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Have you heard all of the recordings before (on Spotify / YouTube, etc.)? If you know what to expect, I say pull the trigger. I wouldn't want you to be disappointed if you haven't heard all of them yet though.

It's a consistent set. It has very few quirks / oddities, and no real duds in my opinion. You've heard the M5, so you know about Jansons slowing the tempi near the very end. Other than that, it's really straightforward and the BRSO sounds wonderful as expected. To me, Jansons is somewhat comparable to Abbado; a very safe, neutral conductor who produces good results from his orchestra. He 'gets out of the way' of the orchestra and lets them do their thing (except for the end of M5).

I personally haven't gotten it solely because I haven't found a reason to yet. Maybe someday I'll pick it up.
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Also that trigger finger is getting pretty itchy (Jansons/BRSO Mahler box). 11 bucks per month for six months, zero interest (I hate paying for two rehearsal discs though).
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RCO Live is very strange. I guess because they don't have an M9, they don't plan to issue a box set (Jansons). The Makela era hasn't started full bore yet, but I'm kind of hoping the Concertgebouw comes to its collective senses, asks Makela to resign, and then grabs Jaap van Zweden. He's THE obvious candidate for that job. However, maybe there are players who didn't like him clear back when he was Concert Master in the RCOA (or whatever instrument he played). I believe he's considered demanding, but was well liked in Dallas. Anyway, I'm kind of glad that S.F. will be forced to audition and choose a new director. I do like Salonen, but he is a bit of a re-tread within California. I think it's very possible S.F. goes with a woman conductor, but you never know until you do know.
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Gustav Mahler and Related Discussions / Re: What next? . . .
« Last post by Leo K on April 24, 2024, 03:43:33 PM »
Even though you don’t like the Solti M8 I still appreciate your thoughts on it Barry.

Recently, I've found myself really drawn more towards the M8. This shift in preference has been influenced by listening to Jascha Horenstein's recording of Mahler's 8, which was reissued on the Pristine label. The performance struck a chord with me, really knocked me out. It struck me how Brahms's 3rd begins almost the same way, with this jump of sound. It’s also a twin work to DLvDE in some ways. The singing and text between the two works are an interesting mix of emotive philosophical outlook. The clarity and emotive power of this recording has resonated with me, leading me to consider it among the best available renditions of the M8.
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I forget that Jansons did some Mahler recordings in Oslo. I think it's: M1, M2, M3, M7, and M9?

The M7 was really good there, I agree Barry. Were the others eclipsed by his later recordings with RCO and BRSO?

For what it's worth, I do wish that Jansons finished the RCO cycle; only the M9 remained. Judging by what we got from his BRSO one, I bet it would've been quite good.
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Today, I revisited Jansons/BRSO M8th and liked it even more than the last time I gave it a spin. Barry, you'll love the ending of Part II.^ You'll love the whole performance.

John
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I think the 6th is among Jansons' very best of Amsterdam Mahler recordings as well. I guess he just had a thing for it. As for M7, I like his Oslo one best. You guys know that one (it's on Spotify)?
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John, that Jansons/BRSO M6 really surprised me. I actually think it's the best recording in the whole cycle, and I'm surprised it wasn't released on its own.

Jansons has a history of doing that piece justice. Years ago, his LSO M6 was a favorite of mine. The RCO one he did is decent too, and if I recall correctly he swapped the inner movements for that one (compared to the LSO and BRSO accounts).
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As I have previously written, Jansons' BRSO M6th is surprisingly good. It is on a fast side with terrific playing and attention to details, e.g. coda of I., most of Scherzo (placed second^), and many passages of IV. As an interpretation, Jansons' may not bring in as many new things as say, Rattle in his recent BRSO recording, but it is an energized and passionate reading. Sonics are excellent too. I quite like it^

John
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I too, have the Boulez box, and I feel that his approach to Mahler is very straightforward, adding little and subtracting little from his performances of the symphonies.  Having said that, I also think it is one of the more complete collections of Mahler performances (in addition to Michael Gielen) available.

Wade
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