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Gustav Mahler and Related Discussions / M5 with CSO principal trumpet
« Last post by ChrisH on September 22, 2021, 02:03:19 PM »
A nice little video featuring Esteban Batallan, the new principal trumpet in the CSO. He plays the excerpts from the 1st movement and talks about them a little. He's an incredible player and plays in a similar style to Herseth.

Yes, well if I can just get the Adam Fischer M6 on a plain, old CD, then they can do whatever they want. I'm set. I have enough Mahler, and enough Horace Sliver and Jack Sheldon to last me for the rest of my life.
I listened to the two inner movements of A. Fischer's M6. The scherzo was quite good - pretty much of equal of Vanska's. In the slow movement, Fischer absolutely nails the ascending 'Alpine' passage at the six minute mark. He fully understands that "forte" in the horn player's parts means each player sounds a forte, and not that the collective bunch (9 in unison) make a forte. In other words, the horns are louder there than usual. I like that! I also, I thought the entire climactic passage of the slow movement was done really well. It wasn't just turned into a concerto for overly loud strings. Nor did it drag, in terms of tempo. I look forward to hearing the two outer movements, particularly the finale (of course).
To make a geeky analogy, Microsoft now has something called Xbox Game Pass where if you subscribe for $120 per year you have access to all available games to download and play, but once you stop subscribing you lose access. I don't buy it. I'd rather buy and own my games so they never, ever go away. Plus, you never know if or when a game will be taken off Game Pass.

In other words, I totally see your point.

Yes, this is the point - music companies are realising that as we all sit at home enjoying our CDs we bought years ago, they aren't making a red cent out of us any more - and they hate that scenario.  So the intended endgame will be that it will be impossible to own a recording ever again - you will simply stream it and pay whenever you want to hear it.  That model is already being used for software - I think for Microsoft Office it is not possible to buy it any more, you have to subscribe annually.
Mahler would have either been fascinated by Janacek's operas and later works, or he would have avoided them out of jealousy (no pun intended). If Mahler had survived his illness and lived longer, I think he would have worked through his personal insecurities to the point that the first scenario would have been far more likely. The problem is that Janacek didn't write his greatest works until quite late in his life. Mahler would have had to survived at least a few more decades, which then brings up the whole business of interference from two world wars, the great depression and the Holocaust.

Interestingly, Mahler acolyte Otto Klemperer *was* a devotee of Janacek's works as a young conductor, performing Jenufa in 1918, and Kat'a Kabanova in 1922, and preparing to conduct From The House of the Dead and The Excursions of Mr Broucek, though the last two never happened, sadly (Broucek owing to the impossibility of getting a German translation). He also planned to conduct The Cunning Little Vixen and The Makropoulos Affair.

He also took up the Sinfonietta in the concert hall, giving the first German performance of it - though sadly not Taras Bulba which would probably have been epic in OK's hands!  When asking permission to conduct the Sinfonietta, he simply wrote a letter addressed to 'Mr Leos Janacek, Composer, Brünn' - which got to him, Brünn being the German name for Brno.
Yeah, I know. You're right. The cowbells are excellent, as are rest of the percussion. I'll probably keep it and just add to my glut of Mahler 6 recordings. After all, it's paid for now.
As a percussionist, I really like the Vänskä M6. Everything is crystal clear, especially the timpani and cowbells.

But I totally understand not liking it for many other reasons.
Sounds promising. I'll probably buy the CD of this performance and, possibly, dump the Vanska/Minnesota one. I feel M6 is the weakest in the Vanska cycle so far.
And for the record, the three (!) hammer blows in the Fischer M6 are all devastating, and he includes the tam and cymbals for the second one (a choice I prefer).
Yes, there are aspects of the Feltz M9 that I really like. He also does those slow-downs at the end of the Rondo-Burleske like Fischer and Bernstein do, and he takes them to a bit of an extreme. But honestly... I think it's more convincing here than the other guys. I'm impressed.
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