PSO store has Honeck M3 for $30! (pluss $5 shipping)

[barry guerrero]

Here you go! It's in stock. No tax but $5 for S/H.

http://www.pittsburghsymphony.org/PSOStore.nsf/products

[Russ Smiley]

Ordered mine last night.  The aircheck was magnificent.  Dearly hope they get around to releasing their 2nd.

[barry guerrero]

I think Exton is doing the whole cycle. They're going to do the 6th this coming year, and I can't wait to hear an eventual recording of that.

[Russ Smiley]

I think Exton is doing the whole cycle. They're going to do the 6th this coming year, and I can't wait to hear an eventual recording of that.

All exciting news. Thanks.

[fausto kantiano]

Apparently, the next instalment in the cycle, the 5^th, will be released (in Japan, at least) fairly soon, on Oct. 26^th. But I assume it'll take a while before it will then be available in Europe and the US.

http://www.hmv.co.jp/en/product/detail/4181479

[chalkpie]

$30?

Is this version really that good or is there a bit of hyperbole? Does this replace Chailly, Bernstein, Salonen, Boulez, etc?

[barry guerrero]

It IS really good - far better than the two previous releases from the same people. Whether it would 'replace' the others is purely a matter a taste

[ChrisH]

I've had the disc since Wednesday.....and I've only made it through the first three movements.

First, this is a sonic delight. Especially if you have an above average rig. Everything speaks quite properly, wonderful air and space around the instruments. You could easily write up a seating chart just from the soundstage. Exton does some amazing work.

This recording is a wonderful portrait of Mahlerian sounds. Deep throaty trills, robust bouncing bassoons, and the horns. Oh those horns. They easily steal the show in the first movement. I mean, they're peeling paint of the walls. I can't think of any horn section that plays with this much power; their 4th horn player is crazy loud in places. Honeck's approach is similar that of his first. A little slower tempo, a little rubato, make the powerful sections powerful, and the delicate sections delicate. Sounds so simple. The opposing march sections in the first movements don't so much as struggle against each other, but organically collide into the coda. What I really like though, is the fact the Honeck let's the instruments really speak with their own voice. Eb clarinet is chirpy and has attitude. Flutes float in out gracefully. Everything has character, or better, the instruments are characters. This is something that's missed in many Mahler recordings.

The 2nd movement is wonderfully played and he Honeck gives it his full effort. The strings of Pittsburgh really soar here with their dark full sound. The 3rd movement is lush and buoyant.  Very dance-like, boisterous, and jocular. It really sounds that the Pittsburgh symphony is really buying in to what Manfred Honeck is selling, and it works for me.

I'll report further when I've time to get to the later movements. I'm quite pleased with it so far.

[barry guerrero]

I think this M3 is far better than their M1 or M4. The M1 was too fussy, interpretively speaking (except for the finale), and the fourth was just too exaggerated in terms of dynamic contrasts, and with contrasting tempo relationships (especially the 4th Mvt.). But those same dynamic contrasts work perfectly in the third, just as you mentioned. Even the cover is much more pleasing to the eye, where as the covers were just atrocious on the first two - horrendous!

[Russ Smiley]

...First, this is a sonic delight. Especially if you have an above average rig. ...

I listened to mine... once... in the car... It is a lousy place to audition such a great performance, but I liked everything I heard (though it has to be amplified to the highest levels).  I don't own SACD equipment, at home, so I know I'm missing the real sonic pleasure.  

As an amateur horn player, I have to say the PSO section is dynamite.  Bill Caballero is a master principal.  From the sassy licks in the M4 to the quiet, mournful playing of the Misterioso in this M3, his playing is skillful and tastefully nuanced.  If the M5 really is next, I can't wait to get it!!

Chalkpie asked elsewhere "Does this replace Chailly, Bernstein, Salonen, Boulez, etc?"  I have the latter three but did not keep the Chailly recording for reasons I can't recall (in fact I haven't kept any of his RCO recordings, only the RSO Berlin M10).  The Bernstein M3 I have is the DG version: I like it though it is a tad long in places (and overall >105 minutes).  Interestingly, the tempi in Bernstein's Sony recording (I do not own) and Honeck's are very similar: by my math the recordings are exactly the same total length at just under 100 minutes.  I very much like the Boulez M3 with the earthy-toned VPO, although it is over four and a half minutes quicker (mostly in the last movement).  I originally had doubts about the Salonen M3, even faster than Boulez, but warmed to it enough to keep it (probably for its fine playing).

I have no problems with the PSO trombonist's solo.  I believe Joe Alessi was the NYPO trombone soloist in Bernstein's M3, and Alessi's performance is my standard to which I compare all others.  Moving over to the trumpets, I have to say this PSO trumpet section is stunning.  Trumpets are very directional and it could be that this bunch is always pointing at a mic, but I rather suspect that they simply have lungs and lips of steel.

Changing gears entirely, Michelle DeYoung sounds very mature, and her "..sch" in IV is much less pronounced than on other recordings I have of her singing this movement.

I've listened to the entire last movement as I composed this note, and the two words that come to mind are splendor and power.

Pittsburgh is really a fortunate city to have this orchestra and conductor.

[ChrisH]

I have no problems with the PSO trombonist's solo.  I believe Joe Alessi was the NYPO trombone soloist in Bernstein's M3, and Alessi's performance is my standard to which I compare all others.  Moving over to the trumpets, I have to say this PSO trumpet section is stunning.  Trumpets are very directional and it could be that this bunch is always pointing at a mic, but I rather suspect that they simply have lungs and lips of steel.

Peter Sullivan has some big ones. His solo in this recording wonderfully large and full bodied. I was fortunate enough to hear him give a masterclass when I was in high school. He blew us away with his playing. But, I'd have to agree with you on Mr. Alessi in the Bernstein DG recording; he sounds equally incredible in the recent recording with Alan Gilbert too. I'd highly recommend downloading that from hdtracks.

The PSO trumpets are very forward and Vosburgh is a fricking powerhouse. He's been very present in these Honeck Mahler recordings, especially the 1st. I also agree with your assessment of Bill Caballero. An amazing player that I'd not heard since these recent recordings. Color me highly impressed with his power and control. 

[chalkpie]

I am not familiar at all with the PSO....are they one of the major players in American Orchestras these days? Musically are they on par with CSO, NYP, SFS, etc ?

[Russ Smiley]

I am not familiar at all with the PSO....are they one of the major players in American Orchestras these days? Musically are they on par with CSO, NYP, SFS, etc ?

Based on Exton's Ein Heldenleben, M1, M4, and M3 (and airchecks of M2 and M3) there is little doubt in my mind that the PSO is a top notch band.  Where many other ensembles have ample skills and very capable conductors, in the PSO I detect a warmth and sense of personal investment/caring.  Maybe its a figment of my imaginative listening, but that is what I perceive.

The fact is that there are now many extremely proficient orchestras in the USA, and on any given night one or more of them could rightly lay claim to being "in the topmost tier".  Based only on favored Mahler recordings in my collection, to chalkpie's short list I could add Boston, Saint Louis, Los Angeles, and Milwaukee.  Based on non-Mahler recordings, I'd add Minnesota (Beethoven), Seattle (Rimsky-Korsakov), Cleveland (Webern), Atlanta (Shostakovich), Buffalo (Griffes, Copland, & Converse), Cincinnati (Hanson), New Jersey (Gliere), Philadelphia (Bartok, Respighi), and Nashville (Ives).  If I can stray north of the border, I'd add Montreal based on the Dutoit recordings.  No doubt Dallas, Houston, Baltimore, Detroit are worthy contenders, too, but the ideal convergence on recording of composer, conductor, and orchestra hasn't made it to my collection.

[mahlerbone]

Just ordered my copy.  Can't wait to hear this!

[Russ Smiley]

I just watched this tonight: http://liveweb.arte.tv/de/video/PSO_Mahler/

Not flawless, it doesn't change my opinion.

(BTW, does Caballero ever break a sweat or tire?)