Hurwitz discusses his favorite M9 recordings (YouTube)

[Russell]

Not sure if anyone here has brought this up before, but I've just discovered David Hurwitz's YouTube channel where he reviews his favorite recordings of particular works.  This one is on the M9, and while I don't necessarily agree with his "Final 4" choices (I think that probably goes for all of us here!), his views are nevertheless interesting and thought-provoking.

https://www.youtube.com/watch?v=b9DSJOwYLcE&feature=youtu.be

Russell

[erikwilson7]

Thanks for sharing, Russell. I've been really enjoying Hurwitz's channel, even though I tend to disagree with him about some Mahler things. Plus, he's funny as hell!

I think the Ančerl is very good, but I personally wouldn't put it as a top choice. I do agree with him about the Gilbert, Chailly, and Karajan live though.

My top five, in no order, might be: I. Fischer (controversial, I know; I used to hate it but now the swifter tempi make sense to me; plus, the score suggests 75 minutes and that's what Fischer does; his first movement is a proper andante), Karajan live (better than his studio), Gilbert (I agree with Hurwitz; it's the most balanced and maybe best played), Chailly (my favorite slow account), and Boulez (I actually like the swift finale; it reminds me of the beauty of life rather than the tragedy of death).

I think just about everyone has very different top choices for M9!

[akiralx]

Thanks for sharing, Russell. I've been really enjoying Hurwitz's channel, even though I tend to disagree with him about some Mahler things. Plus, he's funny as hell!

I think the Ančerl is very good, but I personally wouldn't put it as a top choice. I do agree with him about the Gilbert, Chailly, and Karajan live though.

My top five, in no order, might be: I. Fischer (controversial, I know; I used to hate it but now the swifter tempi make sense to me; plus, the score suggests 75 minutes and that's what Fischer does; his first movement is a proper andante), Karajan live (better than his studio), Gilbert (I agree with Hurwitz; it's the most balanced and maybe best played), Chailly (my favorite slow account), and Boulez (I actually like the swift finale; it reminds me of the beauty of life rather than the tragedy of death).

I think just about everyone has very different top choices for M9!

Yes, to my surprise I really like Ivan Fischer's recording, when I usually don't like him in Mahler, but here his analytical, occasionally cooler approach seems to work very well.

[John Kim]

I agree with DH on M9th except for Gilbert which I find a bit too clinical and 'safe'.

My favorites always remain the same = Bernstein/NYPO/RCO/BSO, Levine/PO, Solti/LSO, Ozawa/BSO/SKO, Haitink/RCO, Karajan II, Bertini.

Honorable Mention = Inbal, Ancerl, Harding, Barenboim, Tennstedt

[erikwilson7]

I love the Bertini and the Harding as well.

I also really like Haitink's BRSO from a few years ago.

[barryguerrero]

I've come to the opinion that everybody makes their best effort on the 9th symphony, and that there are, in fact, very few poor ones. Play whatever one strikes your mood at the moment and enjoy.  I think all the ones discussed here already are very good. I guess if I had to pick just one, I'd make it Bernstein/Boston. Then again, the sound is better on Ozawa/Boston. See what I mean!   .    .   .   just pick one and enjoy it. Frankly, M9 is probably the one I play the least - simply because I play it when my home is totally silent and I'm going to listen to the whole bloody thing.

[erikwilson7]

The one I play the least is Das Lied, and for the same reasons. “Der Abschied” can’t move me unless I’m fully absorbed.

And for recordings, I feel the same way about M4 as well. There are so many good recordings that you can really just spin on any popular recording and you’ll be in good hands. Just stay away from Bernstein’s DG M4 finale. I can’t believe he used an actual child singer for that song.

[Leo K]

The one I play the least is Das Lied, and for the same reasons. “Der Abschied” can’t move me unless I’m fully absorbed.

And for recordings, I feel the same way about M4 as well. There are so many good recordings that you can really just spin on any popular recording and you’ll be in good hands. Just stay away from Bernstein’s DG M4 finale. I can’t believe he used an actual child singer for that song.

Interesting, as for me the child voice in Bernstein's DG M4 finale is the only convincing performance of Mahler's conception. I just don't hear that innocence in any other recording of the finale.

[erikwilson7]

Huh, you know, I'll give it another listen and see if my perspective has changed. It's been over a year since I've heard it. Maybe I'll like it again.

[brunumb]

Interesting, as for me the child voice in Bernstein's DG M4 finale is the only convincing performance of Mahler's conception. I just don't hear that innocence in any other recording of the finale.

I thought I might find that to be the case too, but although he might sound innocent to me he just sounds unpleasant.  Max Emanuel Cencic at least sings much better on the recording by Nanut with the Ljubljana SO.

[Leo K]

Yeah, it's understandable it's perhaps in the tone of the particular child voice that is unpleasant too! Maybe it takes a better child singer to really get the conception across. (I like the singer in Bernstein's but he may not be one's preferred sound)

[John S]

Interesting, as for me the child voice in Bernstein's DG M4 finale is the only convincing performance of Mahler's conception. I just don't hear that innocence in any other recording of the finale.

My favorite M4 is Maazel/Vienna.  Kathleen Battle has enough of the child-like innocence for me.

I recently acquired the Gilbert.  BIS's SACDs are audio wonders and this one is no exception.  The performance is OK I guess.  I really need to spend more time with my other M9s.  The problem is that the work has never been in my favorite circle.  I've always wished Mahler, rather than spending his last days tinkering with the piece, had finished M10 instead.

[ChrisH]

My favorite M9 is Masur and New York. His optismistic outlook of the work really seems to mesh with how I look at it. Plus, there isn't a more ferocious Rondo on record. You could argue that the first movement may be underplayed a tad, but I think it's an excellent account all the way around.