Macal/CPO/Exton M6th...questions

[Leo K]

I am shopping for an excellent sounding 6th (audiophile-wise...I'm just in the mood exquisite sound) and I've been checking out the releases on the Exton label.  I am going to pick up the Siegart/Arnhem too, as I want a slow 6th. 

The Macal/CPO has a great rating, so I'm debating whether I should pick this one up as well.  Does anyone have the timings?  Or can offer an opinion?  I've been reading the "google-translated" Japanese reviews and it's hard to get an idea on the performance and sound.  I get phrases like:

Mysterious noise of the Bohemian forest transmission it passes the sound which makes ligneous feel important. The horn informs hunt, the wooden bobbin is the bird, to slipping, as for the violin the fog is applied...avoids the expression of the aestheticism latter-term romance, new conventional simplicity with the honesty.

Which sounds cool actually, but not much help!!

--Leo

[Leo K]

Well, I found a review in French and Google translated it better...this review can be somewhat understood:

Zdenek Macal, Czech Philharmonic Orchestra and Exton OVCL-00245

4 and 5 May 2006, Rudolfinum Dvorakova sin (House of Artist), Prague

1) 22 ' 05 and 2) 12 ' 09 and 3) 15 ' 48 and 4) 30 ' 15, Total) 80 ' 19

Clear sound recording. Being charming, clearing sound, and tempo of the chord to be good the melody group which the contour where running it does is clear is beautifully caught. The rhythm small is cut buoyantly accurately in like the Boulez board. The prospect it is good very, the music which is easy to understand, at the same time the true is tackled, having heard, makes very refreshing feeling. Second movement Scherzo does and however it is very much fast, the mark of the rhythm group every one being clear, because it is secure, being very exciting, it is possible to enjoy the and those contests gently. As for third movement Andante making the melody sing compared to, those which put emphasis on description of the exquisite interwinding of the melody group. Therefore it is not something which excessively is appealed to feeling, constitution beauty with love the dovetail face it is white in the production which the should. It is distressing, compared to it will be refreshing and remembers. Becoming in end movement, it does not change to the good quality of the prospect and the clear thing of expression. Tempo to be good being delicate texture is good, minute music advances. The self-sacrifice eager enthusiasm is transmitted to final stage.


--Leo

[barry guerrero]

Boy, that really says a lot. It would be better if they just posted the timings.

[Leo K]

Based on the timings for the Macal I may wait and just get the slower Siegert.  If I could just get a review somewhere I might consider it.  I'm looking for slooooow M6's (especially a slow andante like the Sinopoli M6) with pristine sound.  Looks like Siegert's the ticket.

--Leo

[John Kim]

Based on the timings for the Macal I may wait and just get the slower Siegert.  If I could just get a review somewhere I might consider it.  I'm looking for slooooow M6's (especially a slow andante like the Sinopoli M6) with pristine sound.  Looks like Siegert's the ticket.

--Leo

Leo,

Try Haitink/LSO concert from London (2002?). Timings were like, 26, 15, 18, 34 min. if I recall correctly. Of course, it was extremely slow but very powerful.

John,

[Leo K]

John, I didn't realize the Haitink was that slow so thanks for reminding me...actually you sent me the copy I have, so thanks much and I'll report back.  I was waiting for when the M6 bug bit again 


--Leo

[Martin Bernhard]

Based on the timings for the Macal I may wait and just get the slower Siegert.  If I could just get a review somewhere I might consider it.  I'm looking for slooooow M6's (especially a slow andante like the Sinopoli M6) with pristine sound.  Looks like Siegert's the ticket.

--Leo

Sieghart is really slow, but throughout nothing happens! The most boring M6 I ever heard.

Best

Martin

brisiacvs

[Leo K]

John, thank you for the Haitink/LSO M6 broacast (you sent it some months ago and I finally listened to it last night).  I have been obsessed with the M6 since 1990 or so, but I have never heard such a powerful 6th as the Haitink/LSO.  It's not just power I hear, but the phrasing and line of the performance feels so full and satisfactory, with much subtlety and nuance.  John, I think you are correct when you once said that the Haitink/ONF/Naive performance was a "dress rehearsal" for this LSO M6.  The Haitink/ONF was another very compelling M6 in regards to structure, tempo and orchestral nuance...but this LSO one is a masterpiece of execution, compelling musical discourse and instrumental color. 

In this LSO recording Haitink stands between the objective and subjective viewpoints in such a way I have not yet heard in performances of the 6th...like someone who has the capability for scientific/objective self-reflection in the midst of upsetting emotional and life upheavals.  This LSO M6 is neither a "detached" classical-like view (like Sanderling) nor is the interpetation interventionist to the extreme (such as Barbirolli).  As a fan of both approaches I feel I am getting the best of both worlds here...and this is good since I am not wholly convinced that Mahler wanted this Symphony played as if it were a detached "classical" symphony, since the Finale uses but goes beyond sonata-form into new territory (like Beethoven's 9th).  Haitink presents the musical discourse in a steadfast way, with no sentimentality.  But this is not a cold interpretation, rather, it is brimming with a passionate concentration and sense of construction, with striking moments of instrumental color and nuance that slowly builds a grand structure.  I felt a feeling of wholeness at the end, which is paradoxical because of the implied "tragic" message of the musical argument.  A feeling of "completeness" and "fullness" at the moment of "death" or the fall.  I found it interesting to hear in the pre-concert interview that Haitink is reminded of the myth of Icarus and his fall from the sun during the Finale.  As I was going about my day, doing errands and etc, I could still remember the performance and how it was shaped so magnificantly.  Well, this is a Mahler performance to be treasured and enjoyed again and again.  Much thanks for the recommendation.

--Leo 

[John Kim]

Leo,

You've said everything I wanted to say about this performance. It feels so "full" and "concentrated" and that's what makes the entire performance so satisfactory, even great. Haitink seems to know exactly where the highs and lows are in this symphony and he just imbues every phrase with natural, full expressions. No sentimentality as you say but it is dead honest and therefore so powerful.

I thought LSO label was going to release the recording but it might never happen.

John,

[Leo K]

John, I hope this recording will be released someday, at least as an internet release on iTunes or perhaps an LSO website.


--Leo

[Jot N. Tittle]

Whatever became of the dull poker-faced Haitink?

     . & '

[barry guerrero]

I don't know; that 12 minute scherzo looks like it might sound pretty interesting. Neumann's last M6/scherzo was almost that fast.

[Leo K]

I decided to try the Siegart M6 first, and along with that I'm finally getting the Tennstadt/LPO live M6 from 1991...I've been wanting to hear that for awhile now.  Incidently, I found a used Neumann/CPO/Canyon M6 yesterday, which I'm pretty happy about.


--Leo