Mahler 6 Eschenbach Philadelphia

[Settembrini]

Apologies if this recording has been discussed in extenso before, but any thoughts on Christoph Eschenbach's 2006 recording of M6 (coupled with the Piano Quartet) with the Philadelphia Orchestra on Ondine? David Hurwitz awarded it at 10/10 on classics today, which for me is usually a reason NOT to buy a cd, but still, I'm curious if it's really that good.

[Roland Flessner]

I like this M6 a lot. While Eschenbach's mannerisms are often a turnoff for me, he's on relatively good behavior here. The Philadelphians play like gods, and the SQ, while dark-hued, is good.

[barryguerrero]

Agreed. The "Andante Moderato" is a bit more adagio than I like, but hey!    .    .    .  it's the strings of the Philadelphia Orchestra!  Brass and percussion take no back seat to N.Y., Chicago or Boston either. Excellent sound quality too.

[waderice]

Barry, the last movement of M3 here in Philly a couple of weeks ago really showed how good their strings are.

Wade

[barryguerrero]

Yep, they still have that mojo. Who knows how or why, but we'll take it! (I know Curtis School of Music is one reason).

[waderice]

Curtis is not the only local school that has contributed players to the Philadelphia Orchestra.  Temple University has a good music program and has contributed its share as well.  But Curtis has the oomph behind it that make it so.

Wade

[AZContrabassoon]

I think the Eschenbach M6 is terrific. Great playing, conducting, sound. I've had the privilege of hearing him live several times and I've never been disappointed; I don't understand why some people just can't stand him. But that M6 should put to rest any thought that he's a second-rate conductor.

Yes, a lot of the credit for the orchestra goes to Curtis, some to Temple. But there are quite a few players from other places, too. But sadly, a lot of the fabled Philadelphia sound was also the result of the work of two conductors: Stokowski and then Ormandy. Since Ormandy left, the quality of the orchestra has definitely suffered. They're still quite good, but the once-common list of the Big-5 American orchestras would no longer include Philadelphia. Too many top-notch virtuoso players (especially the winds) have been lost - mostly due to age. They've had too many music directors who don't spend enough time in the city. That's the way it is everywhere these days. Like most orchestras, they no longer have a distinctive sound. In recordings from the 60's the orchestra was instantly identifiable because of the wind soloists. Guys like Bernard Garfield and John DeLancie aren't all that common! Too bad they didn't record more Mahler back in those days, but then Columbia was letting Bernstein do that in New York, and Ormandy wasn't an especially great Mahler conductor.

[barry guerrero]

For some odd reason, the Eschenbach/Philly M2 isn't nearly as well recorded. Anybody have any insight into what changed there?

[waderice]

For some odd reason, the Eschenbach/Philly M2 isn't nearly as well recorded. Anybody have any insight into what changed there?

I have both the Eschenbach/Philly M2 and M6.  When I get a chance, I'll have to A/B both to see where/what happened in the recording engineering.  Meanwhile, someone else who has both is welcome to beat me to the punch.

Oddly, the M6 was released as a hybrid SACD, whereas the M2 wasn't, and I recall reading that there was a bit of controversy about that.

Wade