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Thread: Mahler

  1. #121
    Senior Member Weston's Avatar
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    Today I almost "got" Mahler. I had his Symphony No. 7 (Michael Tilson Thomas / London Symphony Orchestra, 1999) playing in the background while I tried to ignore the predators on the phone and get some work done. Parts of it actually drew my attention as interesting.

    Oh, I had never disliked the music before. But neither had it spoken to me of anything memorable,, in spite of its hordes of rabid champions. It had always seemed kind of rambling and directionless to me - maybe because most of it is so epic and there are so many themes I can't keep track of them. I'm not sure.

    Today I noticed some unusual timbres and rhythmic skulduggery - almost as if some gamelan music had been rendered prettily instead of shrill, like a music box trying to play gamelan with pretty violin stabs above it. A most unusual passage. It's not much, but it's a start.

    Now that something has grabbed me, maybe I can set aside some time to really listen with annotations at hand and "get" it the rest of the way. It's frustrating being deaf to something that moves so many people.

  2. #122
    Senior Member Sebastien Melmoth's Avatar
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    I have a lot of Mahler--(three different symphony cycles, all the lieder, etc.), but I often think I don't really like him.
    He's sooo n e r v o u s, and hearing his music is so innervating.

    (On the other hand, I find Schönberg relaxing--at least cathartic, so go figure...)

  3. #123
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    Mahler is incredible. I have not had him as heavily in rotation as of late, but for a while I was listening to him almost daily. His music is definitely more dense than most, so it is not as suitable for casual listening. But there is still little that moves me quite like his 2nd symphony, especially Urlicht, or his Das Lied von der Erde. Lately I've been giving more attention to his 9th and 10th symphonies (not meant to stir up debate on the legitimacy of the Cooke 10th - I also have several recordings of just the adagio).

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  5. #124
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    I'm a mahler fans, the first time of me to know mahler was his 7's final.
    I love the timpani beat of the final.
    The most touching symphony he had write, I think it should be his 9.
    I love his nine's feeling.
    Most of people think think that his 9 are full of the scared od dead.
    But in my opinion, this symphony give me a feel of "retire from the world".
    This may show mahler's feel to the world:
    full of tragic, hopeless. so he want to "escape". This may like his das lied von der erde.
    This is one point that i love his symphony.
    Also his orchestration are great, by the extremely dynamic range and the balance of each kind of instruments.

    I have 6 mahler cycles:
    klaus Tennstedt,Gary Bertini,Leonard Berstein,Simon Rattle,Rafael Kubelík,Giuseppe Sinopoli
    And i have most of his symphonies' full score
    (symphonies no.1-9+das lied von der erde+das klagende lied+some lieders)
    Last edited by GMSS; Oct-24-2010 at 04:59.

  6. #125
    Senior Member elgars ghost's Avatar
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    I started off by buying the 8th by Solti. Probably not the best way in but I couldn't resist adding a work subtitled 'Symphony of a Thousand' to my embryonic CM collection. At about the same time I bought Kubelik's DG cycle and then the love affair really took off. I now have six recordings of each symphony (except nos. 5 and 10 where I have seven and five respectively) so I think once I get to seven or eight that will do me. It's difficult to pinpoint favourite recordings but I would, no doubt with some hesitation, lean to the following:

    1 - Kubelik (DG) or Solti (Decca)
    2 - Mehta (Decca) or Walter (Sony)
    3 - Horenstein (UK) or Bernstein (Sony)
    4 - Szell (Sony) or Horenstein (CFP)
    5 - Kubelik (DG) or Tennstedt (EMI)
    6 - Bernstein (DG) or Barbirolli (EMI)
    7 - Bernstein (Sony) or Tilson Thomas RCA)
    8 - Solti (Decca) or Sinopoli (DG)
    DLvdE - Klemperer (EMI) or Haitink (Philips)
    9 - Maderna (BBC) or Karajan (DG)
    10 - Rattle (EMI) or Barshei (Brilliant)

    I love the lieder, too, whether for orchestra or for piano - Janet Baker's recording of the early lieder with pianist Geoffrey Parsons (Helios) is particularly sweet.

  7. #126
    Senior Member Sebastien Melmoth's Avatar
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    PBS in America broadcast Boulez conducting the Chicago Symphony Orchestra in Mahler's Seventh.

    http://www.pbs.org/wnet/gperf/episod.../#comment-5431

    It was really remarkable.

  8. #127
    Senior Member emiellucifuge's Avatar
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    Quote Originally Posted by Sebastien Melmoth View Post
    PBS in America broadcast Boulez conducting the Chicago Symphony Orchestra in Mahler's Seventh.

    http://www.pbs.org/wnet/gperf/episod.../#comment-5431

    It was really remarkable.
    Woohoo!

    Im seeing Boulez conduct the 7th with the Concertgebouw orchestra this christmas!!


    Having been listening to it a lot lately, i wonder why it is his least popular work? I like it a lot..

  9. #128
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    Quote Originally Posted by emiellucifuge View Post
    Woohoo!

    Im seeing Boulez conduct the 7th with the Concertgebouw orchestra this christmas!!


    Having been listening to it a lot lately, i wonder why it is his least popular work? I like it a lot..
    I had the good fortune of hearing Boulez conduct Mahler's Ninth with the New York Philharmonic in 1976 at Avery Fisher Hall. It was my first hearing of Mahler's Ninth and what an impact that concert had on me. Only Horenstein, Bernstein and Kondrashin come close to that reading of Boulez.

  10. #129
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    [QUOTE=elgars ghost;117650] It's difficult to pinpoint favourite recordings but I would, no doubt with some hesitation, lean to the following: May I add mine to the side

    1 - Kubelik (DG) or Solti (Decca) Zubin Mehta/Israel+ Frank Brieff/New Haven
    2 - Mehta (Decca) or Walter (Sony) Zubin Mehta/Wiener+ Israel + Solti/Chicago
    3 - Horenstein (UK) or Bernstein (Sony) Zubin Mehta/Los Angeles+ Haitink/Berliner
    4 - Szell (Sony) or Horenstein (CFP) Solti/Concertgebouw+Zubin Mehta/Israel
    5 - Kubelik (DG) or Tennstedt (EMI) Zubin Mehta/New York +Horenstein/Wiener
    6 - Bernstein (DG) or Barbirolli (EMI) Bernstein/Israel + Karajan/Berliner
    7 - Bernstein (Sony) or Tilson Thomas RCA) Solti/Chicago+ Kubelik/Bavarian Radio
    8 - Solti (Decca) or Sinopoli (DG) Solti/Chicago and Solti /Chicago and Solti/Chicago
    9 - Maderna (BBC) or Karajan (DG) Boulez/New York + Kondrashin/Moscow Radio
    10 - Rattle (EMI) or Barshei (Brilliant) Simon Rattle/Berliner + Wyn Morris/New Philharmonia.

  11. #130
    Senior Member World Violist's Avatar
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    I don't know if my list of favorites has changed much since my last posting...

    1- Boulez (DG)
    2- Boulez (DG)
    3- Boulez (DG)
    4- Levine (RCA)
    5- Barbirolli (EMI) (Only recording I've ever really found myself liking)
    6- Boulez (DG)
    7- Tilson Thomas (SFSMedia (though I haven't heard his earlier one...))
    8- Nagano (HM) and Boulez (DG)
    DLvdE- Reiner (RCA)
    9- Boulez (DG) and Gielen
    10- Ozawa (RCA; Adagio only) and Levine (RCA; Cooke II)

    Yes, I'm quickly turning into one of those subversive modernist Mahlerites.
    You get a frog in your throat, you sound hoarse.

  12. #131
    Senior Member Sebastien Melmoth's Avatar
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    Quote Originally Posted by emiellucifuge View Post
    Woohoo! I'm seeing Boulez conduct the 7th with the Concertgebouw orchestra this christmas!! Having been listening to it a lot lately, i wonder why it is his least popular work? I like it a lot..
    Nice!--lucky you!

    I've lately taken to thinking the problem with the Seventh is that critics and audiences somehow feel the need to superimpose a programme on the work which perhaps runs counter to Mahler's (subconscious) intentions.

    What I'm saying is that the movement subtitles 'Nachtstück' etc. actually betray the work's abstraction.

    As conducted by Boulez, I take the work to be an essay in abstract Art Nouveau of timbre and rhythm.

    Mahler calls for large orchestral forces, but throughout uses instruments sparingly in a chamber-like way. (This is something the Second Viennese School adapted.)

    Tempted to pick up Boulez's DG reading:
    http://www.amazon.com/Mahler-Symphon...8543229&sr=1-1

  13. #132
    Senior Member World Violist's Avatar
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    Quote Originally Posted by Sebastien Melmoth View Post
    Tempted to pick up Boulez's DG reading:
    http://www.amazon.com/Mahler-Symphon...8543229&sr=1-1
    I heard Boulez's recording. It's actually remarkable; the only thing I didn't like about it was that the brass didn't blaze in the finale like those of many other recordings do. Apart from that, I'd say go for it.
    You get a frog in your throat, you sound hoarse.

  14. #133
    Senior Member emiellucifuge's Avatar
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    My appreciation for Mahler has increased dramatically in the last few weeks..

    I found this fascinating blog:
    http://kennethwoods.net/blog1/mahler...s-perspective/

  15. #134
    Senior Member World Violist's Avatar
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    Quote Originally Posted by emiellucifuge View Post
    My appreciation for Mahler has increased dramatically in the last few weeks..

    I found this fascinating blog:
    http://kennethwoods.net/blog1/mahler...s-perspective/
    I haven't seen this before... it's really good! I especially like the whole thing about the wall of octaves in the beginning of Mahler 1, and then the winds having to hit not only the octave directly, but then the next strongest note of the overtone series. Now I think of it, it's really nigh impossible, isn't it!
    You get a frog in your throat, you sound hoarse.

  16. #135
    Senior Member sospiro's Avatar
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    Hello from the other side.

    I'm going to this at Royal Festival Hall. I don't know Mahler at all & would really like to do some homework before I go.

    Can anyone recommend a CD of the Rückert-Lieder & of the 4th?

    Thanks
    Ann

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