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General Category => Gustav Mahler and Related Discussions => Topic started by: John Kim on February 06, 2008, 06:16:10 AM
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I was lucky to pick up the parcel at my local post office a min. before they closed and I did listen to the first two movts of the Macal M9th twice now. What can I say...? I LOVE IT!! In a way, since I had warmed to Macal's M7th with CPO I knew what to expect of this new M9th and this one filled pretty much every bit of my expectation. Granted, it would be a mistake to anticipate Bernsteinian touches in Macal's recordings. But his way with the score is so fascinating, convincing, and full of new, fresh ideas that it completely carried me away. First, the playing. It is in my book the most beautifully played and recorded rendition. The strings are rich and luminous, woodwinds wooping idiomatically and appropriately "Czechoslovakian", the brass smooth but well blended and powerful. Yes, the third climax in I. sounds somewhat downscaled not because Macal "underplays" it but because Macal rushes through the passage. Thankfully, he applies a big retardando at the place where Mahler marks Pesante (right before the huge collapse), while the accompanying bass drum roll is as mighty as I can recall hearing elsewhere. I didn't feel the tam tam was particularly weak. In addition, the low A horn clearly audible roaring in the background. If the the climax ever feels slightly less than what it should be (it doesn't, to my ears), it is all to good effects because by scaling it down Macal avoids the straight one-two-three approach that so many conductors adopt which generates an overly tragic and monotonic feeling in the music. It is as if Macal was saying, "What's the point of repeating the same outburst three times??". Another highlight is that after brilliantly building up to the second climax, following the passage where the whole strings play out the second theme in a dancing fashion, Macal skillfully slows down the tempo. Thus, the snarling low brass is hauntingly effective thanks to the slowness in the music. The movement simply gains so much more weight because of this passage. Speaking of tempo shift, Macal also changes his gear right after the first climax following the timpani roll; he certainly sees this as a transitioning spot and begins a new chapter from this point on. Too often, conductors just keep moving things ahead as if the climax meant nothing. There are other elements that make this recording sound no other's but Macal's own and I'd rather leave you to find and relish them yourselves. In Macal's hands II. is not blessed with much contrast between the slow and fast sections, but by kicking off in a lively tempo he imbues a new life into the whole Landler movement. The waltz section, when it finally arrives after the swift introduction, doesn't feel cheap or light as it does in most of other recordings. I think this is a terrific interpretation that made me rethink about the structure of the whole movement. Emotionally, it reminds me that life is not all that harsh after all and there are still things in this mundane world that can be joyful. Once again, the conducting and playing were completely convincing.
The sound is simply the BEST I ever heard of any Mahler recording or even ANY recording. It is rich, smooth and vibrant but with plenty of impact as well as ambiance, especially the deep low strings sounding startlingly forward. Above all, Macal demonstrates his firm Mahlerian idioms by putting each instrument in an excellent sonic perspective. Not that he balances every instrument evenly as Ashkenazy did in yet another CPO/Exton recording; he does emphasize certain instruments such as low string and horn but in such a way that the whole music sounds very unique in his hands. It is a gorgeous feast for ears indeed.
It might just be everything I've dreamed of about Mahler Ninth. But wait, I still need to finish III. & IV.
John,
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So finish III & IV! Seriosly, you're the king of M9's, John, so I take your opinion to be pretty darn valid (even if I don't always agree). From what you've described, I'm sure I'd like Macal's M9 too.
In M9/II, I also like the tempo for the initial Laendler to NOT be too slow (faster, in other words). For one thing, that first Laendler section is quite long! Second, I like for the first waltz passage to go rather slow - providing a strong contrast to the Laendler - then go a bit faster for each of the next two waltz sections (with the end of the third waltz section nearly spinning out of control). I find that game plan to quite effective. Anyway, let us know your thoughts on III & IV also.
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Barry,
I listened to III. and IV. rather casually. Perhaps this RB may be little let down by a low energy level with which it begins but things seem to pick up from the central interlude on. The Adagio is pretty good too. Although Macal maintains an eagle's eye perspective rather than plumbing into the deep soul of the music, his shaping of long lines (it clocks at just over 26 min.) immensely helped by the beautifully sustained Czech strings pays off nicely in many passages. The coda is not as slow as it could be and the final bars slip away rather swiftly. But then, all of CPO's M9th recordings - Ancerl, Neumann I & II, Ashkenazy - had the same treatment. I shall give it another listen in a quite setting.
BTW, I also finished listening to Macal/CPO/Exton M6th I. & II. Fast, exciting and energetic, I think it's a few notchs above Neumann's second recording with the same orchestra. The sound is as impressive as it is on Macal's M9th. More report on that later.
John,
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John's review is accurate as can be!!
The interpretation is very unique and new to my ear, and it took me a few listens to "get it"....the sound is pristine!!!
I'll comment more after I get back home :D
--Todd
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... John, so I take your opinion to be pretty darn valid (even if I don't always agree).
What am I, chopped liver? ;)
I won't have an opportunity to listen to this one again for a couple of weeks. As I said, the outer movements worked very well for me, and I may like the Landler movement more when I get another chance. I really liked Macal's choice of tempo and handling of transitions throughout the outer movements -- absolutely exceptional flow.
However, I require the R-B to catch fire and have some real intensity. I really love the faster R-B's by Bernstein/RCOA (or BSO), Abbado/BPO (in particular the 95 Mahlerfest), and even de Waart. But even some of the slower ones like Chailly build to some rabid intensity at the end. The Macal just does not.
The sound is indeed very good. I was just disappointed that it was a stereo-only SACD, and not a multi-channel one, given the high quality of the recent M4 and M7.
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Scott,
We all take your opinions very highly ;)
I agree that Macal's RB lacks fire and perhaps speed as well. But towards the end I think it picks up some intensity. Along the same line, this Finale initially feels a little icy and objective but as it moves along the music gets more and more interesting thanks to the peerless playing in the strings. At the end I think it achieves the kind of gravity and nobility that the music deserves. So, that gave me a sense of completion.
For my rating I'd give (performance/sound):
I. 10/10
II. 9/10
III. 8/10
IV. 9/10
with the overall score, 9/10 :D The first movt. belongs to one of the very best. In fact, this version of the opening movt. has become my top favorite now. All things considered, it's the sheer beauty and sound along with the well streamlined structure that will bring me back to this recording again and again. I think it is very special indeed.
John,
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In the RB, after the "trio" section, the action really picks up, and is one of the highlights of this recording. And never has the quieter sections of the first movement sounded so atmospheric and deep, like an ocean full of secrets.
The Adagio is very objecive and icey, which actually works for the overall conception of Macal's vision...providing a feeling of "letting go" and acceptance in contrast with the deep feeling and tradegy of the first movement. Stunning.
Scott, I also value your opinion! And John, I enjoyed your review!
--Todd
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The sound is indeed very good. I was just disappointed that it was a stereo-only SACD, and not a multi-channel one, given the high quality of the recent M4 and M7.
Scott,
I confirmed that the Macal/CPO/Exton M7th is also in stereo-only SACD. According to information on www.SA-CD.net, this M7th is not even in DSD format. Macal's M9th, OTOH, has at least the DSD encoding.
John,
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Macal's M3,M4, M6 are in multi-channel SACD, whereas M7, M9 are in stereo SACD. When I play these discs in two channel SACD format, to my ears the latter ones sound slightly better with more focused and closer sound staging. The former recordings sound more distance, more homogenized. Maybe that's why Exton decided to switch to the stereo format for their recent recordings. But I've never played them on a 5 channel surround system, so my judgement may be biased.
John,
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John, I saw the DSD logo on the back of the Macal M7, but yes, it is only a two channel stereo...
So, it sounds like the Macal Mahler cycle is a consistant cycle in terms of sound and quality. What I've heard so far is really fantastic. How about his M3?
--Todd
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The sound is indeed very good. I was just disappointed that it was a stereo-only SACD, and not a multi-channel one, given the high quality of the recent M4 and M7.
Scott,
I confirmed that the Macal/CPO/Exton M7th is also in stereo-only SACD. According to information on www.SA-CD.net, this M7th is not even in DSD format. Macal's M9th, OTOH, has at least the DSD encoding.
John,
Wow, I never noticed that the M7 was stereo-only. Perhaps its a good thing that I developed a positive impression before finding this out. ;D However, the recording is indeed a "DSD recording" -- it is imprinted on the back cover and the disc itself.
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Scott, whatcha been listening to lately? Been digging anything good?
--Todd