gustavmahlerboard.com
General Category => Gustav Mahler and Related Discussions => Topic started by: chalkpie on August 26, 2011, 01:20:48 AM
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http://www.db.com/index_e.htm
Go here and register for free - I think it's being shown at 2 PM eastern time tomorrow (Friday 8/26).
I'm in!
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Oh, cool. Maybe EMI will issue one. Rattle does the 7th pretty well.
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I'll listen for this live at the Lucerne Festival in a couple of days. The Mahler 1 he gave the last year was a bit of a letdown, the orchestra was far from being on top form that evening too...let's see.
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I missed this; did anyone catch it, and if so, what did you think of it?
Cheers,
Herb
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I have a capture of the audio stream but haven't listened yet. The performance seems to have generated some controversy in other quarters. The movement timings are as follows:
21:55
14:55
10:30
12:10
17:37
James
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The swiss radio DRS2 will broadcast Rattle's concerts at Lucerne, one on the 1st Sept at 1930 (live, with Bruckner's 9th) and the other one on the 4th at 2100 (Mahler 7th, which will be perfomed this Wednesday). You can use some online recording service like DriveCast and try to catch them.
The Bruckner concert is going to be videorecorded as well and broadcasted on 4th Sept by the swiss television channel SF1.
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I missed this; did anyone catch it, and if so, what did you think of it?
Cheers,
Herb
I screwed up in my calculations - it must have started at 1 PM eastern.....so I only caught part of Nachtmusik II and the finale. From what I saw, it was beautifully played and conducted. Simon seemed to highlight the details that make this symph so special in my view. The tempi seemed fine and the conclusion had a lot of backbone and seemed heartfelt. I would like to hear the whole enchilada....I'm hoping somebody captured this and will post on Youtube.
They also honored the prinicpal bass player who must be retiring, and although I don't know a stitch of German, it was a very emotional moment.
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I heard it at Lucerne but it left me mixed feelings. No complaints can be made for the orchestra's technical level (although imho some sections lack the character other orchestras have, think about the Concertgebouw or Abbado's own Lucerne Festival Orchestra...at some points one wonders if they enjoy themselves in what they play or if they...just play it), but to say that Rattle's approach was heavy handed would be a compliment. It made me think at what would have been had Celibidache ever conducted Mahler, but the problem is, Mahler isn't Bruckner. Granted, all details were magnified (at such tempi they better had to be) and it was interesting to discover them, but I ended up getting bored, which is something alarming considering my love for Mahler. Only Mehta had succeeded in this previously, and with this very same Symphony! Odd...
I enjoyed the Bruckner 9th the day after much more, I would have exptected the opposite before these 2 concerts.
Really impressive concert from the Concertgebouw Orchestra with Nelsons yesterday, tough...
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I might be wrong but I think that those timings are pretty much identical to what they are on Rattle's EMI recording of M7.
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The timings from this Berlin M7 and his earlier EMI M7 are all within about 15 seconds of each other, both slower and faster depending on what movement.
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This was my review posted on the Mahler-List:
The tenor tuba was flawless. Already from the beginning I saw idle
players "head-waving" to the music. They do enjoy this. There were
some intonation issues in the woodwinds in the first movement, so they
re-tuned afterwards.
Rattle tends to slow down more than I at first found comfortable and
he likes to "milk" the slow portions of the music. But I was in the
mood for _underlined_ romanticism. I often read that Rattle tends to
emphasize details; being "fussy" about them. I can see that in his
conducting style when he takes great care to signal many section
entries, but I found the result very satisfying nonetheless.
The woodwinds in the second movement were splendid.
The scherzo had a pulse, which made the numerous changes of the melody
through the instrumental sections quite fluid. He slowed down for some
moments here as well; *very* much so in the last minute or so, which
felt wrong to me, as if the movement just were never to finish. I
guess his idea was to have the music "relax" before the next movement,
a kind of fade-out.
The Nachtmusik II was noticeably shaped to contrast between the
"loving" music and "threatening" one. Rattle liked the result and
thanked his players noticeably.
The finale was played quite straight I'd say, but my knowledge of the
score is far from the point, where such an argument would carry much
weight. I would also argue, that he didn't go for parody, letting the
music play out what it is, which, for me at least, is a kaleidoscope
of music in Vienna, as Mahler perhaps encounters it when he arrives
back in the city after the summer holidays.
The seating for the strings was interesting: as Zinman in Zurich,
Rattle had V1-Vla-Vc-V2 (with the Kb behind Vc).
It was also the last concert of one double bass player who was
introduced by Rattle (in German) after the concert. He played for "44
years and one day".
I found the sound quality amazing for such a live broadcast: I watched
it in 720p HD stream which has a 192 kbps AAC stereo stream. I didn't
notice any congestion in the loud passages, not even on bass drum
rolls. The picture, which is MP4 encoded at 2,5 Mbit/s does contain
noticeable artifacts.
They use different lenses, than what I usually see in concert
broadcasts. They focus only in the middle and get blurry outwards. I
heard the technical term just recently for such lenses used in motion
pictures but it eludes me in the moment.