Recent Posts

Pages: [1] 2 3 ... 10
I just wish these guys wouldn't go nuts with the bass drum, and actually study how Mahler employed percussion in detail. It makes the music very immature sounding.
I streamed the Mahler the other day, and the first movement of the Shostakovich. I may buy this.

My issues with the M10 go back and forth. Do we try to flesh out the orchestration and go all out...or keep it simple? This seems to be a good approach. Use what Mahler wrote, but look at what an ardent advocate did.

I also found on Youtube a Piano transcription...and I have to's beautiful and represents the other side: just give us the notes. So, the internal debate rages on; and I'm fine with that.
Me neither. The bigger the gene pool, the more likely some recording is going to 'tick all the boxes' and sound like a real performance in the process.
I've learned that, for the most part, whenever Dave Hurwitz dislikes a Mahler recording I am most likely going to enjoy it.

Although I don't agree with every point he makes, he's right in that this recording was not needed. He tends to way over-state his gripes with things. He says that he likes the big col legno moment in the first movement, but it is so loud that it detracts from the main melody in the brass. I didn't find that to be the case at all; if anything, it's just that the brass isn't projecting strongly enough with their sound, and it's not a problem with the string players or the audio mixing.

However, I'm not going to complain about more Mahler recordings existing.
I think that's a very fair assessment. It was, of course, dismissed out of hand by D.H. in one of his online reviews. While this release certainly wasn't 'needed', it's not that bad. In fact I think it's quite decent, if not earth-shaking in the process. 
It’s been a few years since the last installation in this cycle. We got a M9 and a M6, both of which were… decent at least.

This new release, M2, is definitely a step up. And as far as Oehms goes this is a better M2 than their Stenz one.

This doesn’t replace any favorites and it’s not one of the greats, but it satisfies me and ticks all the boxes.

It has a larger, more reverberate sound like I. Fischer’s and Chailly’s. In other words, the opposite of the spot-miked and drier mixes from BIS and the Boulez DG cycle.
Very good. I hope Seoul works out for van Zweden. The musicians will certainly be very committed. Let's hope Covid takes a long hike.
It's not my preferred way of looking at the 10th, but Segerstam does that type of approach really well - far better than Levine, who was just too glacial in the outer movements (and heavy footed in the inner ones). For the standard Cooke book version, I still like Berthold Goldschmidt's early performance of it the best. I like his own emendations to it, some of which Kurt Sanderling adopted.
This performance of the complete M10th sings and soars.

The Adagio and Finale in particular are achingly (and rapturously) beautiful, powerful, epic.


Agreed. I think this is the most interesting and valuable recording of Mahler 10th that has come out in recent years.

For your information, Zweden will be the new music director of the Seoul Philharmonic Orchestra beginning next year.


Pages: [1] 2 3 ... 10
SMF spam blocked by CleanTalk