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General Category => Gustav Mahler and Related Discussions => Topic started by: John Kim on October 22, 2010, 04:38:25 PM
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Two rave reviews:
http://www.markwigglesworth.com/recordings/view/mahler_symphony_no_6_27
http://www.amazon.com/Mahler-Sym-No-6-Gustav/dp/B000WZAEUY/ref=sr_1_11?ie=UTF8&s=music&qid=1255939052&sr=1-11
Has anybody heard the recording?
I love Wigglesworth's Shosy cycle on BIS and his powerful recording of M10. I think he is on his way to becoming an excellent Mahler conductor (as well as Shosy).
Looks like he's been conducting much Mahler recently:
John,
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IMO, what makes his M10 so great was the combination of his sensitivity and powerful phrasing with a very wide dynamic range. The Shosy cycle on BIS is in the same league but it has much better recording that reveals lots of details in the score. I have the Shosy 4th, 8th, 9th, and 13th and love them all!
John,
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Timings are like,
I. 24
II. 12 (S)
III. 15 (A)
IV. 30
on TWO discs.
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Here is pdf file of the booklet.
http://www.buywell.com/booklets/4766220.pdf
I am tempted to get it ;D :D
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These are near ideal timings for me. The first movement is often times performed too quickly, while the inner two movements are often times performed too slowly. For my taste, the Andante could even be swifter. The standard 30 minutes is just fine for the finale - a symphony within a symphony. My "hybrid" discs that have Kent Nagano on the two outer movements, and Rattle/B.P.O. for the two inner movements, has timings that are quite similar to this.
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These are near ideal timings for me. The first movement is often times performed too quickly, while the inner two movements are often times performed too slowly. For my taste, the Andante could even be swifter. The standard 30 minutes is just fine for the finale - a symphony within a symphony. My "hybrid" discs that have Kent Nagano on the two outer movements, and Rattle/B.P.O. for the two inner movements, has timings that are quite similar to this.
Barry,
I share your assessment of the timings: they fall very close to timings of individual movements movements that I prefer (I-Zinman & Bertini; S-Mackerras & Boulez; A-Boulez & Levine/BSO; IV-Zinman & Mackerras). Timings aside, the details are vital, too, so I'm keen to learn about those. Are the Nagano and Rattle/BPO commercial recordings?
Russ
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The Nagano was not a commercial release, but you can get the Rattle/BPO M6 directly from the Berlin Phil. HMV Japan probably has it too.
Actually, I just checked the Berlin Phil's "shop" and they no longer have the Rattle/BPO Mahler 6. Either they ran out of it, or EMI had a cow about it. Maybe EMI plans to issue it sometime.
Russ, send me a private message and we'll see if I can help you out.
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The Rattle/BPO Mahler 6 is available from Grooves-Inc.
Is it worth adding to the collection? Thanks.
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I thought the Berlin Rattle M6th was nothing special? ::) ???
OTOH, Rattle's EMI recording with CBSO has a terrific Scherzo that's probably the best Mahler movt. he had done with that orchestra.
I agree that the Nagano has excellent outer movts. but the Andante is too slow.
John,
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"I agree that the Nagano has excellent outer movts. but the Andante is too slow."
That's why I use Rattle/BPO for the inner two movements. Also, the scherzo is pretty similar to how it is on his earlier studio recording.
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I'm looking forward to hearing this recording, and thanks for the heads up on this one John. I listened to samples on iTunes, and based on what I've heard on those samples, this performance really sounds clear, detailed, and full of nuance. I bet this one will be a winner.
--Todd
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I just finished hearing this recording (downloaded from iTunes) and I must say I'm very happy! The performance is indeed well recorded, and I like the sonics a little better than the Zinman, if only because the details are better heard.
Wigglesworth's timings are just right, with tempo transitions and key passages phrased with nuance and elan, without losing the sense of urgency. The review from Amazon describes this recording very well, "Disciplined and Passionate."
The Melbourne really shines, there's nothing I didn't enjoy in the execution. Details in the inner voices are very much appreciated!
Each movement sems to grow from the next, as if caught in an inevitable progress. Wigglesworth has good sense not to rush the calmer, lyrical passages, such as the pastoral episodes in the faster movements. Somehow, he dwells on these passages without slowing down or holding up the urgent proceedings. The Andante doesn't sound dead in the water. There is a beautiful flowing consistancy, and doesn't feel like it takes forever to get to the finale.
While listening, I heard shades of Karajan, Sanderling, Boulez and Bertini, but Wigglesworth is definitely his own man, and I have to say, he shows that the M6 has a sensitive, gentle side too, without holding back on the climaxes. The stillness of the first trio in the scherzo is an excellant example of this effect.
I read the musicweb review and heard no difference in sound quality from the 1st movement to the others. All sounded consistant to me.
--Todd
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Todd,
Many thanks for the quick report! :o
I don't usually download music files, so will order the CDs instead.
It's interesting that you didn't find any difference sonically between I & II, III, IV as opposed to the review. That's good news.
John,
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Todd,
Many thanks for the quick report! :o
I don't usually download music files, so will order the CDs instead.
It's interesting that you didn't find any difference sonically between I & II, III, IV as opposed to the review. That's good news.
John,
John, your ears are better than mine, so perhaps you will hear different, but to me, I hear no noticable difference in sonics.
By the way, Wigglesworth is wonderful in every movement, but the Finale is really something special!
--Todd
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Just finished listening to I & II (S).
The first movt. is broad and weighty in a steady tempo. As expected, Wigglesworth is excellent in bringing out all the contrasts in a wide dynamic range, especially in the passage that follows the second theme and leads to the repeat. Here, he slows down the tempo a bit to make the effect even more telling. He also captures many details pretty well. The ending is truly majestic mainly because he doesn't speed it up as much as most other conductors do. The Scherzo is one of the best renditions I ever heard. Wigglesworth skillfully creates variety of moods by changing the tempo and phrasing ever so slightly, emphasizing this instrument over that instrument here and there. In fact, instrumental details that I never heard before are abound throughout the movt. All these effects add to the impression that after all this Scherzo can be played without sounding all that monotonic, as it does under usual circumstances.
So far I've been extremely impressed with the recording.
John,
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Just finished listening to I & II (S).
The first movt. is broad and weighty in a steady tempo. As expected, Wigglesworth is excellent in bringing out all the contrasts in a wide dynamic range, especially in the passage that follows the second theme and leads to the repeat. Here, he slows down the tempo a bit to make the effect even more telling. He also captures many details pretty well. The ending is truly majestic mainly because he doesn't speed it up as much as most other conductors do. The Scherzo is one of the best renditions I ever heard. Wigglesworth skillfully creates variety of moods by changing the tempo and phrasing ever so slightly, emphasizing this instrument over that instrument here and there. In fact, instrumental details that I never heard before are abound throughout the movt. All these effects add to the impression that after all this Scherzo can be played without sounding all that monotonic, as it does under usual circumstances.
So far I've been extremely impressed with the recording.
John,
John, you explain better than I why I love this recording. Especially in relation to the Scherzo. Wigglesworth does play the scherzo differently than I'm used too, as suddenly I hear all this contrast in emotion, or mood. It's the dynamics and sensitivity that makes all the difference. I think Wigglesworth's M10 has similiar qualities, but his M6 is stunning.
--Todd
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I got a chance to hear a burnt copy of this, and I agree that it's very good. The first movement keeps a heavy, "trudge-y" feeling throughout the ongoing A-minor march sections, just as it should do. Yet, the two inner movements don't die. In the scherzo, Wigglesworth is very "contrasty" through the various trio sections; infusing the proceedings with lots of sudden accelerandos and ritardandos (much like Rattle). The finale is also expertly paced, and I like the fact that W. takes the final A-minor outburst at the very end of symphony, quite slowly.
I only have one beef and, quite frankly, it's a big one: the cowbells and deep bells are too distant and TOO soft. Near the start of the loud, climactic passage in the Andante movement (towards the end of the movement), the cowbells are pretty much inaudible. At that spot, they're onstage - the only spot in the entire symphony where they're placed onstage - and they're marked fortissimo. They should cut right through the loud, unison horns there.
I also can't hear the deep bells at all when they make their final appearance in the symphony. Those deep bells come in just before the last appearance of the offstage cowbells - the soft passage before the final, allegro "charge" section (in othe words, it's during the soft section located after the second hammer-stroke). Otherwise, this is a very good Mahler 6, especially in regards to tempi and tempo relationships.
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Barry,
I agree with you on these issues. Otherwise, I love Wigglesworth's way with M6th. I hope he will record more Mahler in the future.
Regards,
John,