Stenz M6

[Roland Flessner]

Greetings, friends,

I'm curious about the Stenz M6 on OEHMS, but I don't see a detailed discussion here and scant reviews elsewhere. Would anyone care to supply some observations?

Thanks much.

[barry guerrero]

I've listened to it completely on Spotify, which isn't quite the same thing as putting it on a good stereo system. But I can tell you is that I truly liked it. I haven't picked it up because I had just bought the Jonathan Nott M6 on Tudor, which comes on a single disc (and has great sound). The Stenz is on two discs, and it's priced that way as well. However, one recent acquisition that I made and like even more than the J. Nott, is the 'live' Jaap van Zweden/Dallas Symphony one that was issued by the DSO (also a single disc). Nobody talks about that one, and I think it's really terrific. It's a low level recording, so you really have to turn your stereo up more than you're used to. Once you do that, everything snaps into perfect focus.

What I liked best about the Stenz M6 was the strong contrast between the opening march in A-minor, which Stenz takes a tiny tad slower than usual, and the second subject - the so called "Alma theme" - with Stenz bursting out of the starting gate as though he were at the Kentucky Derby (and with no added sentimentality). Van Zweden is similar in this regard as well (Nott is more unified between the first and second subjects).

In the scherzo, I think Nott trumps Stenz. Stenz is a bit slower than I like in the scherzo. Van Zweden takes it on the slow side as well, but really makes it sound like he's wrestling with a big polar bear. Chailly takes the scherzo quite quickly on his Leipzig dvd, which I like.

Nott, Stenz and van Zweden are really good in the slow movement and finale. I may like Stenz the best in the finale, but van Zweden is right there with him. But truly, all three are good.

 

[Roland Flessner]

Thanks, Barry.

Although I try to keep an open mind to any interpretation, my general preferences in M6 are a relatively slow tempo for the first movement, transparent sound top to bottom (divided violin sections preferred), and sharp orchestral playing.

Of course in recordings we can listen to the movements in any order, but I've preferred A-S if only because I grew up hearing it that way, but I do think an A-S performance can work just fine.

I've been impressed with van Zweden; he's been turning up here in Chicago frequently the last few seasons. I was in Dallas for his first concert as music director in '08, where he led an excellent M5. I've noticed that he does not like to hold a note at a consistent loudness, even if the score calls for it, but likes to add a little crescendo. This is not limited to Mahler. He did lead an excellent Bruckner 5 here. That's a work than can blow the roof off the concert hall.

[barry guerrero]

"Bruckner 5: that's a work that can blow the roof of the concert hall"

Tell me about it! in 1980 or '81, I saw von Karajan blow the roof right of the Musikverein with that work (Vienna Phil.). It was unbelievable - probably the single greatest performance of anything I've ever attended.