The new Macal CPO/Exton M2...very moving and dark

[Leo K]

My first impressions...some subjective thoughts

Remember Macal's use of the lower dark tones of the orchestra in his M9?  This quality is there in his M2 as well (not sure if this is just the sound of the CPO, or the result of the sound engineers), making this one of the darkest M2's since Bernstein's DG M2.  The differences are in the tempo relationships, where Macal is more straightforward then Lenny, but still very moving, since he doesn't drive through the work like many modern M2's, or is not as "flashy" as the great Fischer and Mehta/IPO accounts.  I prefer the sound quality over the Fischer and Zinman, but not over the Mehta DVD-A or the MTT/SFO.  Not saying the Fischer is lacking in sonics, it's just that Exton's are usually a notch higher in quality of sound, and wow, the lower end of the orchestral palette is stunning and beautiful in this new Macal M2.

Macal's is a more subtle M2, more darkly lyrical than Fischer and MTT, and I wouldn't want to be without it. The ending is powerful, almost as soaring as the Mehta, and about as good as the Fischer, with the bells probably the most prominant...organ sound is good, not as loud as the Mehta though, and the tam tam could be just a tad louder...otherwise no complaints...the ending still packs a punch.  The choir sound is gorgious and very easy on the ear.  The percussion in Macal's sounds deep and wide, like a tsumami wave...terrifying in sound.  My top M2's are the Mehta/IPO on DVD-A, and the MTT/SFO SACD and the Fischer SACD...and I still love the old Bernstein DG M2 and Kaplan/LSO.  In time, I believe this Macal will also hold a very high place.  I would probably only recommend the Macal for M2 fanatics, fans of Macal's ongoing Mahler cycle, or fans of CPO/Exton releases.  If you already have the Fischer or MTT, or even Bernstein DG...you're in good hands.

--Todd

[John Kim]

Todd,

Thanks for the report.

Having heard Macal's M7th and M9th that have similar timbre in the sound and playing, I think I can feel what this new M2nd will sound like. I really liked the dark low tone of the orchestra and Macal's cool but rational approach to the music. They are not the last words on these pieces but make them very special.

Remember, the M7, M9 (and presumably this M2), are all recorded in 2 channel stereo SACD, so the orchestra sounds closer, weightier and fuller than it sounded in Macal's other installments in this cycle e.g., M2, M4, M5, M6 which were recorded in 5 ch format.

John,

[Leo K]

Todd,

Thanks for the report.

Having heard Macal's M7th and M9th that have similar timbre in the sound and playing, I think I can feel what this new M2nd will sound like. I really liked the dark low tone of the orchestra and Macal's cool but rational approach to the music. They are not the last work on these pieces but make them very special.

Remember, the M7, M9 (and presumably this M2), are all recorded in 2 channel stereo SACD, so the orchestra sounds closer, weightier and fuller than it sounded in Macal's other installments in this cycle e.g., M2, M4, M5, M6 which were recorded in 5 ch format.

John,

Yes, I forgot to mention this is in 2 channel stereo SACD, thanks John!

--Todd

[Damfino]

I daresay I am bummed that it is not multichannel. M2 has so much going on in the finale that it is difficult to hear it all distinctly. I think we often think the organ is not loud enough because it gets lost in all the brass. It's there, but often not distinct. I think multichannel offers a better chance to separate the organ from the orchestra. However, I have certainly heard some stereo recordings with a prominent organ.

[Leo K]

I recently revisted this recording, and my original view holds...it is a very nice addition to Fischer and Zinman for those who like to collect all M2 recordings.


--Todd

[John Kim]

Ditto. It's a very special M2nd with lost of dark, brooding and somber timbre in it. The playing by CPO is as usual fantastic and beyond any reproach. The organ is audible in the end, for God's sake.

John,

[Leo K]

I'm listening to this recording again today...what a mysterious quality the CPO has...Their tone is unique and has character...I suppose "brooding" is a good word for the sound, but it's hard to put into words.

 

[ctcdaggett]

For me the problem is availability of most Exton releases.  Amazon, Allegro and Presto (one of my favorites) are spotty, and none have the M2/Macal.  That leaves HMV/Japan, CDJapan, and Amazon-Japan, all making a somewhat pricey purchase thanks to their shipping (gouging is an understatement) charges.  Am I missing a decent source?

            bob berkman, Mojave Desert-USA

[Leo K]

For me the problem is availability of most Exton releases.  Amazon, Allegro and Presto (one of my favorites) are spotty, and none have the M2/Macal.  That leaves HMV/Japan, CDJapan, and Amazon-Japan, all making a somewhat pricey purchase thanks to their shipping (gouging is an understatement) charges.  Am I missing a decent source?

            bob berkman, Mojave Desert-USA

When it comes to Exton releases, I usually get them from HMV Japan, which as you mention is expensive...at least I get my package in three days tops!

Because of the cost I can't always buy from Japan, so I wait till I have the funds and get a bunch of CD's at once.

--Todd

[John Kim]

When it comes to Exton releases, I usually get them from HMV Japan, which as you mention is expensive...at least I get my package in three days tops!

Because of the cost I can't always buy from Japan, so I wait till I have the funds and get a bunch of CD's at once.

--Todd

Good idea!!

I have lots of CDs to get from this site too - Oue M9th, Sieghart M10th, Bohm/BPO/DG Brahms 1st, etc. Haven't from them order for a while.

John,

[GL]

I'm attracted by Macal's cycle (because of the czech Philharmonic principally, I must admit), but what I read around is so mixed that I can't decide to spend all the money needed for such expensive Exton CDs.

Some examples:

http://www.classicstoday.com/review.asp?ReviewNum=7486

http://www.classicstodayfrance.com/review.asp?ReviewNum=3451

http://www.classicstodayfrance.com/review.asp?ReviewNum=3450

Regards,
Luca

[Leo K]

I'm attracted by Macal's cycle (because of the czech Philharmonic principally, I must admit), but what I read around is so mixed that I can't decide to spend all the money needed for such expensive Exton CDs.

Some examples:

http://www.classicstoday.com/review.asp?ReviewNum=7486

http://www.classicstodayfrance.com/review.asp?ReviewNum=3451

http://www.classicstodayfrance.com/review.asp?ReviewNum=3450

Regards,
Luca

To really hear the CPO shine I would get Macal's M4 recording or Kobayashi's M3!  Both are the CPO at their best.

--Todd

[GL]

I know Kobayashi's Third, but in this edition, there is a detail that bothers me: the posthorn seems to be within the orchestra rather than far away. I'm not a fanatic of score's instruction, but I think that this one is very effective and must be followed. I think the problem is due to Japanese engineers. It is curious, but I found the same problem in another Japanese engineered recording of the Third, the one conducted by Inbal with the Frankfurt Radio O. (Denon).

What I like very much of the incomplete Kobayashi/CPO cycle are the first three movements of the Seventh-really nocturnal, dark, demonic, in gourgeous sound!

For the record, the other instruction by Mahler that I think must be followed, is the "Allegro molto und bis zum Schluss beschleunigend" referring to the coda of the Fifth's Finale. Perhaps, the tradition to end the Symphony taking a steady (often pompous) tempo arose when orchestras were not able to come to terms with Mahler's wish. Today, the technical level of major orchestras could allow the correct execution  of this passage, nevertheless it seems that the wrong tradition has prevailed (my last disappointment in this sense came from Jansons).

"Tradition ist Schlamperei!"

Regards,
Luca

[barry guerrero]

"For the record, the other instruction by Mahler that I think must be followed, is the "Allegro molto und bis zum Schluss beschleunigend" referring to the coda of the Fifth's Finale"

Check out Markus Stenz/Gurzenich Orch. on Oehms. However, if you start out TOO "Allegro molto", that hardly leaves you any room to get even faster.

[GL]

Check out Markus Stenz/Gurzenich Orch. on Oehms. However, if you start out TOO "Allegro molto", that hardly leaves you any room to get even faster.

I know the last Stenz effort with the Fifth (I know also his first one with Melbourne, which I slightly prefer). You are absolutely right in pointing what happens when you start too "Allegro molto": this the problem I found also with, among others, Walter, Pretre, Lombard, Suitner, Inbal (I heard his Fifth live twice and he was super-fast). Kondrashin is very fast, but breathtaking. Other conductors make a huge rallentando before jumping on the coda. Tilson thomas does so; I have recently heard Gatti live with the Wiener Philharmoniker and he did so too. The result was not convincing. The best, in my humble opinion, remains Karajan: he beats the right tempo across all the Finale and then he sweep you away with a crazy accellerando.

Among living conductors, I can not wait to hear how Fischer will do.

Luca