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Macal/CPO/Exton M6th - my impression
John Kim:
Now that I finished listening to the Macal M6th a couple of times, I will try to sum up my thoughts. To my present surprise, in this recording the CPO sounds more like BPO or VPO, i.e., they are a lot less relaxed as they usually are focussing more on the unison and discipline. The whole performance resembles Kubelik's old recording on DG but (needless to say) the playing and sound are far better. Macal takes a sort of "no prisoner" approach, always keeping things moving forward, sometimes relentlessly pressing the tempo. The harp and percussion are unusually clear but the digging low strings, as in the Macal M9th, really shine; listen to the low pulses accompanying the opening march in I., a reminiscent of Lenny's DG recording with VPO. Sometimes Macal's conducting style sacrifices the lyrical sides of the music, e.g. in Andante (placed in the third), but overall I was swept through by his singlehandedly purposeful approach. The multi-channel DSD sound is simply amazing, as good as in the M9th, or even better. Being formatted in the 5 channels, it sounds truly three-dimensional and has much theatrical flairs attached to it, which really fits well in this symphony. The sound stage is rock solid - both high and bottom ends open up 100% fully with absolutely no loss of dynamic range - crystal clear and vibrant like diamond. Not that it lacks ambiance; it's there but whenever the upper and lower sonic bounds get extended it takes a back seat. In fact, I think this version is the best sounding M6th recording ever. But my review is based on listening to the stereo SACD layer only.
In many aspects Macal's M6th also reminds me of Schwarz/SSO M6th concert I heard several years ago, albeit that Schwarz was tad faster in the outer movements. His orchestra was even more intense than CPO and he delievered an extremely robust and dramatic version of the symphony. And Schwarz's Scherzo was hands down the best I ever heard.
You'll love Macal's M6th. Granted, tempos are not as flexible as in his M7 or M9 and his forthright, "no prisoners" approach may not wear well in the long run. But I bet anyone who listens will be carried away by the phenomenal quality of the sound and playing. If you want CPO playing in a more mainstream fashion, you'll like this recording too.
Timings are
I. 22:05
II. 12:09
III. 15:48
IV. 30:15
John,
Leo K:
John,
Thanks for the excellant review. By the way, do you recall how audible the tam tam is during the first movement and the scherzo?
Your description of Macal's tempos also remind me of Horenstein's approach with his Bournemouth M6 on BBC Legends, which I really like.
--Todd
John Kim:
The tam tam in Macal's M6th:I & II is not as ominous as you might like but their presence is surely felt. I think at one spot in I. it is stricken very clearly, but near the end just where the coda starts it could have been louder, a la Levine/LSO/RCA. Also, Macal doesn't hold the huge crescendo near the very end as long and loud as I like; Levine and Rattle are the winner here.
But never mind. The sonics and playing in this recording are so spectacular that the small negatives can be easily forgotten.
John,
John Kim:
Compared to Neumann's recording with CPO which was available on Canyon and now on Exton, Macal has stronger, meatier I. and II. The Andante is a draw. In the Finale Neumann has slightly more prominent timpani (listen to the thrilling timpani rolls :o), but the CPO under Macal sounds more robust overall. Further, Macal has superior sound in every aspect;while it's pretty good Canyon's sonics cannot compete with Exton. Interpretively, Neumann might have more to offer, especially in II. and IV. but my point is that when it's done so well who cares? :D
John,
Leo K:
Excellant reports John...thats what I wanted to know and more!
:D
--Todd
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