OT - Bruckner 5/Welser Most

[Ben]

Has anyone seen this yet??



http://www.amazon.com/Symphony-Sub-Ac3-Dol-Dts/dp/B000M2EBUQ/ref=pd_bbs_sr_1/102-4154035-3002524?ie=UTF8&s=dvd&qid=1174518901&sr=1-1

Ben

[chris]

Haven't heard it - looks interesting though.

I hope not to move this topic away from it's intention, but I was wondering if someone could describe what Welser Most's style is...I've heard a lot of people are very unhappy with him in Cleveland, but have only heard vague comments, nothing specific like I'd hear about Barenboim's tenure in Chicago.   

Is it a "he's no Szell!" attitude, or something else?

[barry guerrero]

I intend to get this. It's live from St. Florian Cathedral near Linz! W-M already recorded a live B5 with the London Phil. while on tour at Vienna's Konzerthaus. It's a very fast and exciting performance. Tuba wise, I can't lose on this, as either Ron Bishop is playing, or it's the new Japanese tuba player that Cleveland just hired - the one who was allegedly released by the Vienna Phil.  I've heard him play in the Saito Kinen Orchestra, and he's excellent! I have a pirate of a W-M/Cleveland M3 that's outstanding. Aside from the mezzo (forgot who, but not so wonderful), it's truly the best M3 in my entire collection. Sorry, but I can not reveal the source for the W-M/C.O. M3.

This should be an outstanding Bruckner 5th. And by the way, don't put too much weight on what people say. Use your ears. There has been a fair amount of moaning about Eschenbach in Philly. Yet, his recordings with Ondine are pretty darn good. They're also getting a Mahler cycle out of him, so they should shut up a bit. They didn't like Franz "worst than most" W-M in London, because he actually made the LPO work. For all the negative press that he received in London, he ended up with the Cleveland post. Riccardo Muti won't go back to London - even to guest conduct - because he can't get a fair break from their press. I happen to think he's pretty good, and might end up with a major American post again - maybe. Seriously, I'm not so sure it even matters, except to when it comes to the choice and performance of new music. Everything else, repertoire wise, has become so standard that these professional orchestras really only need a down beat and a cut-off. I was watching the DVD of Abbado doing M7 with the LFO last night. If I were playing under him, I'd have almost no clue as to what his beat is. Yet, the band knew exactly what they were doing. It really looked as though he were merely following them, and reacting to what they were doing. Those top notch players know these pieces so well. Same goes for Rattle - I have no idea where his beat is, just by watching him.

Barry

Barry

[John Kim]

I have heard Welser Most doing M3, M6, and M9, and they were all exceptionally well played. The interpretation was basically no-nonsense, straightforward with a bit of Viennese heft to it but aided by such a great orchestra, his Mahler sounded very strong and solid.

John,

[barry guerrero]

Yeah, and I'd take that anyday over MTT, who feels that he has to leave his personal imprint all over the music - one that sucks.   

Barry