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General Category => Gustav Mahler and Related Discussions => Topic started by: sperlsco on November 07, 2007, 10:02:19 PM
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Absolutely top notch! Macal conducts with tempos that are flowing, but perfectly controlled. The famous Czech winds bring out all of the colours in the music, and the brass are glorious. This is also one of the best and most natural-sounding multi-channel SACD's I've heard to date.
The opening movement has all of the proper gravitas at 22 or so minutes. The timings of the middle three movements are very similar to the MTT/SFSO. However, Macal is much more musical sounding in the first nachtmusik. The scherzo is of the slower, perhaps brooding variety. The second nachtmusik has very prominent guitar and mandolin. My preference is for a slightly faster tempo here, but this is well within reason. My only minor complaints relate to the final movement. The solo violin is a little too closely miked and comes off as a bit edgy. The timpani sound rather recessed at two different stages – a section near the opening and again playing the same section near the ending. This may very well have been a conscious decision, since the timpani are well represented at all other sections. I also would have liked the bells to be more prominent at the coda. However, they are still prominent enough to be heard – unlike in the MTT/SFSO. I noticed in both of the last two movements that Macal has a very unique way with the tension and release of the music throughout (i.e. very different from that of other M7 conductors). It all works very well to my ears, instead of sounding like some strange affectation a la the MTT/SFSO performance.
So at least after my initial complete listening session, I would place this in my first tier of favorite M7’s, along with Lennie (any of his three, but I especially like his DG one), Abbado (also, any of his three), Tennstedt/LPO (live only), MTT/LSO, Levine/CSO, all off the top of my head. Oh yeah, I like the Rattle M7 too.
I really need to type some full comments on the Macal/Czech PO M5 and M6. I’ll try to do this in another thread. To summarize, the M6 is very good. It has quick tempos in the first two movements (btw S-A order), but they are not too fast for my taste. The andante has a great flow and is thankfully NOT played like an Adagio. The finale is weighty and features tremendous playing by the Czech PO.
As for the M5, I have only listened to the first three movements. It does not come off near as well as the M4, M6, or M7. It is very rhythmically stiff to my ears. I am told that the M5 was Macal's first Mahler concert with the Czech PO, so that may explain the strange variance in conducting (i.e. none of the others come off as "stiff").
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Thanks for the great update, Scott. Could we trouble you for timings?
Barry
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Sounds like a great recording...I do plan on getting this as well. Thanks Scott for the great review!
--Leo
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Timings:
22:18, 15:25, 10:13, 13:47, 17:36 (no applause)
recorded May 3-4, 2007
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Thank you Scott. By way of comparison, here are the timings for Ashkenazy/Czech Phil.
I - 21:13; II - 14:34; III - 9:40; IV - 12:30; VI - 16:39
Barry
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The Kobayashi and Macal M7 (both SACD) came in the mail yesterday...first here are my first impressions on the Macal M7:
Scott's review is very accurate. One of the best sounding orchestral recordings/SACD yet...Exton has great engineering as usual. The performance is straightforward, but controlled with "Haitink-like" architecture, in other words, full of tension and release in the right passages with great dynamics. One of those performances where as Barry says, "It's like a conductor throws the score on your lap, perfectly executed by the orchestra...with almost no interpretation in the way." Thats how this sounds. It's a "lighter" M7 than Barenboim or Abbado, not as dark or ironic as some have taken it...rather I was surprised to find a very "Wunderhorn-like" sound world instead, with "Das Lied von der Erde" premonitions in the center three movements. My only quibbles being the same as Scott's, some recessed timpani in certain passages in the Finale, and the bells are not as loud as they could be...although this is not enough to prevent a very satisfying M7. I enjoy Macal's objective "icey" beauty, I hear this same quality in his M4 also on Exton.
On the other side of the coin we have Kobayashi's account. Darker, heavier, and very "Klempereresque"--if Klemp had been well in the later 60's he might of made an M7 like this. Kobayashi shows much insight in every movement...special mention must be made of the brass and percussion...very well captured on this SACD, not as clear as the sound of Macal's, but powerful and atmospheric, just like Kobayashi's M3 SACD on Exton. Also, the cowbells and bells are better heard here. The Nachtmusik II is played so rapturously...Kobayashi gives it a wieght of importance I don't usually hear. There are so many great details in all the movements, and great dynamics and flow. This is more an "interpetation" than Macal, but one of insight and action, capturing many moods with the incredible CPO sonority...a sonority enjoyed on both these recordings.
These two M7's reside at the top of my M7 favorites with the Horenstein and Barenboim. I could live with just these four.
--Leo
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The Kobayashi/CPO/Exton M7th is on the very top of my list. Like Leo mentioned, Kobayashi's conducting reminds me that the piece is a panorama of spectacular and rapturously beautiful moments and passages. After all, the music resembles M3rd closely and his interpretation is very much the other side of the coin he showed in his M3rd recording.
John,
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Sounds like a great recording...I do plan on getting this as well.
--Leo
Sadly Macal's dreadfully boring CzPO (!) New World on an Exton SACD has put me off him a bit.
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I also found Macal's M4th on Exton on the dull side, except for the finale where the singing is so outstanding.
John,
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I now prefer Boulez/CO/DG SACD M4 over the Macal M4/Exton...but I'll still keep the Macal.
--Leo
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The Kobayashi and Macal M7 (both SACD) came in the mail yesterday...
On the other side of the coin we have Kobayashi's account. Darker, heavier, and very "Klempereresque"--if Klemp had been well in the later 60's he might of made an M7 like this. Kobayashi shows much insight in every movement...special mention must be made of the brass and percussion...very well captured on this SACD, not as clear as the sound of Macal's, but powerful and atmospheric, just like Kobayashi's M3 SACD on Exton. Also, the cowbells and bells are better heard here. The Nachtmusik II is played so rapturously...Kobayashi gives it a wieght of importance I don't usually hear. There are so many great details in all the movements, and great dynamics and flow. This is more an "interpetation" than Macal, but one of insight and action, capturing many moods with the incredible CPO sonority...a sonority enjoyed on both these recordings.
I hadn't lstened to the Kobayashi M7 in a while, but gave it a spin over the long Thanksgiving weekend. Its timings are rather long (hence the dark/heavy comments) and similar to the live Tennstedt one from the 90's, which is one of my all-time favorites. However, it is not a similar conception. Kobaysahi does not draw as much of a contrast among the differing tempo relationships throughout like Tennstedt. Kobayashi is slower and more methodical throughout, whereas Tennstedt is both fast and slower and plays up the dynamics in the music more (note: both have a similarly long and methodical approach to the Nachtmusik II) . That is NOT to say that Kobayashi is dull or inflexible. However, I much prefer Tennstedt's way when going with the longer timings (IIRC, both are I-23:30-24+, II - 17+, III - 11+, IV - 15+, V - 18:30-19+).
As for Kobayashi v. Macal, Kobayashi indeed has much better bells in his finale. However, I prefer the overall brisker Macal over the comparatively methodical Kobayashi.
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I also found Macal's M4th on Exton on the dull side...
John,
Not me. This is one of my first tier favorite M4's, per my prior review thread.
;D
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The Kobayashi and Macal M7 (both SACD) came in the mail yesterday...
On the other side of the coin we have Kobayashi's account. Darker, heavier, and very "Klempereresque"--if Klemp had been well in the later 60's he might of made an M7 like this. Kobayashi shows much insight in every movement...special mention must be made of the brass and percussion...very well captured on this SACD, not as clear as the sound of Macal's, but powerful and atmospheric, just like Kobayashi's M3 SACD on Exton. Also, the cowbells and bells are better heard here. The Nachtmusik II is played so rapturously...Kobayashi gives it a wieght of importance I don't usually hear. There are so many great details in all the movements, and great dynamics and flow. This is more an "interpetation" than Macal, but one of insight and action, capturing many moods with the incredible CPO sonority...a sonority enjoyed on both these recordings.
I hadn't lstened to the Kobayashi M7 in a while, but gave it a spin over the long Thanksgiving weekend. Its timings are rather long (hence the dark/heavy comments) and similar to the live Tennstedt one from the 90's, which is one of my all-time favorites. However, it is not a similar conception. Kobaysahi does not draw as much of a contrast among the differing tempo relationships throughout like Tennstedt. Kobayashi is slower and more methodical throughout, whereas Tennstedt is both fast and slower and plays up the dynamics in the music more (note: both have a similarly long and methodical approach to the Nachtmusik II) . That is NOT to say that Kobayashi is dull or inflexible. However, I much prefer Tennstedt's way when going with the longer timings (IIRC, both are I-23:30-24+, II - 17+, III - 11+, IV - 15+, V - 18:30-19+).
As for Kobayashi v. Macal, Kobayashi indeed has much better bells in his finale. However, I prefer the overall brisker Macal over the comparatively methodical Kobayashi.
I have really enjoyed both the Macal and Kobayashi M7...they are very different indeed. The sound on the Macal is so pristine and illuminating on the score.
I have not heard the Tennstedt M7, is this a live recording? I am very curious on hearing his M7 on BBC Legends...has anyone heard this yet?
--Leo
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Yea I am also curious about KT's M7 from BBC. Is that the same with the EMI live?
Can't wait!
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Yea I am also curious about KT's M7 from BBC. Is that the same with the EMI live?
Can't wait!
No, these are two different performances. There are now 3 different M7's with Tennstedt and the London PO:
BBC Label - Live from August 1980
EMI Label - Studio from October 1980
EMI Label - Live from May 1993
I have the BBC release on order from MDT, and may have it this weekend. I am anxious to see if Tennstedt captures the same magic he had in his later live EMI recording, since I find his studio one to be a complete dullard. The studio one has none of the magic of the live 90's one.
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I really feel the new Macal M7 is really special...it's like Scherchen's M7 (from Toronto) without the irony. The textures are sparse, especially in the central movements, and very "modern" without the wieght of the 20th century on the performance...very "wunderhorn" and "Das Lied" sounding at the same time. The more I listen the more I am enchanted with this performance. Macal is really on to something here...he has insight into this work that is unique to my ear. And the CPO are again at their best...wow, what a Mahler orchestra!!!
I recieved the new Tennstedt M7 from BBC Legends for Christmas. Thoughts soon.
--Leo
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What happened to the very first note of the horn in Macal/CPO/Exton M7:I? The horn enters a fraction of a second late here and it is rather annoying. Why didn't they correct this mistake is beyond me...
John,
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Yes, the first first note of the horn arrives a fraction late, rather reminds me of the horn's botched first note in Horenstein's live M7. I hope folks will still check out this recording though, it is still a great performance.
Perhaps Macal didn't feel any correction was necessary? To be honest I didn't notice until John pointed this out!
--Leo
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This is a really fine M7th. I've never heard a recording of the seventh that has such a wide range of tempo variations and yet sounding so convincing. I think Macal's essentially chamber music approach helped in this regard a great deal; had he adopted more aggressive conducting it would have not achieved the level consistency and transparency well demonstrated in this recording. In many ways this is the polar opposite of Kobayashi's spectacularly kaleidoscopic recording with the same orchestra. Sometimes, Macal's soft-grained approach fails to convey the menacing elements of the music, e.g., in the Scherzo that doesn't sound spooky enough. Overall, I still prefer the Kobayashi, but I admire Macal's ability to hang all things together in the music making that is amply abundant with variations in the tempo and mood.
Nice job. I enthusiastically wait for the next installment in Macal's ongoing Mahler series, the M9th.
John,
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If anyone would like to burn me a copy, I'd appreciate it. If so, leave me a private message. And if so, thanks in advance.
Barry