Wigglesworth/MSO/Mahler Sixth recording

[John Kim]

Two rave reviews:

http://www.markwigglesworth.com/recordings/view/mahler_symphony_no_6_27

http://www.amazon.com/Mahler-Sym-No-6-Gustav/dp/B000WZAEUY/ref=sr_1_11?ie=UTF8&s=music&qid=1255939052&sr=1-11

Has anybody heard the recording?

I love Wigglesworth's Shosy cycle on BIS and his powerful recording of M10. I think he is on his way to becoming an excellent Mahler conductor (as well as Shosy).

Looks like he's been conducting much Mahler recently:

John,

[John Kim]

IMO, what makes his M10 so great was the combination of his sensitivity and powerful phrasing with a very wide dynamic range. The Shosy cycle on BIS is in the same league but it has much better recording that reveals lots of details in the score. I have the Shosy 4th, 8th, 9th, and 13th and love them all!

John,

[John Kim]

Timings are like,

I. 24
II. 12 (S)
III. 15 (A)
IV. 30

on TWO discs.

[John Kim]

Here is pdf file of the booklet.

http://www.buywell.com/booklets/4766220.pdf

I am tempted to get it

[barry guerrero]

These are near ideal timings for me. The first movement is often times performed too quickly, while the inner two movements are often times performed too slowly. For my taste, the Andante could even be swifter. The standard 30 minutes is just fine for the finale - a symphony within a symphony. My "hybrid" discs that have Kent Nagano on the two outer movements, and Rattle/B.P.O. for the two inner movements, has timings that are quite similar to this.

[Russ Smiley]

These are near ideal timings for me. The first movement is often times performed too quickly, while the inner two movements are often times performed too slowly. For my taste, the Andante could even be swifter. The standard 30 minutes is just fine for the finale - a symphony within a symphony. My "hybrid" discs that have Kent Nagano on the two outer movements, and Rattle/B.P.O. for the two inner movements, has timings that are quite similar to this.

Barry,
I share your assessment of the timings: they fall very close to timings of individual movements movements that I prefer (I-Zinman & Bertini; S-Mackerras & Boulez; A-Boulez & Levine/BSO; IV-Zinman & Mackerras).  Timings aside, the details are vital, too, so I'm keen to learn about those.  Are the Nagano and Rattle/BPO commercial recordings?
Russ

[barry guerrero]

The Nagano was not a commercial release, but you can get the Rattle/BPO M6 directly from the Berlin Phil.  HMV Japan probably has it too.

Actually, I just checked the Berlin Phil's "shop" and they no longer have the Rattle/BPO Mahler 6. Either they ran out of it, or EMI had a cow about it. Maybe EMI plans to issue it sometime.

Russ, send me a private message and we'll see if I can help you out.

[brunumb]

The Rattle/BPO Mahler 6 is available from Grooves-Inc.

Is it worth adding to the collection?  Thanks.

[John Kim]

I thought the Berlin Rattle M6th was nothing special?

OTOH, Rattle's EMI recording with CBSO has a terrific Scherzo that's probably the best Mahler movt. he had done with that orchestra.

I agree that the Nagano has excellent outer movts. but the Andante is too slow.

John,

[barry guerrero]

"I agree that the Nagano has excellent outer movts. but the Andante is too slow."

That's why I use Rattle/BPO for the inner two movements. Also, the scherzo is pretty similar to how it is on his earlier studio recording.

[Leo K]

I'm looking forward to hearing this recording, and thanks for the heads up on this one John. I listened to samples on iTunes, and based on what I've heard on those samples, this performance really sounds clear, detailed, and full of nuance. I bet this one will be a winner.

--Todd

[Leo K]

I just finished hearing this recording (downloaded from iTunes) and I must say I'm very happy! The performance is indeed well recorded, and I like the sonics a little better than the Zinman, if only because the details are better heard.

Wigglesworth's timings are just right, with tempo transitions and key passages phrased with nuance and elan, without losing the sense of urgency. The review from Amazon describes this recording very well, "Disciplined and Passionate."

The Melbourne really shines, there's nothing I didn't enjoy in the execution. Details in the inner voices are very much appreciated!

Each movement sems to grow from the next, as if caught in an inevitable progress. Wigglesworth has good sense not to rush the calmer, lyrical passages, such as the pastoral episodes in the faster movements. Somehow, he dwells on these passages without slowing down or holding up the urgent proceedings. The Andante doesn't sound dead in the water. There is a beautiful flowing consistancy, and doesn't feel like it takes forever to get to the finale.

While listening, I heard shades of Karajan, Sanderling, Boulez and Bertini, but Wigglesworth is definitely his own man, and I have to say, he shows that the M6 has a sensitive, gentle side too, without holding back on the climaxes. The stillness of the first trio in the scherzo is an excellant example of this effect.

I read  the musicweb review and heard no difference in sound quality from the 1st movement to the others. All sounded consistant to me.

--Todd

[John Kim]

Todd,

Many thanks for the quick report!

I don't usually download music files, so will order the CDs instead.

It's interesting that you didn't find any difference sonically between I & II, III, IV as opposed to the review. That's good news.

John,

[Leo K]

Todd,

Many thanks for the quick report!

I don't usually download music files, so will order the CDs instead.

It's interesting that you didn't find any difference sonically between I & II, III, IV as opposed to the review. That's good news.

John,

John, your ears are better than mine, so perhaps you will hear different, but to me, I hear no noticable difference in sonics.

By the way, Wigglesworth is wonderful in every movement, but the Finale is really something special!

--Todd

[John Kim]

Just finished listening to I & II (S).

The first movt. is broad and weighty in a steady tempo. As expected, Wigglesworth is excellent in bringing out all the contrasts in a wide dynamic range, especially in the passage that follows the second theme and leads to the repeat. Here, he slows down the tempo a bit to make the effect even more telling. He also captures many details pretty well. The ending is truly majestic mainly because he doesn't speed it up as much as most other conductors do. The Scherzo is one of the best renditions I ever heard. Wigglesworth skillfully creates variety of moods by changing the tempo and phrasing ever so slightly, emphasizing this instrument over that instrument here and there. In fact, instrumental details that I never heard before are abound throughout the movt. All these effects add to the impression that after all this Scherzo can be played without sounding all that monotonic, as it does under usual circumstances.

So far I've been extremely impressed with the recording.

John,