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In Reply to: RE: So...Vanska's Mahler 5th. So few Mahler recordings available these days.... posted by email@example.com on July 09, 2017 at 17:32:01
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.
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