Alan Gilbert's M3

[Russell]

Alan Gilbert's M3 with the NYP (recorded live last month) is available for a listen at

http://www.instantencore.com/music/details.aspx?PId=5049625

Not sure how long this will be available, but I hope to record the streaming audio (it doesn't seem to be available as a downloadable file).

Russell

[John Kim]

Based on what I heard of him doing the M9th recording, I kind of doubt that this M3rd was totally successful.

John,

[Russell]

So far, so good. I recorded the streaming audio the other night and copied it to CD. Listened to the first movement this morning in the car, on the way to work, and I have to say that I was really impressed--there's a wonderful organic flow that made this movement seem less episodic than I've heard from others. Gilbert moves it along nicely (it's 33 minutes on the nose), with no irritating mannerisms (à la MTT). Very good playing from the NYP, and also very good sound, considering that it's an 'off the net' recording. Hopefully the rest of the performance will fare as well....

Russell

[barry guerrero]

Yeah, after Maazel, it must be nice to hear some Mahler in N.Y. that's more up to tempo. I've got to run.

[barry guerrero]

Another very nice Mahler fairy - and I mean that in the old fashioned sense of the word; not one's orientation towards the world - brought me a burnt copy of the Alan Gilbert M3. It's very good!! Obviously, the playing of the NYPO is top drawer. Sure enough, this is very much up to tempo, and not all dragged out like the Maazel one (again, no eluding to one's orientation). The last movement runs close to 24 minutes, which is not excessively fast or slow.

Now, before everyone gets all excited, bear in mind that this is a computer download that essentially started from the broadcast microphones. Therefore, the dynamic range is far more constricted than on most commercial recordings. Here in the store, that's not a bad thing! Petra Lang is the mezzo. Just as she came across on her Decca M3 recording with Chailly, Ms. Lang doesn't seem to possess a beautiful instrument here. But what she does have, she puts to good use. I rather like her. The childrens chorus sounds really good. If you have the time and inclination, give this a listen. Personally, I think it's a sizable improvement over Maazel's Mahler with the New Yorkers.

Barry

[barry guerrero]

I just played some of this at home tonight. The last two movements are great. The women and childrens choruses are captured pretty close up. There's lots of triangle and glockenspiel near the end of the choral "bim, bam" movement too. In final adagio movement, the climax of the long brass chorale is outstanding - as good or better as I've ever heard it done. What a brass section! - they're now the new Chicago in terms of brass.

[Russell]

Fully agree with you, Barry.  This performance is one of the most compelling I've heard in recent times.  There are a couple of minor annoyances, though: Petra Lang, while sounding more impassioned than I'm accustomed to hearing in this part, goes overboard with her enunciation at the end of each phrase in her solo ("O MenSSSSSCCCCCHHHHH", "TieFFFFFF").  Also, the jerk who yells "bravo" before the final chord had a chance to fade away should have been strung up.  These don't detract from the overall performance, though, which is just marvelous.  It's amazing how the NY Phil sounds under Gilbert here.  Let's hope he can maintain this high level during his tenure.

Russell

[ChrisH]

- they're now the new Chicago in terms of brass.

I think the the NY Phil brass has been better than Chicago for some time. Especially since Alessi joined them. His solo in the Bernstein DG M3 is astounding. The complete control of tone and register. Rarely do you hear it put forth with that much power through all ranges. That's not say the Chicago brass is in any way bad, they are nothing but world class. For me New York takes the cake and has since the early 80's.

I will also say this was an excellent concert. I really like the left to right divided violins. They really played as a single unit. I hope this continues with Gilbert,

[barry guerrero]

I also like the sound of their horns, now that several of them - including Phil Meyers - have been switching over to the Schmit "triples" (three different keyed horns in one). They don't seem quite as loud as the old Conn 8-D's, but they also don't get that slightly "bracky" sound either. Their trumpets still get that park band sound when their loud, so maybe one or two of them should switch over to the German style rotary valve trumpets (?). Just a thought.

Sorry, but I'm not a huge fan of how most American trumpet players - even really good ones - sound through middle and low registers.

[barry guerrero]

.   .   .  speaking of which, I just played the 3rd and 4th mvts. at home. In the scherzo, it sounds as though Phil Smith may be using something close to a flugelhorn for the offstage solos. Needless to say, he plays very well. He's very upfront, which might have more to do with where the microphones were positioned.

4th mvt.: Yeah, Petra Lang isn't the best. But the two horns - both of whom have to play high and soft for almost the entire duration - do an outstanding job. They don't even come to chipping a note, and never fall out of tune either. Excellent job on their part.

[ChrisH]

.   .   .  speaking of which, I just played the 3rd and 4th mvts. at home. In the scherzo, it sounds as though Phil Smith may be using something close to a flugelhorn for the offstage solos. Needless to say, he plays very well. He's very upfront, which might have more to do with where the microphones were positioned.

I think he was using a flugel and blowing it into a felt hat. He does this when he plays it on C as well. That's a very common practice for the posthorn solo. It really helps in giving it that 'in the distance' feel.

[mike bosworth]

I just listened to this off the Internet yesterday and agree with the other comments here--this was a very fine performance indeed.  The percussion sounded great in the first movement and the Scherzo was one of the best interpretations I've ever heard--Gilbert and Co. nailed the coda beautifully without rushing to the finish line (which happens a lot, and which I hate!).  My only quibbles were with the 4th movement.  Aside for Petra Lang's odd consonant stress at the end of a phrase (already noted), I felt that the tempo overall was a bit too quick to fully capture the "Misterioso" element intended by Mahler.  Also, the 'hinaufziehen' and 'wie ein Naturlaut' instructions for the oboe seemed to be ignored--the oboe parts sounded pretty pedestrian and expressionless.

Still, a great start for Gilbert--let's hope he sustains this in future Mahler performances.  Gilbert and the NYPO have just performed M1 in Tokyo and will also be doing it in Seoul this week and Singapore next week.   However, during their concerts here in Hanoi on this coming Friday and Saturday, the are unfortunately not including the M1 (Barber, Mozart, and Beethoven are on the program).  The new host for the NYPO radio broadcasts, Alec Baldwin, is reportedly travelling with the NYPO on all or part of their current Asian tour.  Maybe I'll spot him here...

Mike Bosworth
Hanoi

[Leo K]

Listening to this now...WOW.  This sounds really good!


--Todd

[Leo K]

Oh my, this performance just gets better and better...I am truly amazed.

--Todd