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I listened to the opening at ProStudio. Trumpeter plays his solo with quite a bit of swagger. Oddly, the triplets pick-ups don't feel like they're on the off-beat, but rather the downbeat.
The trumpet triplets are played on the downbeat, as written; also, they are played similarly to Mahler's own piano roll. Here's the score + audio:
...and the piano roll:
I listened to much of this performance over the Naxos Music Library app. Granted this is lo-rez, but I found it underpowered and rather matter of fact. And the brass playing is in no way comparable to many better performances, including Solti/CSO (of course), Dohnanyi/Cleveland, either of Bernstein's, Levine/Philadelphia, etc.
It's been awhile but we're in 2/2, if my eyes are seeing correctly.
Isn't the triplet on the "and" of 2?
Again, it's been awhile since I've dealt with 2/2.
The vid you provided feels right, in any case. The Minnesota feels wrong.
The triplets that Chris and I are talking about are on the second page of the score marked "flüchtig." In fact the instruction on the bottom of page one seems to indicate that ALL of the triplets in the theme should be played in a somewhat fleeting manner, like military fanfares (I don't read German, so someone please correct me if I'm getting this wrong).
As I beat time, the triplets on page one are on the "and" (fourth quarter-note) of each 2/2 bar. They aren't metronomic, and I don't know of too many trumnpeters who play it that way.
Check these out:
7 different trumpeters: https://www.youtube.com/watch?v=sOMg0eIrxK4
7 trumpeters...gotta love youtube!
I'm guessing that what may be bothering jdaniel (in terms of the rhythm) is the fact that the score calls for the triplet going into measure 12 to be played hurriedly ("flüchtig"). In the piano roll performance, Mahler also rushes the triplet going into measure 7 (as do many conductors). This certainly upsets the listener's expectations at these points and adds a sense of unease, if you will, to the rhythm. To me, the flüchtig indication is counter-intuitive, and, without it, I'd be inclined to do the opposite (i.e., hold it back!). But you can't argue with the score! ;-)
The first time I heard the piano roll, it became clear what Mahler wanted--speed up those triplets in bar 7. That piano roll has been not hard to listen to for a long time, including pre-YouTube. It's even included in the cd set with Kaplan's LSO Mahler 2. So I can't understand why other conductors don't give Mahler what he wanted.
We heard Vanska and Mn do the 2nd 2 weeks ago and they were selling the pre-release of the 5th. I even got Vanska's autograph. The performance is terrific, may be not the best ever, but excellent. I am most partial to Bernstein-Vienna.
The 2nd was awe inspiring. The recording of the 5th really reflects the excellent acoustics of that wonderful hall.
I heard the Saturday night performance, and I was really moved by it (OK, Mahler's 2nd is my second favorite Mahler, after 9, so easy to fall for it!). I was not so keen on their Mahler 5 performances prior to their recording it, but the 5th has never really grabbed me. I have not heard the recording of the 5th yet. I will probably buy it on eclassical when on sale, being a hometown boy.
But I truly look forward to their release of the 2nd!
Found this new album on Tidal a couple of nights ago. I listened to a few minutes of each movement on my headphones way too late at night. Sounded really good. Listened to the whole thing on my regular system via Tidal app on Oppo 105 last night. One of the best sounding streaming music I've heard! I can't wait until eclassical has it at a bargain price in 24/96 rez.
The Mahler 5th is one of my least favorite of his symphonies, along with 1 and 8 (although the new Chailly Blu-Ray at Lucerne is changing my mind on that piece of music). Vanska's performance seems to hang together okay for me, and I can get joyously lost in the find sound and emotion.
Somehow the Vanska Mahler 5 doesn't really grab me, but I've made a few changes in my system of late (new cans and some mods to my TIDAL streaming setup).
I'll go back to what I've been doing for the last few years and see if that's it.
One thing audiophiles should never forget:
Improvements in audio sound quality in the short term do not always equal improvements in musical engagement and enjoyment over the long term.
It was even on the Chandos site (formerly The Classical Shop) a week earlier. Weird.
Streaming it on TIDAL right now and to tell the truth, Osmo and his band just ain't tugging on my old heartstrings, for some reason.
Nothing to do with the recording quality or the overall playing, etc.
Maybe I'm just having a bad 'listening' day?
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