Barenboim M9 revisited

[barry guerrero]

The oboe note in question is held for a long time. Oboes cut like banshees, and it's extremely difficult for an oboe to sustain such a long note softly, without actually stalling on the note. While it's undoubtedly marked to be played softly, you have to figure that Mahler must have wanted it to cut through, just by his choice of giving that note to the oboe as opposed to a clarinet (there's a solo flute there already). Obviously, some oboe players can probably do this better than others. Also, microphone placement will have a lot to do with the balance of such a passage. But like trumpets, oboes cut like buzzsaws. I think it lends the passage a sort of expressionistic quality - keeping it from just being sacharine or cliche' sounding.

Barry

[Leo K]

The oboe note in question is held for a long time. Oboes cut like banshees, and it's extremely difficult for an oboe to sustain such a long note softly, without actually stalling on the note. While it's undoubtedly marked to be played softly, you have to figure that Mahler must have wanted it to cut through, just by his choice of giving that note to the oboe as opposed to a clarinet (there's a solo flute there already). Obviously, some oboe players can probably do this better than others. Also, microphone placement will have a lot to do with the balance of such a passage. But like trumpets, oboes cut like buzzsaws. I think it lends the passage a sort of expressionistic quality - keeping it from just being sacharine or cliche' sounding.

Barry

Thanks for that interesting info regarding the oboe.  I Agree that in this recording the passage is quite expressionistic, and has quite changed my usual view regarding this section of the Symphony. 

[Damfino]

All the talk of this recording has piqued my interest, and based on my liking of Barenboim's 7th, I decided to pick up this recording.  I found the first movement to be a tad fast (and I usually listen to Haitink's 1st RCO recording, which is fairly brisk).  However, I do quite like the recording over all. 

As to the oboe at the end of the movement, I have to say I do not really enjoy that approach overmuch, though it is not a deal-breaker.  I think it is as Barry says-it is difficult to sustain such a long note and be pp at the same time.

I noticed another odd "woodwinds in front" moment in the first movement.  Right at the grand statement of the main theme (around the 3 minute mark), you can hear clarinets quite prominently.  In most of the recordings I have, I can scarcely hear them.  Maybe Barenboim and the Staatskapelle players are simply bringing out details in the piece that have hitherto been overshadowed in other recordings (primarilly by strings)?