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Gustav Mahler and Related Discussions / Re: Fall season: D. Gatti/Dresden Staatskapelle will do M5, M6 & M7

« Last post by barryguerrero on September 10, 2025, 10:05:17 PM »

Profil has been acting as thier 'in-house' label, but I'm not sure Profil still exists or not.

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Gustav Mahler and Related Discussions / Inoue/New Japan P.O./Exton Mahler 7th SACD to be released.

« Last post by John Kim on September 06, 2025, 04:16:32 AM »

https://www.hmv.co.jp/en/artist_Mahler-1860-1911_000000000019272/item_Symphony-No-7-Michiyoshi-Inoue-New-Japan-Philharmonic-Hybrid_16219705#:~:text=2000%E5%B9%B4%E3%81%AE%E4%BA%95%E4%B8%8A%E9%81%93%E7%BE%A9%20NJP%E3%83%9E%E3%83%BC%E3%83%A9%E3%83%BC%E3%83%BB%E3%83%84%E3%82%A3%E3%82%AF%E3%83%AB%E3%82%B9%E3%81%8B%E3%82%89%E3%81%AE%E5%88%9D%E5%87%BA%E7%9B%A4%EF%BC%81%E4%BA%95%E4%B8%8A%E9%81%93%E7%BE%A9%E3%81%A8%E6%96%B0%E6%97%A5%E6%9C%AC%E3%83%95%E2%80%A6%20Ponta%20Point%20available!%20%7C%20Symphony,:%20Online%20Shopping%20&%20Information%20Site%20Multiple

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Gustav Mahler and Related Discussions / Re: Fall season: D. Gatti/Dresden Staatskapelle will do M5, M6 & M7

« Last post by lschmitz on September 01, 2025, 08:48:59 AM »

They did M2 and 3 this spring, too. Gatti doesn't have a contract with any label. Does Dresden have an in-house label?

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Gustav Mahler and Related Discussions / P. Järvi continues the Tonhalle-Orchester Zürich cycle with the First Symphony

« Last post by erikwilson7 on August 28, 2025, 02:45:15 PM »

Presto has the listing for the second installment in Paavo Järvi's Mahler cycle with the Tonhalle-Orchester Zürich on the Alpha label. Its release date is slated for October 31, 2025.

https://www.prestomusic.com/classical/products/9810960--mahler-symphony-no-1

I really liked the Fifth from last year (or was it this year?), so I'm looking forward to this. The product description on Presto reinforces that this is going to be a complete cycle.

"Paavo Järvi and the Tonhalle-Orchester Zürich present the second volume of their complete Mahler Symphonies, with his First Symphony, known as the 'Titan' in reference to the eponymous novel by the poet Jean-Paul that Mahler greatly admired. Although he abandoned this title three years after the symphony's premiere in 1893, the symphony has, like many of Mahler’s works, 'a clearly programmatic character' according to Paavo Järvi: 'Mahler was a composer who was truly able to explore the inner world of human beings and to question what goes on inside us.'"

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Gustav Mahler and Related Discussions / Fall season: D. Gatti/Dresden Staatskapelle will do M5, M6 & M7

« Last post by barryguerrero on August 21, 2025, 09:28:44 AM »

I'm excited about this, and am hopefully CD's or DVD's or downloads will be made available.

https://www.staatskapelle-dresden.de/en/concerts-and-tickets/

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Gustav Mahler and Related Discussions / Re: So why do labels start Mahler cycles, only to give up on them!?!

« Last post by barryguerrero on August 20, 2025, 10:06:20 PM »

All very good points. I saw Haitink/RCOoA give a great M7 in Davies Hall (S.F.) in the early 1980's. The Philips studio recording that came out right around then - Haitink's second one - has almost none of the intensity of the live performance. Then I picked up the HDTT issue of a live Haitink/RCOoA M7 from around the same time as the live performance I saw. It's fantastic - it's very much like what I heard in Davies Hall   .   .   .  .   Some might consider it flaccid, but I like Haitink's first M6 quite a bit as well.

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Gustav Mahler and Related Discussions / Re: So why do labels start Mahler cycles, only to give up on them!?!

« Last post by shawn on August 19, 2025, 08:10:55 AM »

Yes, the live version is quite spectacular, I believe it was filmed during the celebration of the Concertgebouw's centennial. It's much more of an event. I'm afraid I haven't heard the studio M8 in its Pentatone incarnation, I will look in to that.

I find myself to be more sympathetic to Haitink's first Mahler cycle. At first, I loved it, but gradually I found it to be a bit generic and lacking in charisma. But in recent years, I felt its lack of histrionics can actually be an advantage. This is music that doesn't need to be in your face the whole time. I especially like Nos. 2 and 9 in this cycle, again not because they are heart on sleeve, but for their sheer musicality. And that’s something we never should take for granted.

I’ve heard and read some very disparaging comments being made about Haitink and especially his Mahler. All in all, I think he was a great Mahler conductor. His personality wasn’t exactly tailormade for this music, and he kind of inherited the Mahler tradition through the Concertgebouw's past, but I think he has acquitted himself very good, all things considered.

Kind regards, Shawn

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Gustav Mahler and Related Discussions / Re: So why do labels start Mahler cycles, only to give up on them!?!

« Last post by barryguerrero on August 18, 2025, 11:00:49 PM »

You know, Shawn, I used to think about about Haitink's recording of M8 on Philips too. But then I listened to the Pentatone remastering of it, and I completely changed my mind over it. I think it's a wonderful M8, with the exception of Haitink taking the ending of the "Chorus Mysticus" at an almost ridiculously fast pace. However, Haitink slowed that down a bit in his live 1988 performance that you can see and hear on Youtube. The visual element is absurdly dark looking, which is why I believe this has never made it onto DVD. Soprano Gwyneth Jones' contribution has been somewhat controversial, but I like what she does. Check it out and see what you think  .   .   .  .  I think the difference between the original Philips issue and the Pentatone reissue of Haitink's first and only M8 recording, just goes to show how much sound quality really IS an issue with a work that has such a huge dynamic range, and a vast range of styles.

https://www.youtube.com/watch?v=vjbc5qrFJK8&t=832s

All that said, I completely agree with your overriding point. I don't think Mahler symphonies defeat people any more, but I think complete cycles can and do.

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Gustav Mahler and Related Discussions / Re: So why do labels start Mahler cycles, only to give up on them!?!

« Last post by shawn on August 18, 2025, 09:51:15 PM »

I think conductors ought not to feel obliged to establish a complete Mahler cycle. I honestly think we are all better off when conductors only pick the numbers they feel strongest about. Prime example is Haitink. He only did No. 8 for Philips because his cycle would not have been complete without it. His performance is certainly professional and every note is in place, but you can feel he didn't care for this symphony.

I'm certainly not of the opinion that too much Mahler is a bad thing, but quality should always prevail over quantity. I know, in the end it's all a matter of personal taste, but just because we can call a cycle 'complete' doesn't automatically mean it's one for the ages.

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Gustav Mahler and Related Discussions / Re: So why do labels start Mahler cycles, only to give up on them!?!

« Last post by waderice on August 18, 2025, 07:06:03 PM »

It's all about economics.  In other words, how well are the so-far released recordings of whomever's given cycle selling?  I'm certain that all of the labels turning out CDs of a given conductor's cycle have their economic crystal ball gazers looking at how well their particular cycle is selling, and what they project how well the cycle will sell on down the line.  To them, they want to sell, but crystal ball gazing is risky at best.

One big disappointment for me:  I had hoped that the full cycle of the Markus Stenz/Gurzenich-Orchester Köln as a box set would have been released in SACD format.  Instead, when I put in my order for the full cycle, I found that after it arrived, it was only produced as regular CD only.  So Oehms (the label for this cycle) must have found that there wasn't enough funding available to produce the entire cycle as a box set in SACD format.