Solti/LSO/Decca M3rd from the 60s

[James Meckley]

Look at this photo. It's ffrr:

Seeing that London album cover again brought back a lot of memories. The Decca cover for this LP featured two different views of the Rodin bronze of Mahler (the A casting) floated on a black background; this cover also became an alternate US cover at some point.

BTW, I've done a little digging of my own—related to the Grammy Awards—and in trying to find out if Solti's CSO M3 won a Grammy in 1983 (it did not), I've come up with the following:

In 1981, Solti's CSO M2 won three(!) Grammies: best classical album, best orchestral performance, and best producer (James Mallinson).

In 1983, Solti's CSO M9 won two Grammies: best classical album and best orchestral performance.

In 1992, most remarkably, the Best Orchestral Performance Grammy was won by... envelope please... Bernstein's live Berlin recording of M9 on DG! That recording is many things, but there's no way—with a major missed entrance and many other less significant ensemble and pitch issues—it could have been the "best orchestral performance" of that or any other year. Of course, it was done as a sort of final tribute to Lenny, but still...

James

[waderice]

The unfortunate thing about the Grammies (at least for the classical category) is that the awards are based on subjective evaluation, not objective.  I believe there are no more awards given for a classical category by the Grammies themselves anymore due to lack of interest by the public in the idiom.  So the classical world now has to hold its own awards, and hopefully, these are judged on objective content.

Wade

[John Kim]

Look at this photo. It's ffrr:

In 1981, Solti's CSO M2 won three(!) Grammies: best classical album, best orchestral performance, and best producer (James Mallinson).

In 1983, Solti's CSO M9 won two Grammies: best classical album and best orchestral performance.

James

Um.... it makes me feel like revisiting these Chicago recordings.

Just expect another heads-up from me .

John,

[Leo K]

Speaking of objectivity in criticism...I just don't believe there is any!  It's all purely subjective


--Todd

[John Kim]

My copy of Solti/LSO/Decca M3rd arrived today.

My previous copy of this recording was of some unknown origin so sounded pretty bad. But this one blows me away!

What an orchestra! What gorgeous sound!

It just demonstrates the excellence of the state-of-the-art recording technique Decca engineers owned in the 60s.

Interpretively, I have few quibbles about Solti's conducting. Perhaps the post horn solo in III. could have been touch more distant. If I am correct, the harp glissando near the end of III. sounds like at double the original speed. OTOH, the finale, under 20 min.,  doesn't sound rushed thanks to Solti's careful, well judged, and beautifully proportioned pacing. Helen Watts sings beautifully and hauntingly in IV.

I like Solti's M1st, Resurrection and M9th with LSO very much and ditto this Mahler Third.

John,

[John Kim]

I must add that the trombone solo in I. (by Denis Wick?) is outstanding.

He generates deep and firm sound from the instrument, a bit loud (but that could be Solti's instruction) but always kept in touch with the orchestra.

And Decca engineers captured it in the great ffrr sound.

Timings are

I. 32.52
II. 10.15
III. 17.21
IV. 9.37
V. 4.12
VI. 19.13

total 93.46

As you can see, only VI. is out of the norm which is 22-25 min.

John,

[david johnson]

and the william lang 'post horn' solo is fine.  on the horenstein/lso m3 lang used a fluegelhorn for the solo.

dj

[Leo K]

My copy of Solti/LSO/Decca M3rd arrived today.

My previous copy of this recording was of some unknown origin so sounded pretty bad. But this one blows me away!

What an orchestra! What gorgeous sound!

It just demonstrates the excellence of the state-of-the-art recording technique Decca engineers owned in the 60s.

Interpretively, I have few quibbles about Solti's conducting. Perhaps the post horn solo in III. could have been touch more distant. If I am correct, the harp glissando near the end of III. sounds like at double the original speed. OTOH, the finale, under 20 min.,  doesn't sound rushed thanks to Solti's careful, well judged, and beautifully proportioned pacing. Helen Watts sings beautifully and hauntingly in IV.

I like Solti's M1st, Resurrection and M9th with LSO very much and ditto this Mahler Third.

John,

Thanks for your thoughts John!  I can't wait to hear this!!

--Todd

[John Kim]

and the william lang 'post horn' solo is fine.  on the horenstein/lso m3 lang used a fluegelhorn for the solo.

dj

David,

You're quite right. The post horn solo is beautifully done too. I just wish it had been placed a little further in the stage.

John,

[John Kim]

All things considered, for me Solti's LSO M3rd is the best middle-of-the-road version in the most authentic sound. Not that it lacks insights or intuition.But it also sounds more direct, purer, less sophisticated, less manipulated and labored than any other recording I've heard. It reaches my heart deeply and straightforwardly. In many ways, I think that's what this music all requires.

John,