Zinman M6 reviewed on MusicWeb

[Russ Smiley]

http://www.musicweb-international.com/classrev/2008/Dec08/Mahler6_88697364652.htm

[vvrinc]

After reading the review, I’m left wondering: Mahler 5-Redux?

[barry guerrero]

Sorry; I just don't agree. The most taxing part of the symphony for any orchestra is the final allegro (fast) "charge" passage in the finale, located after the second cowbell episode (which comes after the second hammer stroke). Zinman and his Zurich players execute it marvelously, and with energy to spare. Frankly, I don't feel that Dan Morgan is a particularly good Mahler reviewer. Anyway, I own my own copy, and I'm very happy with it. I would never suggest that it's the only one to buy though.

Barry

[oscar]

I own this recording, as well as the other previous 5 symphonies.

As it stands, I like the cycle a lot. Different Mahler yes (lighter in textures and sonorities, nothing wrong with that) but full of ideas, that are coherent; and splendid execution.

Cheers, 

[Russ Smiley]

I just discovered some sound samples for this recording at HMV Japan.

http://www.hmv.co.jp/product/detail/2795242

The Scherzo seems rather slow.

[barry guerrero]

Yes, the scherzo is slower than usual. But Zinman doesn't drag the contrasting, mixed meter Trio sections either. Therefore, tempi are a bit more unified in the scherzo movement than usual. However, no sense of monotony sets in either - well, for me, anyway - because Zinman doesn't try to tame or tone-down Mahler's spooky and deliberate sound effects. In fact, they're done a bit better than usual.

If this scherzo had followed the first movement, I'd have more of a problem with its slower-than-usual tempo. But here, it's placed third, and the Andante Moderato movement is quicker than usual, clocking in well less than 15 minutes. It's a game plan that works well for me. I think Zinman's finale is terrific, and that's the main thing, I suppose.

Listen, I'm not suggesting that everybody run out and buy Zinman's Mahler 6, especially if you already own a few that you're happy with. But I'm very much a  Mahler 6 nutcase, and this Zinman one has crept up to the top of my list. That doesn't mean that I'd want to throw the rest of them into the recycle pile either. If it weren't for the excellent sound and excellent playing, I'd probably cut the Eschenbach out of my collection. I'm just not a fan out dragging the slow movement out to 17, 18, or 19 minutes. But Philly plays fabulously, and the Ondine sound is excellent.

Hope this helps.

Barry

[John Kim]

I got one copy at just $14.00 from Korea, thanks to the high exchange rate between the two currencies.

I also got the 38 discs set, Karajan Symphony Edition at around $50.00.

I listened through the first 3 movts. and found them to my liking. They are somewhat straightforwardly interpreted but the the playing and sound are pretty dark to good effects. I have one complaint though. Why did they put the last 3 movts. on a separate disc? Why didn't they put the first 3 movts. on the first disc instead?? It's ridiculous to rush to change the discs after the first movt., don't you think?

John,

[barry guerrero]

Because of putting the slow movement second, perhaps Zinman felt that it made more sense to have a short break after the first movement. I don't know - that's just a guess. I would have preferred it the way you suggest. Hey, at least they didn't make it two and two, which would make switching the inner movements a lot more difficult.

While this may be, "somewhat straightforwardly interpreted", there at two spots in the first movement that are executed brilliantly. These two spots are often times weak or screwed-up in other recordings. The fist spot is the brief passage that lasts no more than a dozen bars - maybe less - that's at the very beginning of the development section; just after the exposition repeat, and before the music becomes loud again. It involves acid sounding, stopped horn notes (sticking the right hand farther into the bell of the horn), as well as a series of sudden accents in the low strings. It's often times glossed over, and the accents just aren't sharp enough. When done right, those few bars are rather scary sounding. The other spot is just before the coda of the first movement. 

This a spot where three or four muted horns take over the melody for just a few bars. Then another set of horns continues the melody, played open. In most recordings, the muted horns are nearly inaudible. That's a problem because it's not just a coloristic effect - it's actually the melody for those few bars. Anyway, you can hear those muted horns playing the tune on the Zinman recording. The only other recording where you can hear it done so clearly, is on the Maazel/VPO one. Either the conductor has to get the horns to simply play that passage louder, or add additional muted horns. It's not such a problem these days, because modern horn mutes come with a sting that the player simply loops around their wrist. This allows the player to quickly remove the mute without having to drop it on the floor. You just pull the mute out, and allow it to dangle from your wrist. Quick changes from muted to open (or vice versa) become a snap. Anyway, Zinman makes certain that it's audible.