gustavmahlerboard.com
General Category => Gustav Mahler and Related Discussions => Topic started by: barryguerrero on December 09, 2020, 02:03:23 PM
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https://www.prestomusic.com/classical/new-and-future-releases?date_range=Next+90+Days&search_query=mahler
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I can’t imagine what late Mahler is going to sound like from this team. The only point of reference we have is the Gilbert M9 from BIS, which is one of my favorites.
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After the Tenth, they will release a Third.
John
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. . . that's assuming the 3rd gets performed this March (I think it's March - sometime early 2021).
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I’m wondering if the pandemic has postponed the finishing of this cycle, or even canceled part of it. Anyone know anything about 8 or 9? And I know Vänskä’s time with Minnesota is almost over.
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Knowing a bit about how R. von Bahr operates, I'm certain he'd like to present a complete cycle. The rest is up to Covid and Vanska/M.S.O. Even if his term runs out, both parties may want to complete the cycle as well.
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Timings are,
I. 26:21/ II. 11:27/ III. 4:14/ IV. 11:50/ V. 23:14 = 78:20
In Japan it will be released on January 20, 2021.
https://www.hmv.co.jp/en/artist_Mahler-1860-1911_000000000019272/item_-Cooke-Symphony-No-10-Osmo-Vanska-Minnesota-Orchestra-Hybrid_11464970
John
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First movement seems a little slow for my taste, but I like the look of that finale. I’m basing my preferences off my favorite, the Dausgaard.
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Yep. I'm not crazy about a 26 minute first movement either. But if anyone can make that work, it's Vaenska. It's interesting that he goes relatively fast from there on.
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Cover art is on Presto for this release, as well as the timings (which we already knew).
Cover looks great as always!
https://www.prestomusic.com/classical/products/8863810--mahler-symphony-no-10
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In Japan it will be released on 1/20.
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Olson and Litton both took over 26 min. in I. and very successfully held it together. I think the movement can survive 26 min duration (Wyn Morris' version runs over 28 min!).
John
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Maybe it’s just me, but the first movement of M10 feels like it just drags on and on. I like what Dausgaard does with it in 23:16
I’m not ruling anything out though. In fact, I even like what Yannick N-S does with it in 26:27 for his Montréal recording.
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. . . 25:30 in his Rotterdam Phil. one, which I think is much better than his Montreal one. But like you, Erik, I prefer that all those long worked-out development passages just flow right along. 23:16 works great for me too. Most likely I won't buy the Vanska, simply because I just don't need yet another really good recording of the Cooke version.
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Andrew Litton took (Carpenter ed.),
26'23", 13'10", 4'13", 14'19", 20'50" and it worked great.
I really like the long Adagio- (relatively) short Finale proportion.
John
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I like the YNS/RPO M10th recording very much too. But he did even a greater M10 with BRSO which unfortunately won't see its daylight due to copyright issues. That version, if ever released, will be my reference M10th (Cooke).
John
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Audio samples are now available on Presto for this one as well. I like everything I heard. The three inner movements sounds pretty fantastic, and I love the timbre of the finale’s bass drum and tuba playing.
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Thanks a lot, Eric. Now I'll have to buy yet another Cooke III Mahler 10! Seriously though, . . .
If you're going to strike the bass drum that loud and that 'sharp' like, then I think it should be done offstage. But here's what I would do:
I think it's stupid that there are two bass drum strokes linking the final two movements. If Mahler had finished the symphony AND decided to keep both strokes, I'm certain he would have differentiated them. I would have the first stroke (the last note of the fourth movement) played really loud, but offstage. Then I would do the second stroke (first note of the fifth movment) played onstage, but softer and more 'muted' in quality. I would do most, if not all of the strokes in finale's introduction that way. Then when the bass drum returns AFTER the flute solo and the big build-up passage that's dominated by the strings, I would have that first stroke be both loud, and played onstage. I would then revert back to an alternating combination of offstage and onstage bass drum strokes, altered to make the volume come out roughly the same, which either way.