Chung/SPO/DG M1st - review

[John Kim]

I've listened to the recording a few times.

The playing is note perfect but also engaging, the ensemble always precise and synchronized. Based on this recording, I can conclude that for the past six years Chung has built the Seoul Philharmonic Orchestra into a world class band (these are not just my own words!). It is built from bottom to top, with solid bass instruments, dark strings, prominent woodwinds, and golden brass. The strings in particular have flexibility in their tone and phrasing, a rarity in typical Asian orchestras. The trumpet is impressively rock solid and never fails to register even in the thickest passages. Ditto the horns and trombones. We know all of these are the essential elements in performing Mahler, don't we?  Top top it all, Chung has a few surprising but genuine touches in his sleeves, such as the dreamy, slow introduction in I., the sudden speedup in the coda of I. and II., the expansive middle passage in III., the slow and long second theme in IV. Speaking of the tempo shifts, Chung applies with such care and intuition that none of them sound forced or artificial. Needless to say, they all work to great effects to enhance the drive, energy, and romance in the piece. Overall, Chung's interpretation reminds me of Eschenbach/BSO concert at Tanglewood that I attended in the 90s.

The only downside is that being recorded at the sonically notorious Art House Center, Seoul, Korea, the recording lacks somewhat in the bass. But otherwise, the DG recording team headed by the renowned producer Michael Fine captured the concert with clarity, a good balance, ambiance, and a startling presence.

So, all things considered, this is a Mahler First to treasure.

I suspect this is the version I will turn to most for now.

Highly recommend.

[barry guerrero]

Thanks John for that excellent report. I'll keep my eye out for this.

[John Kim]

Barry,

I also noticed that the recording tends to be somewhat hard and coarse in the loud passages. I have been to the Art House Center several times and tell you that this is due to the hall acoustics. Still, it sounds pretty good on my headphones.

Again, the playing is really excellent - crisp, precise, rock solid, and fully engaged, and Chung's reading is possibly the most interesting in my recent memories.

I can't wait for their M2nd!

John,

[John Kim]

This one has quickly become my favorite Mahler First. It's the combination of the crisp, idiomatic playing and Chung's insights that makes it stand out among all other versions. Just sample the <Lieder eines fahrenden Gesellen> section in III. to see my point. Here, aided by Chung's flexible, juicy tempo adjustment, the solo strings have never been enunciated with such a expressive and romantic flair.

The beginning of IV. is another case in point. Instead of dashing through the dramatic passage at a hefty speed, Chung applies a tempo shift within the tempo and he does it so sensibly and aptly that what may sound like a fussing around the score is actually a drama within the drama (one may call it a sense of diversification and liberation!). As a matter of fact. Chung's tempo adjustments and rubato throughout are clearly purposeful, rather than incidental and therefore rarely get in the way of the music making. Quite nice.

[alpsman]

I had seen Chung-live-4 or 5 times, with French radio orchestra and Dresden staatskapelle. I consider him one of the best maestros, especially regarding the very warm and full sound he produce( maybe a mark from the time he spend with Giuilini).
I have the cd with Brahms 1 with Asia philharmonic, and I think the recording hall is the one in Seoul. If this is so, I have to say that the sound in this cd is excellent, full, dynamic, clear and warm.

[barry guerrero]

hey thanks, Alpsman. I pretty much only know Chung's Messiaen recordings, which seem quite good to me. I like Messiaen. Anyway, it'll be nice to hear Chung in other music.

[mike bosworth]

Here's a You Tube clip.  Not sure if this is the same as the new recording:

http://www.youtube.com/watch?v=zGRMYnpHEnA

I like that he doesn't rush the last two notes, a personal peeve of mine with many performances.

Mike Bosworth

[John Kim]

Here's a You Tube clip.  Not sure if this is the same as the new recording:

http://www.youtube.com/watch?v=zGRMYnpHEnA

I like that he doesn't rush the last two notes, a personal peeve of mine with many performances.

Mike Bosworth

Looks like and sounds like it.

But the sound on the CD is far superior and the orchestra sounds much better than it does here .

[John Kim]

Here is the Finale of M2nd by Chung/SPO which will be released by DG in April.

http://www.youtube.com/watch?v=bJBTJdUZpjs

John,

[James Meckley]

Here's a You Tube clip.  Not sure if this is the same as the new recording:

http://www.youtube.com/watch?v=zGRMYnpHEnA

Thanks—I enjoyed this clip and look forward to hearing the commercial release. Odd, though, that the French horns didn't stand up at figure 56 as Mahler requested, but then did stand up 22 bars later at figure 58.

James

[drfluid]

I've listened to the recording a few times.

The playing is note perfect but also engaging, the ensemble always precise and synchronized. Based on this recording, I can conclude that for the past six years Chung has built the Seoul Philharmonic Orchestra into a world class band (these are not just my own words!). It is built from bottom to top, with solid bass instruments, dark strings, prominent woodwinds, and golden brass. The strings in particular have flexibility in their tone and phrasing, a rarity in typical Asian orchestras. The trumpet is impressively rock solid and never fails to register even in the thickest passages. Ditto the horns and trombones. We know all of these are the essential elements in performing Mahler, don't we?  Top top it all, Chung has a few surprising but genuine touches in his sleeves, such as the dreamy, slow introduction in I., the sudden speedup in the coda of I. and II., the expansive middle passage in III., the slow and long second theme in IV. Speaking of the tempo shifts, Chung applies with such care and intuition that none of them sound forced or artificial. Needless to say, they all work to great effects to enhance the drive, energy, and romance in the piece. Overall, Chung's interpretation reminds me of Eschenbach/BSO concert at Tanglewood that I attended in the 90s.

The only downside is that being recorded at the sonically notorious Art House Center, Seoul, Korea, the recording lacks somewhat in the bass. But otherwise, the DG recording team headed by the renowned producer Michael Fine captured the concert with clarity, a good balance, ambiance, and a startling presence.

So, all things considered, this is a Mahler First to treasure.

I suspect this is the version I will turn to most for now.

Highly recommend.

John -- Thanks for the great review. I can't wait to have a listen to this CD, but can't seem to find a way to buy one. Where did you buy the CD? From Korea?

BTW, have you listened to their first DG recording, Debussy and Ravel? I heard the recording of this first DG disc was even worse thanks to the sonic of the Seoul Art Center (a.k.a. a bath tub).

[drfluid]

Here's a You Tube clip.  Not sure if this is the same as the new recording:

http://www.youtube.com/watch?v=zGRMYnpHEnA

I like that he doesn't rush the last two notes, a personal peeve of mine with many performances.

Mike Bosworth

As being Korean myself, I see a few familiar faces in the orchestra! 
French horn, bass ,etc...

[John Kim]

I didn't have a chance to sample the Debussy CD you mentioned. But the sonics on the M1st CD are quite good. It only lacks in the bass, gets 'hard' and 'coarse' in the loud passages, e.g., the ending of I and IV.

John,

[Stürmisch Bewegt]

Since I have read this topic I have watched/heard several videos of MW Chung . there is a wonderful M4 performance with the Tokyo philharmonic . the final is my ideal version . the soprano is incredible :

http://www.youtube.com/watch?v=KUhIZFoAgGE&feature=related


I have also watched the final of M3 .Very beautiful in my opinion . There are 4 timpanis playing at the very end. I suppose this choice participates to the research of fullness of the sound that seems to be one of Chung's  priorities . But it was perhaps in relation with acoustic and the size of the hall. Do other conductors do the same at concert or at recording?

http://www.youtube.com/watch?v=bKCn1fJlPfE.


I really hope MWC will record much Mahler in the future.

[James Meckley]

I have also watched the final of M3. Very beautiful in my opinion. There are 4 timpanis playing at the very end. I suppose this choice participates to the research of fullness of the sound that seems to be one of Chung's priorities. But it was perhaps in relation with acoustic and the size of the hall. Do other conductors do the same at concert or at recording?

Interesting. Of course the piece was written for two timpanists, each playing a full set of drums. The two extra timpanists on the left side playing two drums each must have been—as you say—Chung's idea. As a conductor, Mahler wasn't hesitant about altering other composers' music, and is quoted as saying [I'm paraphrasing] 'if the acoustics of a particular hall or the circumstances of a particular performance require it, feel free to change my music as well.'

I've heard six live performances of M3 and watched several DVDs, and I've never seen this done before. Salonen in his LA recording added a bass drum to the last five notes of that timpani passage, producing quite a different effect.

James