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Thanks for sharing, Russell. I've been really enjoying Hurwitz's channel, even though I tend to disagree with him about some Mahler things. Plus, he's funny as hell!

I think the AnĨerl is very good, but I personally wouldn't put it as a top choice. I do agree with him about the Gilbert, Chailly, and Karajan live though.

My top five, in no order, might be: I. Fischer (controversial, I know; I used to hate it but now the swifter tempi make sense to me; plus, the score suggests 75 minutes and that's what Fischer does; his first movement is a proper andante), Karajan live (better than his studio), Gilbert (I agree with Hurwitz; it's the most balanced and maybe best played), Chailly (my favorite slow account), and Boulez (I actually like the swift finale; it reminds me of the beauty of life rather than the tragedy of death).

I think just about everyone has very different top choices for M9!
Not sure if anyone here has brought this up before, but I've just discovered David Hurwitz's YouTube channel where he reviews his favorite recordings of particular works.  This one is on the M9, and while I don't necessarily agree with his "Final 4" choices (I think that probably goes for all of us here!), his views are nevertheless interesting and thought-provoking.

Gustav Mahler and Related Discussions / Re: Bernstein M5 VPO 1987 Proms
« Last post by akiralx on September 22, 2020, 07:16:47 AM »
It is now on YouTube in what sounds rather better sonics:
Gustav Mahler and Related Discussions / Re: The return of Marilyn Horne to Mahler
« Last post by barryguerrero on September 21, 2020, 10:51:54 PM »
Oh, my mistake. I see now that 52' pertains to A. Fischer's Dusseldorf M1, not M2
John is correctly about the electronically enhanced hammer strokes on Zinman's Baltimore recording of M6. But that wasn't my first introduction to that novel idea. I saw performance of M6 Zinman gave with the S.F. Symphony - before MTT was director - he had the most incredible explosions for the two hammer strokes. It sounded as though a bomb had detonated deep below the stage. It was unbelievable.
I also very much like Zinman's Aspen Festival M9th. It was very organic (as is his RCA recording), but better flowing and better played.

Don't forget, Zinman also did a terrific M6th in Baltimore. It used electronic hammer blows in IV. that really blasted literally!

Gustav Mahler and Related Discussions / Re: The return of Marilyn Horne to Mahler
« Last post by erikwilson7 on September 21, 2020, 06:00:30 PM »
I should have clarified: that was just my own speculation. My bad
Gustav Mahler and Related Discussions / Re: The return of Marilyn Horne to Mahler
« Last post by barryguerrero on September 21, 2020, 05:51:41 PM »
Where did you find out about a Dusseldorf M2? I'll do a Google search for the time being.
I have the DVD of Zinman's M6 documentary, titled "Going Against Fate". It's certainly part infomercial too. It's a lot of fun, with lots of shots of cows, alpine scenery, big cowbells and, of course, the wooden hammer business. I'm not sure I care for Zinman's own input that much. However, all I care is that he conducts the piece well.

"Going Against Fate? skirts the "Alma" business, for the most part. But on the other hand, neither is there any attempt to explore the juxtaposition between Mahler's Alpine based heaven, and the stark realities of a unified Germany and the escalating militarization of Europe in general. If anyone still believes that the finale of M6 is nothing more than an over-sized expression of Mahler's personal insecurities and doubts over his marriage to Alma, you need to study the first version of the finale in detail.
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