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General Category => Gustav Mahler and Related Discussions => Topic started by: John Kim on August 09, 2010, 03:17:36 AM
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Today I grabbed a used copy of Solti's first analog recording with RCO and then fresh sounding Sylvia Stahlman from 1961. This being the first recording of M4th and the very first recording of ANY Mahler I ever bought, I always have had a soft spot for it. My such attachment has been confirmed; this is still an excellent version with the fabulous playing and singing. Solti's reading is direct and honest without gimmicks but also somewhat driven, which does little harm in a piece that is already full of youthful energy, childlike charm and naivete. In fact, such an interpretation paves a way to and is well matched with Stahlman's singing quality in the finale. Loaded with the very nice sound from Decca engineers.
I am happy to have acquired my old friend back.
John,
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John,
I did have the Solti/Stahlman 4th on tape years ago and currently have the Solti/Kanawa recording. There is one thing I noticed about Solti's interpretation on both recordings that struck me, and I wonder if you have noticed it too. Right after the big climax in the 3rd movement after the timpani do their thing and the horns begin to bring everything down to the coda, there is a spot where I swear the horns are dissonant. It's just one spot and very quick but I have never noticed it on any other recording. I don't know if it's in the version of the score Solti uses or just in the way he brings out the horns.
Just curious if you, or anyone else for that matter, has noticed it.
Lloyd