Re-exploring Mahler

[Dyolf]

Just read through this thread, that mostly discuss the different versions of M10, and am somewhat surpriced that the Barshai version has not been mentioned. Cant pinpoint exactly what it is, but for me this is the M10 that I most often reaches for. As an Opera buff, I also dislike the ending of Turandot, simply because it is so obvious when Puccini is no longer the composer. A lot of the different performing versions of M10 have the same effect on me, but not the Barshai. It sounds more coherent. Also, crank up the volume and hear the nine note dissonans played as Mahler must have wanted it. It rips out your intestines. This could be the result of the recording date; september 12. 2001 (live) In addition you get a faboulos M5, almost free, from Brilliant Classics with fantastic sound.
Steen

[barry guerrero]

I like Barshai's effort the least of any, except for maybe Wheeler's. But that's not the point. The point is, no other work by Mahler is so open to "interpretation" and personal predilections than the 10th. If it works for you, that's all that matters. That's because of the incomplete state in which Mahler left the work. For me, Barshai adds way too much bric-a-brac pastiche filler - in terms of the orchestration, that is - without addressing what I feel are some of the more major issues of the work. Like Mazzetti, he focuses too much on the "small stuff" for my liking. But that's my point: I'm discussing in terms of "my likings", and not something definitive that Mahler himself wrote.

[stillivor]

  I see what you mean, and of course we don't have to focus on the non-Mahler stuff.


  I like to think I concentrate on the Mahler stuff, and there's a lot of it in this amazing 10th, that I wouldn't want to be without.


   Ivor
 

[Russ Smiley]

I've had some time lately to listen to my Mahlers on my Zune.  I decided to revise my previous posting to this thread from last December on re-exploring Mahler to the following (additions are in bold):

M1 - de Waart/Minnesota, Honeck/PSO
M2 - Blomstedt/SFO, Jansons/Oslo
M3 - Zinman/Tonhalle, Salonen/LAPO
M4 - Chailly/RCO, Levi/ASO, Vonk/SLSO
M5 - Shipway/RPO, Abbado/CSO (Dale Clevenger is rock-solid in the Scherzo)
M6 - Farberman/LSO, Boulez/VPO, Mackerras/BBC Phil
M7 - Halász/Polish NRSO, Bertini/Köln, Barenboim/Berliner Staats.
M8 - Wit/Warsaw, Bertini/Köln, Gergiev/LSO
M9 - Giulini/CSO, Sinopoli/Philharmonia, Mund/KSO
M10 - Chailly/Berlin RSO, Harding/VPO
The Welte-Mignon Piano Rolls - Mahler on recording piano

Although originally offered as a list of alternatives, I suppose this really is becoming my A-list.
Some of my new entries, e.g. M1 & M8, were released within the last year so I confess that technically they can't be re-exploring candidates.
Some new-to-me acquisitions e.g. M4 & M7, compelled me to displace some fine predecessors.
However, some of my old stand-bys, e.g. Salonen's M3, Abbado's CSO/M5 & Mackerras' M6, have insistently restored their favor.
In some cases, e.g. M1, M8, M9, and M10, my new acquaintances were instantly appealing additions.
Lastly, though I have Eschenbach's M2 (& Mehta/VPO, Bertini, Zinman, etc.), I haven't been motivated to revise the Blomstedt & Jansons entries.  Each has its a shortcoming, but overall they remain convincing to me.

[John Kim]

Russ,

It's interesting you mentioned Sinopoli/PO/DG M9th CD.

Sinopoli's rendition is certainly INTERESTING. He seems to want to emphasize the neurotic, schizophrenic elements in the music at all costs. This means he has to occasionally sacrifice the flow and logic but he does this very convincingly without really reaching the extremes. I know many folks expressed that the Philharmonia Orch. doesn't have a good Mahler sound. But in this recording, magnificently captured by DG, they sound fabulous. Listen to the golden, galvanized brass in the outer movts. and you'll see what I mean.

Anyway, I have yet to acquire the Honeck/PSO/Exton M1st.

John,