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OT, but this month I see Adam Fischer has also released a Beethoven symphony cycle with the Danish Chamber O on Naxos.  Tempi seem fairly rapid.

I actually managed to take a listen to the Fifth and Seventh in that cycle as well as some movements from Eroica and the Ninth, and despite Fischer's more rapid pacing I was impressed by the playing of the Danish National Chamber Orchestra, just as I was with their Mozart cycle. It reminded me of how I thought about Fischer's ongoing Mahler cycle: extremely clear detail and expertly conducted. The sound is crisp but dry, lacking a bit in the bass. I don't know if that's Naxos' engineering or a choice on Fischer's part because his Mahler cycle with Avi Music lacks in the bass end a bit too, particularly the Seventh.

There are a bunch of dynamic nuances that Fischer injects to make the music a bit refreshing and I like that. Check out the first movement of Eroica for a prime example: those six "banal" (for 1805) tutti fortissimo chords near the end of the second subject in the exposition are here treated with a crescendo, something I don't think I've ever heard before.

Yes, this is OT, but I would recommend checking out the Fischer/Beethoven cycle because it's a collection of fresh, new takes on this music we know so well.
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OT, but this month I see Adam Fischer has also released a Beethoven symphony cycle with the Danish Chamber O on Naxos.  Tempi seem fairly rapid.
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The timings for Blomstedt M9 will be as follows:

I. 29:27
II. 16:26
III. 13:09
IV. 24:26

Total 1:23:28
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J. Nott’s M2 with Bamberg was a real hit for me. It may even be my top choice for a modern recording of M2 (along with I. Fischer’s), and I’m still surprised by some of the negative reviews Nott’s received. I also find his M8 essential.
And I too would recommend his M7, as well as his M3.
I don’t think there are any real duds in that cycle, though his M1, M6, and Das Lied weren’t anything to write home about in my opinion. The Jonas Kaufmann Das Lied extravaganza was a bit odd to me, though it wasn’t with the Bamberger Symphoniker.
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My time spent with this recording was quite enjoyable. It's very natural sounding, and highly atmospheric; especially Brother John, this may be one of my favorite renditions of that movement on record. The flow, and ease of playing really give a relaxed feeling to the first 4 movements, remember Blumine is included, while the Sturmisch is filled with lots of energy.  I am not a score junky, so all the little differences between this and the newer editions were lost on me. Nothing really slapped me in the face, though. Another listen may reveal more.

Roth's interpretation is nothing revelatory to my ears, it's just a fine recording of the Mahler first. 
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I agree. At first, I kidded John Kim about J. Nott and the Bamberg S.O. over its Mahler 9 release. I shouldn't have. Although it's not my favorite Mahler 9, it is indeed very, very good. I particularly like M2, M4, M7 and M8 from Nott's Bamberg cycle.
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Bamberg impressed me with every release on the Nott cycle. I think they’re quite underrated. Blomstedt + M9 sounds like it could be a real winner, and it will likely be a live recording too. I haven’t heard his M2, but I’ll be sure to check it out soon.
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There's a Blomstedt Mahler 9th with the Bamberg Symphony that's on the horizon. I'm looking forward to streaming it for a listen when it's available. I think his M2 is under-rated. Any thoughts on how good of an orchestra Bamberg is?

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So far I've only gotten a chance to spot-check an audio recording of the performance on the website, and from what I heard it sounded pretty great. I only knew W-M's Bruckner before this but he's quite a good Mahler conductor too. The ending of Part II was magnificent like Barry said. He pulled a Bertini with that tempo.

One of my favorite moments of the symphony is the brief "Ewiger Wonnebrand" and I found, again, that Peter Mattei did a spectacular job. His Pater Ecstaticus from Chailly's 2016 Lucerne Blu-Ray is my favorite moment from that, too.

I'd love to see another Mahler release from W-M one of these days.
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Just returned from a research trip to Vienna, during which I attended the Generalprobe (dress rehearsal) of the M8 at the Konzerthaus on Friday the 10th.  My first time in that venue.  I thought that Part II was very well done.  I prefer a slightly slower and more deliberate tempo in Part I, but it still sounded good.  As usual, the number of choristers, particularly the children, could have been bigger.  Good organ, tam tam, and tubular bells.  Mater Gloriosa and offstage horns way up top directly above the performers on stage.

Welser-Moest ran through the entire work without stopping, then went pack to briefly work on 5 or 6 passages that he wasn't so happy with.

An interesting and enjoyable experience!

Mike Bosworth
Tokyo
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