fleshed-out and ever so delicately echoing throughout the Hall. As I said, incredible recording!
During the central section's more lively music, the characterful playing perhaps makes the music sound more substantial than it is, but for all the flurry of activity, there's some beautiful, half-lit stretches of repose, which Dausgaard blasts right though. The "primal scream" chords aren't very electric or terrifying at all.
Things continue to go downhill: the string and harp music that follows is Mahler's most intensely personal and intimate, and that's saying a lot. Once again, it sounds like a hasty run-through. Very little rubato, even though the music screams for it.
As the string music builds and horns answer in counterpoint, (minor 2nd followed by leap of 5th,releasing on 4th, etc. IIRC), there's absolutely no physical grace to the leaps, no rubato, no cresc/decrescendo, no nothing.
When we get to the final farewell, who would care this point?
Edits: 11/19/16Follow Ups:
Playing slightly less refined but feel like I just stepped back into the hot tub. IMHO N-S more attuned to Mahlerian hairpin dynamics and Rubato tha Dausgaard.
Definitely feeling in the minority though, many online very pleaaed with Dausgaard.
I guess Dausgaard wins but I'm a sucker for 'audiophile' SQ because even streaming, albeit at 16/44.1, the Seattle recording is just WAY, WAY superior.
engineer to mess up, ha ha.
If you have time I'd love to hear what you think about their Faure recording
If QOBUZ does nothing else well these days, they DO stream just about the entire hm catalog.
If one is a chamber music fanatic of a certain age, QOBUZ is your friend.
Will stream it later today and report back.
Pierné, no way.
Neither is my cup of tea, no is 99% of the string trio music I've heard so far. That's not likely to change.
N
Requires a few more than three instruments to warm these cockles, I guess.
What's frustrating is that it starts out so we'll.
I'm not opposed to "flowing" interpretations, in fact my cherished Mahler 10th is Sanderling's but my goodness, Dausgaard seems to be in a hurry!
N-S left me feeling a bit off and melancholy for a couple of hours, and that's a compliment. Montreal's mew hall ain't so shabby either.
And TGR if you're reading, I still have the quietest Eterna set ever pressed, if you want it.
I
I assume Dausgard didn't try this crap in Seattle with his Mahler 10th - God knows Snorrington would have tried it!
OK, 'Hysterically Informed' maybe.
The Seattle release of the Mahler 10 is certainly worth a listen, but I don't see anything on HD Tracks but a two channel 24/96 offering.
Am I missing something?
I wasn't aware that the Seattle Mahler 10 was released on shiny disk as anything more than CD quality, albeit a VERY good recording even at that.
BTW, I have Snorrington's Mahler Fifth, so I know about HIP Mahler! ;-)
Is that how Mahler would have completed it or is that just how those who did complete it decided to leave it from the existing sketches? (Is this the Cooke version?)
I've always wondered why those who have completed the 10th symphony didn't follow the orchestration ideas of the 9th symphony more closely.
Of course, it's one thing to try to orchestrate like Mahler, another to do it successfully.
to me. That said, the soloists have a lot of weight on their shoulders.
The only stretch that comes across as hoaky is that ascending scale in the basses towards the end.
Yes, the Seattle recording is the third Cooke version.
Mahler did complete the first movement of the Tenth, and it has many "spare lines" compared with any movement of the Ninth, so I don't know that we can assume that he intended to "unspare" the Tenth if he'd lived to finish it. How can you orchestrate the sketches of the Tenth to be like the Ninth (i.e., with lots of counterpoint) without doing lots of your own composing?
"How can you orchestrate the sketches of the Tenth to be like the Ninth (i.e., with lots of counterpoint) without doing lots of your own composing?"
You can't, obviously. But to me, the 10th symphony as completed by Cooke is stylistically far from the other nine symphonies (though closest to the 9th), and clearly not composed by Mahler himself (AFAIK even the first movement was not completed by Mahler, especially wrt orchestration). And it isn't just a question of "spare lines". To me, much of Cooke's symphony just isn't quite in Mahler's style.
I think the problem comes from a philosophy of completing an uncompleted work by attempting to keep to the composer's original ideas as closely as possible and avoiding as much as possible inserting one's own rather than attempting to complete it as he might have.
That may be a reasonable approach and the best one for avoiding controversy, but for me it leaves a work that at the same time sounds incomplete and not truly by Mahler.
FYI, here's Cooke's lecture given at the first performance of his "completion" (he doesn't call it that) of Mahler 10.https://www.youtube.com/watch?v=NqthgNuFF9Y
One point that Cooke makes is that the short score that Mahler left has some aspects that are new to his music, e.g., constantly changing time signatures in the scherzo. So one reason you might find the 10th unMahler-like is that Mahler had gone off in some new directions in this piece (as he did in the 9th, which has litte in common with the 8th).
Edits: 11/20/16
My favorite is Wigglesworth's recording on a BBC Music CD. I heard him conduct the 10th with the Cleveland Orchestra, and that was even better.
Used for $0.13 plus $3.99 shipping but OK, it's not on any of my streaming services so...
Buying more used CDs from Amazon now than ever before. 5-10 a month.
Seems Mr. Wigglesworth is a busy guy. Found this one (above), with the Melbourne Symphony on TIDAL and it also streams free if you have Amazon Prime. Seems he did a Mahler #6 with them as well.
I like his Shosty series on BIS as well, but some don't.
I haven't heard the Melbourne recordings he did. I have his Shosty 13, and it's the best one I've heard except for Kondrashin's second recording with Artur Eizen, which unfortunately used the declawed version of the Yevtushenko text (and even more unfortunately has rather strident sound).
better.
Big fan of Wigglesworth in 11th, less so in the 4th, but still enthralled.
Outside of the Russians of course.
Post a Followup:
FAQ |
Post a Message! |
Forgot Password? |
|
||||||||||||||
|
This post is made possible by the generous support of people like you and our sponsors: