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To me, the Mahler symphonies that are best tailored to the Los Angelses Phil. and Disney Hall are the 4th and 7th. Tonight's broadcast on KUSC confirmed that thought in my mind. I've been wanting to hear the LAPO play M7 for a very long time. This was truly a super-virtuoso, 'concerto for orchestra' type performance. Robertson's 'interpretation' (i.e. tempo relationships) were straight forward and 'non interventionist' to almost a fault. However, THAT SAID, he did make the final peroration in the finale about as protracted as you could possibly hope for. A bit more of deep bells and cowbells would have done the trick, but I think that that was partly a function of the broadcast recording. The finale, in particular, was nearly stupendous. Both Nachtmusik movements were very good. I also appreciated that Robertson did not rush the quiet passage in the second movement (1st Nachtmusik), where the two horns do a 'call and response' number, while the cowbells are quietly bonging away offstage. That was nicely atmospheric. The middle section of the first movement was really well done also. I'm glad I listened to this.

I just discovered that KUSC does keep these up online for a week or so. Soooo, if you missed it and still want to hear it, here you go. Just ignore the exaggerated and ridiculous read-off program notes at the start. They still wrongly have Semyon Bychkov listed as the conductor. Robertson subbed for Bychkov.

https://www.kusc.org/radio/on-demand/socal-sunday-night-on-demand/
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Gustav Mahler and Related Discussions / Re: Klaus Makela conducts Mahler 9th.
« Last post by akiralx on June 20, 2022, 02:49:15 AM »
I get the impression the Dutch don't like anyone to ruffle-up their feathers. I've been sort of shocked to find just how even Haitink was considered sort of a controversial figure there. That's gratitude for you. Personally, I like Rotterdam better.

Haitink did say that being a big success can offend many Dutch people as if it’s somehow unseemly - something to do with a Calvinist mindset.
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Yes, D.R. had the St. Louis Symphony after Hans Vonk. I saw him give an outstanding Mahler 5 with St. Louis in Zellerbach Auditorium in Berkeley, Ca. Only Bernstein/Vienna Phil. was more memorable to me. D.R. was known as a Boulez specialist, and had made the first recording of the COMPLETE Boulez "Notations" on the Naive label.
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Do we know anything about David Robertson? Frankly, this is my first time hearing the name.
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Here's the L.A. Phil's streaming broadcast listing on KUSC Radio. Mahler 7 with David Robertson (it says Bychkov, but he cancelled) is on this coming Sunday, 6/19 at 7pm Pacific time. We're currently on Daylight Savings Time, so be careful. I certainly plan to hear this.

https://www.kusc.org/radio/on-demand/socal-sunday-night-on-demand/
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That's a valid point. There are tricks to making a Wuhan project better. It's better to keep the gong hung closer to the floor. Many orchestras hang them a bit high, so everyone can see it. The same thing is true in regards to how you face the gong (Wuhan). While it's more difficult to see, a Wuhan will sound better if you have the flange end facing towards the audience, and the not the front of the gong. The Vienna Phil. seems to understand this point. Also, many players use mallets that are simply too small for effective fortissimo smashes. To my ears, the Concertgebouw seems to have that problem. It comes out sounding more like a hard bass drum 'thud'. Percussions spend hundreds of hours perfecting four-mallet playing on their various keyboard instruments (two mallets in each hand), yet spend little time listening to, and tweaking, their craft when it comes to 'utility' stuff like gongs and such.
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As an aside I would love for the current BRSO and BPO percussionists to re-learn how to hit a tam-tam so we could hear it.
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If and when BR Klassik issues that Jansons M8 separately, I'll collect it. I'm not getting that big box with tons of middle of the road, safe, vanilla performances of standard orchestral repertoire, just to get at that M8.
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If you are looking for a 'naturally flowing' M8th, look no further than Jansons/BRSO which is included in Jansons the Edition set. It's surely one of the best Mahler he did and it's better than his RCO recording.

John
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I'll hold my opinion for when more results appear. I'm skeptical. But then again, it's the Concertgebouw - they already know their Mahler backwards and forwards. I'm just hoping it won't be more neutral, inoffensive, vanilla Mahler like the Concertgebouw made with Jansons. I get the impression the Dutch don't like anyone to ruffle-up their feathers. I've been sort of shocked to find just how even Haitink was considered sort of a controversial figure there. That's gratitude for you. Personally, I like Rotterdam better.
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