What Conductors Do You Wish Had Recorded Which Symphony?

[etucker82]

...because the what if game is as fun as it is masochistic....feel free to disagree with any of this, obviously heavily weighted towards past generations because most conductors now record everything:

1: Celibidache
2: Mengelberg
3: Stokowski
4: Erich Kleiber
5: Carlos Kleiber
6: Klemperer
7: Munch
8: Furtwangler
DLVDE: Monteux
9: Koussevitsky
10: Scherchen

[sbugala]

I recall Klemperer saying somewhere that the Sixth was "a cosmos" but admitted he just couldn't get around to doing it...or something to that effect. Still, it's an interesting "what could've been."

Otherwise, the only recording I really ponder is a Bernstein M8 with New York, which would've been done in Dec. 1990 had he lived, (I think.)  Too bad he couldn't have given up smoking. 

[John Kim]

This is good stuff.

M2, M3 - Karajan
M4 - Bohm
M6 - Bohm, Klemperer
M9 - Davis (Colin)
DLVDE - Szell (though there exist pirate recordings)

Entire cycle - Thielemman! (I am not kidding )

John,

[techniquest]

Given the fantastic job Paavo Berglund and the Bournemouth Symphony made of Shostakovich 7 & 11 for EMI back in the '70s, I wish they had done M2 and M3.

[James Meckley]

DLVDE - Szell (though there exist pirate recordings)

There is an official Szell/Cleveland DLvdE (with Janet Baker and Richard Lewis), available in the Cleveland Orchestra's expensive 75th Anniversary box (OOP). That box also contained, I believe, Szell's live 1970 Tokyo recording of Sibelius 2, surely the greatest recorded performance of anything I've ever heard.

There's also a pirate (off-air) Szell DLvdE (with Maureen Forrester and Richard Lewis) on Arkadia, in so-so sound, recorded a year or two before the one in the box.

James

[waderice]

Walter:  The rest of the symphonies he did NOT record (M3, M6, M7, M8)
Klemperer:  The rest of the symphonies he did NOT record (M1, M3, M5, M6, M8)
Mitropoulos:  The rest of the symphonies he did NOT record (M2, M4, M7)

Wade

[John Kim]

DLVDE - Szell (though there exist pirate recordings)

There is an official Szell/Cleveland DLvdE (with Janet Baker and Richard Lewis), available in the Cleveland Orchestra's expensive 75th Anniversary box (OOP). That box also contained, I believe, Szell's live 1970 Tokyo recording of Sibelius 2, surely the greatest recorded performance of anything I've ever heard.

There's also a pirate (off-air) Szell DLvdE (with Maureen Forrester and Richard Lewis) on Arkadia, in so-so sound, recorded a year or two before the one in the box.

James

I second. Szell's DLVDE was the greatest performance of this masterpiece I've ever heard. It's that simple.

John,

[ChrisH]

I've always wanted a Charles Dutoit M7, especially with the Montreal Symphony. I'd also like more Blomstedt Mahler. His 2nd with San Fran was excellent.

[John Kim]

How about Rattle/BPO M7th? I bet that will be a pretty good combination for the piece.

But again, I am most curious about what Thielemann has to say about Mahler.

John,

[Russ Smiley]

Sadly no chance for this:
 Guilini - M6

but still a chance for these:
 Levine - M2
 Honeck - M3
 Blomstedt - M5
 Gilbert - M8

[barry guerrero]

I like Russ' choices.  Myself, I would like to hear more Mahler from Antal Dorati. I would also like to hear Harnoncourt do the first

John, Thielemann doesn't like Mahler. Forget it (same is true for Harnoncout)

[waderice]

Myself, I would like to hear more Mahler from Antal Dorati

When Dorati was music director of the Washington, DC National Symphony in the late '60's - 70's, I heard him perform all of the Mahler symphonies except nos. 7 & 8.  I was in the chorus in his performances of the 2nd.  All performances were excellent, though I do remember that the 6th was exceptional.

Wade

[GL]

Barry wrote:

"John, Thielemann doesn't like Mahler. Forget it"

Well, it's true that Thielemann has his problems with Mahler:

http://ionarts.blogspot.com/2010/03/mahler-cycle-and-uncomfortable-silence.html

Nevertheless, during the 2010/2011 season of the Munich Philharmonic, he will conduct the M8, the Adagio of the 10th, a selection from Des Knaben Wunderhorn and five the Rueckert Lieder:

Symphonie Nr. 8 Es-Dur
Christian Thielemann, Dirigent
Adrianne Pieczonka, Sopran
Ricarda Merbeth, Sopran
Sibylla Rubens, Sopran
Lioba Braun, Mezzosopran
Birgit Remmert, Mezzosopran
Burkhard Fritz, Tenor
Roman Trekel, Bariton
Albert Dohmen, Bass
Philharmonischer Chor München
Einstudierung: Andreas Herrmann
Singverein der Gesellschaft der
Musikfreunde in Wien
Einstudierung: Johannes Prinz
Tölzer Knabenchor
Einstudierung: Gerhard Schmidt-Gaden
und Ralf Ludewig
Fr. 15.10.2010, 20:00 1. Abo h5
Einzelkarten ab Di. 31.08.2010
So. 17.10.2010, 19:00
Sonderkonzert
Einzelkarten ab Di. 30.03.2010

...........................................

Fünf Lieder für Sopran und Orchester
nach Texten von Friedrich Rückert
Christian Thielemann, Dirigent
Renée Fleming, Sopran
Do. 21.10.2010, 20:00 1. Abo b
Fr. 22.10.2010, 20:00 1. Abo c
So. 24.10.2010, 11:00 2. Abo m
Einzelkarten ab Di. 31.08.2010

.............................................

Ausgewählte Lieder aus
„Des Knaben Wunderhorn“
für Bariton und Orchester
Symphonie Nr. 10 „Adagio“
Christian Thielemann, Dirigent
Christian Gerhaher, Bariton
Mi. 18.05.2011, 20:00 7. Abo a
Do. 19.05.2011, 20:00 5. Abo e5
Sa. 21.05.2011, 19:00 5. Abo h5
So. 22.05.2011, 11:00 4. Abo k5
Einzelkarten ab Di. 01.02.2011

All these concerts conducted by Thielemann are part of a complete Mahler-cycle that will be held in Munich between 2010 and 2012:

http://www.mphil.de/mphil23/images/pdf/Mphil_JahresPRO_2010-2011_www.pdf

[barry guerrero]

Thanks, that's good to know. Nice thing to be wrong about.

[Zoltan]

Well, it's true that Thielemann has his problems with Mahler:

http://ionarts.blogspot.com/2010/03/mahler-cycle-and-uncomfortable-silence.html

For those who didn't read the fascinating post by Jens Laurson posted by GL, here's the reason Thielemann gave of his problem with conducting Mahler:

"Mahler’s music lends itself most to those conductors” Thielemann reflects, “who know how to hold back, who are good at understatement. That doesn’t exactly accommodate my conducting style; I’ve not been terribly successful at that yet. The music of Mahler is already so full of effects, if you are tempted to add anything, you only make it worse. I admire those conductors who achieve that certain noblesse—which is what I desire to achieve, eventually. Not always to enhance something. I’m currently trying to wean myself off that in Strauss, actually…”"