Adam Fischer M8

[sbugala]

I don't think I've missed people mentioning this, if I have; I apologize. However, I wanted to "sing" the praises of the new Adam Fischer M8. I downloaded it for a very reasonable, $3.98 on Google Play's store. I don't dislike the first movement, but for me; it's always been one of the tougher movements to bring off: great beginning and ending...not so involving for some of the middle. However, this seems to be one of the more joyous and bouyant accounts. It's fun, and celebratory, and doesn't drag. Nice organ, too.

The second movement is a favorite of mine. This rendition may lack a little mystery, but is still excellent. I think Fischer goes for the big picture. This was all over my car speakers, so maybe I'm missing the last bit of authority to discuss sound quality; but I didn't find it lacking. For the $3.98, this is a steal. I have his M9, and enjoy it, too. Now, I may have to track down the rest. Thoughts on which one might be the next acquisition?

I get the feeling, for all the praise we've lavished on his brother's cycle, Adam's might be the better of the two.

[erikwilson7]

So happy to hear more praise for Ádám Fischer. What next? Gosh, so many of them are good. I would say check out the M3. It’s one of the best ever, in my opinion. Then either 4 or 5. Then 1 or 7. Then Das Lied (which is very good, but the least wow-ing so far).

I also agree that, given the consistency, Ádám’s is better than Iván’s.

[barryguerrero]

Like Erik, I feel it's a consistently good cycle. Even both his M1 and M5 are good, which takes some doing (few conductors do both well). His M7 has the best second Nachtmusik (4th movement) I've yet to encounter, although that movement is quite good on the Vanska M7 as well. I would like to put in a strong plug for Adam Fischer's M3 - I think it's my favorite one from Europe now (Honeck/Pittsburgh and Alan Gilbert/N.Y. Phil. are my two favorite American M3 recordings).

My only minor, superficial complaint for Adam Fischer's M8 is that there are no extra tracks - just one track for each part.

[erikwilson7]

For some reason I actually like that it’s all one track. It makes me think Fischer views the whole Part as one big, flowing movement.

Not many talk about it, but Á. Fischer’s M4 is incredibly well-characterized and -conducted. The soprano in the finale isn’t playful or parodic like Miah Persson but Mahler didn’t intend for that anyway. Ádám is very true to the score. You can even hear the harp glissandi in the climax of the third movement! That’s NEVER audible! I love it. And the timpanist just hammers the bell-tone rhythm. It’s a glorious moment.

[barryguerrero]

Agreed, on all points.

[erikwilson7]

Couple notes of praise for Ádám’s M5:

His vision is paced nearly perfectly for me. The opening funeral march is a relatively swift 12 minutes. I prefer that. It keeps the movement, well, moving. To me it tends to drag when it’s 13 or 14 minutes. I liked when Bertini even conducted it at 11 minutes. The scherzo is just under 18 minutes, which I like because Mahler said not to rush the movement, and to give it the time it needs to function as the symphony’s fulcrum. The Adagietto is also just over 10 minutes: not too swift, not too slow, and beautifully and delicately played.
The second movement feels in-the-moment, a key factor to pull it off convincingly. The performance is a bit tightly played, but I can tell the team is aiming for accuracy. The segment from 7:45–8:50, when the stormy music returns in its most manic form yet, is played so well by Düsseldorf, it’s barely been bettered. The low brass especially nail their quick descending motto phrase.
The finale is paced steadily. Not too fast, but it works. The string playing is impressive, and the contrapuntal lines are clearly distinguishable. We know that this finale was Mahler trying his hand at Bach-ian counterpoint, and no better than Ádám Fischer the Haydn and Mozart expert to bring out the contrapuntal string playing. Fischer does slow down just a bit before the big chorale, but it works to me. I like they way Markus Stenz does it where he keeps it moving fast and then slams on the brakes, like bursting through a wall. It’s amazing. Anyway, Fischer and Düsseldorf do the chorale well, capped by loud, bright cymbals, and the trumpets don’t dominate (which I like!!!). The chorale is shaped so that the brass chords are full and balanced, instead of a trumpet melody soaring above the rest of the brass. I prefer the former, as there’s also a good tuba line going on underneath! And the coda is steadily paced keeping with the rest of the movement, but all the inner details come out. I especially like how clearly you can hear the descending timpani line. The last few bars are aptly raucous with loud cymbal smashes.

It’s good fun. A marvel of a performance that almost no one is talking about.

[sbugala]

Well, I just scored a free 3 month subscription to Primephonic, so I'll start listening. My cd purchases are non-existent. But I am trying to get downloads as cheaply as possible, mainly via points on an app I use to get Amazon gift cards. If I like them enough, I'll try to build up points to buy them to keep.

[erikwilson7]

I’ve bought some of the Á. Fischer recordings via Presto, as FLACs, but as far as CD purchases go I’m going to wait for a box set. I know I’ll want them all, even if 2 and 6 aren’t up to par.