James Levine

[John Kim]

...and I don't mind a slow tempo in M3:VI. Abbado, Levine, Bernstein (in DG version especially), MTT, Litton, Haitink II. all stretched it to 27-30 min. scale, and they all worked fine for me. The music is heavenly and hence it can naturally be played slowly for a maximum effect. It means so much to me that I can sit through half hour for the movt. Having said this, I confess the recording that has the greatest Finale of them all is Lenny's earlier NYPO recording which was 25 min. long.

John,

[Polarius T]

I've always wondered about that particular Missa Solemnis. Interesting.

If I had to pick just one recording of this "alienated masterpiece" (Adorno), it'd indeed be Levine's. The recording is amazingly good (it's a ridiculously difficult-to-record work, especially when realized live as in the Levine -- it's from Salzburg), the performance truly inspired, the soloist almost unfathomably great (and how tough the parts are to pull off!). It's one of these performances of which, after hearing them, you can say nothing except "It is perfect" and quietly let out a sigh. There are others where one could prefer some individual quartet members for the quality of their voice (but not their quality as singers) but probably nothing better played, such as the Klemperer (another great one for me), maybe Boehm (similarly with the late great Martti Talvela, but for me it's Margaret Price that alone makes this unique [plus of course Christa Ludwig who is always perfect] -- so I'm talking about Boehm's latter recording for DG), and one that probably very few have heard but is one of the absolutely most inspired and moving performances of this work, Antal Dorati on BIS. The singers aren't quite on par with some of the others mentioned but the performance on the whole is so well judged and balanced that it never tires you like most others and the strain brought to the performance by the level of commitment by all the parties concerned simply brings you to tears. (Moreover there are lengthy rehearsal excerpts as a filler which are quite informative and fascinating.) But it is the overall sophistication of the execution and the recorded sound in the Levine that makes it perhaps the most ideal in this very peculiar and demanding work.

[Polarius T]

Like I said repeatedly, I don't find Levine's DLVDE unlistenable. I actually love it 

Except for his BPO recording of Wagner, Strauss, Schoenberg, Berg violin concerto, and Saint-Saens Third, I have not listened to many of Levine's recordings outside the GM territory.

But I once heard a live M3rd by Levine and BSO (2001) that was rapturous, beautiful, and heavenly.

Yeah, I know... Vive la difference! I myself have pitifully little explored his Mahler discography. Somehow, I never felt the desire, based on some other recordings, even though as said his concert performances could really be standouts in the orchestral season. One thing he can really do is lay out the lines with terrific clarity (an asset in Schoenberg for sure!) and judge the rhythmic qualities correctly with the timing always sounding so natural and beautifully plastic.

I'd be curious to hear what you think of those other Levine performances you've ordered.

PT

[sbugala]

I've always wondered about that particular Missa Solemnis. Interesting.

If I had to pick just one recording of this "alienated masterpiece" (Adorno), it'd indeed be Levine's. The recording is amazingly good (it's a ridiculously difficult-to-record work, especially when realized live as in the Levine -- it's from Salzburg), the performance truly inspired, the soloist almost unfathomably great (and how tough the parts are to pull off!). It's one of these performances of which, after hearing them, you can say nothing except "It is perfect" and quietly let out a sigh. There are others where one could prefer some individual quartet members but probably nothing better played, such as the Klemperer (another great one for me), maybe Boehm (similarly with the late great Martti Talvela, but for me it's Margaret Price that alone makes this unique [plus of course Christa Ludwig who is always perfect] -- so I'm talking about Boehm's latter recording for DG), and one that probably very few have heard but is one of the absolutely most inspired and moving performances of this work, Antal Dorati on BIS. The singers aren't quite on par with some of the others mentioned but the performance on the whole is so well judged and balanced that it never tires you like most others and the strain brought to the performance by the level of commitment by all the parties concerned simply brings you to tears. (Moreover there are lengthy rehearsal excerpts as a filler which are quite informative and fascinating.) But it is the overall sophistication of the execution and the recorded sound in the Levine that makes it perhaps the most ideal in this very peculiar and demanding work.

I agree.  It's a superb performance. One of these days, I'll actually buy it. I have checked it out from the library repeatedly, and it IS perfect.  It's meant as a tribute to both Karajan, since it was done at the Salzburg Festival, if I recall. Plus, it's in memoriam to the concertmaster featured in the recording. (Also, if I recall. Please someone, correct me if I'm wrong.)  For me, it might be Levine's best recording. 

[Polarius T]

Yes, Gerhart Hetzel who passed away just prior to the release of the recording (he is still there in it for the violin solo part). (But I try to ignore the Karajan reference...   )

I think for me, too, this is Jimmy Levine at his very best.

PT

[sbugala]

Love him or hate him, (I've done both in my hears of listening), Karajan may have had two of the best classical equivalents of a  "tribute" album. The Levine Missa Solemnis, and Bernstein's disc of Beethoven String Quartet Op. 135 transcribed for string orchestra. I wouldn't be shocked if someday they both end up as discmates.

[Polarius T]

Love him or hate him, (I've done both in my hears of listening), Karajan may have had two of the best classical equivalents of a  "tribute" album. The

And -- horror of horrors! -- a third one, Abbado's Mozart Requiem...

PT

[Psanquin]

I love the final Adagio of Levine Mahler's Ninth with Munich Philharmonique in Oehms Classics. There are many great renditions of this movement but this has all the electricity of a live concert intensifying the performance.

[John Kim]

I love the final Adagio of Levine Mahler's Ninth with Munich Philharmonique in Oehms Classics. There are many great renditions of this movement but this has all the electricity of a live concert intensifying the performance.

Is that right? Uhm... I think of Levine's latest M9th less, less than his earlier RCA recording with Philadelphia Orch. I liked the first movt. from the Munich recording but was somewhat let down from there on - not much vigor, passion but rather a mechanical execution of the notes. Certainly, the Philly one had them all on the other hand. Not that a bad recording but not exceptional either.

John,

[Psanquin]

John, thanks for your input. I'll try to get Levine's RCA Ninth. It is not easy to find it here in Europe. Regarding the Munich CD I enjoy in the Adagio the string playing for its extraordinary richness and density. It is one of the slowest in the discography; quite extreme so I understand well that it is not for all tastes. Levine manages to to sustain a flowing line. To my taste the outcome is extremely emotional.

[John Kim]

John, thanks for your input. I'll try to get Levine's RCA Ninth. It is not easy to find it here in Europe. Regarding the Munich CD I enjoy in the Adagio the string playing for its extraordinary richness and density. It is one of the slowest in the discography; quite extreme so I understand well that it is not for all tastes. Levine manages to to sustain a flowing line. To my taste the outcome is extremely emotional.

In that case, you'll find the RCA M9th even more to your liking. Those Philly strings will kill you 

John,

[Jot N. Tittle]

Perhaps it is pertinent to report that James Levine will have a kidney removed this week. The operation will take him out of Tanglewood for the rest of the season, but he will return to the Met on September 18 to conduct Verdi's Requiem in commemoration of Pavarotti's death last September. The kidney is being removed because of a cyst.

     . & '

[akiralx]

Yes, Gerhart Hetzel who passed away just prior to the release of the recording (he is still there in it for the violin solo part).
PT

He was killed in an Alpine climbing accident, I recall.

[Polarius T]

He was killed in an Alpine climbing accident, I recall.

Sbugala got me in a citational mode:

"He [Hetzel] had been walking with Regula [his wife] and his son Joachim in the public park in Salzburg where the family had a house in which they lived for the summer while he and the orchestra performed for the Mozart Festival. On this occasion Gerhart tripped on the path and fell into the nearby ravine on his head. He never regained consciousness and died shortly afterwards." (Basil S. Hetzel, Chance and Commitment: Memoirs of a Medical Scientist, Wakefield Press 2007, p. 267.)

How very trivial. We never know what the next day will bring.

PT

[john haueisen]

langsam, aber nich schleppend