Inbal/5th/FRSO

[sperlsco]

This is the CD I'm talking about (the performance comes from Japan in 1984).  Real killer performance too!

That's right, I forgot about that one.  I have also seen that one on ebay -- it went for big bucks!! 

[Leo K]

Wow! That's pretty cool. If they give the timings, would you mind sharing them? Thanks.

Barry

Sure, here are the timings (there is some time between each movement to tune and etc between the movements, but I'm not figuring that in).

I. 14: 38
II. 15:34
III. 18:07
IV. 12:04
V. 15:07

[barry guerrero]

That looks fairly normal, and I think it's more similar to his 1998 timings than to those on his late '70s one. The finale is quicker.

Barry

[Russell]

If I may throw in another favorite recording into the M5 sweepstakes--the Haitink/Concertgebouw from 1970.  It's direct, straightforward, and unfussy in the best early-Haitink manner.  (Haitink admirers will know what I mean.)  It's like a breath of fresh air after the interpretive excesses of others.  (Not that I don't like them, but it's always good to come back to this one.)  Sonically, it's a bit thin and less warm than typical Philips/Concertgebouw recordings from later in that decade, but it should get a nice shot in the arm when PentaTone releases it as an SACD later this year.

Russell

[Wunderhorn]

I own the Bruckner/Haitink/Boxset, since I'm a fan of it, I'm curious if I would like his Mahler boxset? I think it was a 'prophetic' on Haitink's part, having conducted the complete symphonies of Bruckner and Mahler with the Ceoncertgebouw. Everyone knows these two composer are the climax of symphonic literature. Notice how, at that time, it was only Haitink who conducted them both.

[sperlsco]

Regarding the Inbal/Frankfurt M5:

I am slowly re-touring the Inbal box to see how it measures up to the Bertini, Chailly, and Gielen sets that have been more recently released.  Strangely, I could not remember a thing about the M4 or M5 of this set.  The M5 is very well done, and has a particularly exciting finish.  Inbal can be a tad fussy in terms of pushing and pulling the music, but he makes it work very well.  The Adagietto is a rather slow one, but Inbal does a superb job of highlighting the section that reappears in the finale. 

Also in my re-tour, I was reminded that Inbal's M3 easily belongs in my very top tier of favorite M3's. 

[Amphissa]

Everyone knows these two composer are the climax of symphonic literature.

What do you mean by "climax of the symphonic literature"?

[Wunderhorn]

The symphonic idea of Beethoven climaxed at Bruckner and Mahler. It just sort of lost its fizzle in one way or another with other characters who used all manners of 'isms', 'shock effects', and generel bad taste; All experiment in hopes they would be remembered as pioneers, to what I have no clue.

[Amphissa]

The symphonic idea of Beethoven climaxed at Bruckner and Mahler.

What "symphonic idea" are you referring to? I don't know what this means.

[Wunderhorn]

Well there is word out there that might just hit the nail on the head, "Romantic Symphony". Sibelius I suppose. Though it's difficult to say his style culminates from anything. Shostakovitch was Russian National'ism' and 'shock effect' combined, though if I want his brand, I'd rather hear M6. I guess your quarel is well founded if you need be such a music 'Liberal'; Though I still feel most people would agree with me. I have an idea, I'll start a poll!

P.S. Just acquired Blomstedt's Sibelius Symphony Cycle   

[Leo K]

Hello there Wunderhorn,

I am not sure what you mean.  A music "liberal"?  Is that a negative thing?  I hardly imagine it is  

In terms of using large scale Sonata form in an orchestral context, I feel you can't rule out Shostakovich, who, for good or bad, was influenced by Bach, Beethoven and Mahler in his large scale symphonic composition (whether he was successful is a matter of personal opinion of course).  I don't believe he can be narrowed down to just being "nationalistic" with a bunch of shock effects thrown in. 

I find it is difficult to accept such generalizations (over an artists output) without the critical commentary to support such claims

Regarding "shock" effects, if you like Mahler, how can you be judgemental over using such "vulgarities" in large scale symphonic writing?

Todd

[Leo K]

I wasn't trying to narrow down to only that. An it would be narrowing me down to imply I did. 

I'm sorry, I think I misinterpeted your post.  I was just posing some questions for debate, and it wasn't my intention to insult in any way.

[Wunderhorn]

It's OK, sometimes I can be quite naive.