D.H. reviews two new M2s

[cilea]

9/9 for Gergiev/ LSO M2 on LSO Live:

http://www.classicstoday.com/review.asp?ReviewNum=12043

(However, I find it strange that D.H. doesn't mention anything about the M10 Adagio that is also on this disc.)

9/8 for Eschenbach/PO M2 on Ondine:

http://www.classicstoday.com/review.asp?ReviewNum=12044

[Dave H]

Whoops! Somehow the bit about the Tenth got snipped or edited out when I pasted the review in the form. It's there now. Thanks for mentioning it (FYI, it's not a very interesting performance--the review was based only the Second in any case because I found that to be very enjoyable).
Dave H

[John Kim]

Dave,

When are you going to review Zinman's M6th?

I am curious to know your thoughts.

Regards,

John,

[Dave H]

Hi John. Happy New Year!

I have it, and I hope to get to it shortly.

Dave

[barry guerrero]

Here's why I'll pick up the Eschenbach/Philly M2. This is just what I wanted to hear. And I don't care about anything that happens before this point, as I have Klemperer and Fischer to keep my happy in the earlier movements. Here's the clincher:

the first (instrumental) half of the finale doesn't drag at all, and the concluding chorus really does deliver the goods thanks in large part to the weighty and perfectly balanced presence of the organ
"

Here's why I'm slightly less interested in the Gergiev, even though I would like his quicker tempi:

The very grand final pages have tremendous impact, with the bells and tam-tams particularly well captured, even if the organ is less prominent in the mix than it might be"

[Damfino]

Barry, that is exactly the reply I would have written. I am particularly puzzled by a weak organ in the SACD recording while the redbook CD  apparently does it better.

[barry guerrero]

I'm not sure where the Gergiev/LSO one was performed. If it was in the Barbican, I think they might have had to bring in an electronic organ. The new organ in Philly's Verizon Hall would cut through old 78 rpm grooves. It sounds fabulous on Eschenbach's Ondine recording of Saint-Saens' "Organ" symphony.

[Damfino]

Yep, on the SACD of the Saint-Saens Organ symphony, the organ is un-freakin'-believable. My wife really loves the Saint-Saens, and it actually brought tears to her eyes when she first heard the organ on the Eschenbach recording. This is why I was disappointed to hear that Ondine was dropping SACD, as I wanted to hear them try their hand with M2. However, it would appear that SACD or no, they have given the organ proper prominence, which is really the key as to whether we hear it.

I only have one LSO Live! SACD, and it is Colin Davis' recording of Mozart's Requiem. The performance is fine, and I like the solosits, but the vocals over-all are not as prominent as they should be IMO. I know you have mentioned the dry acoustics of the Barbican before, so I have tended to avoid LSO Live! recordings and have not yet picked up a Gergiev Mahler.

[barry guerrero]

They're good for when you're in the mood for fast, tidy, and exciting performances. On the whole, I think the Zinman ones are better balanced and more musical. But hey, it's a case of apples & oranges.

[sperlsco]

eMusic has both of these available already as MP3's, so I downloaded them.  I probably won't listen to Gergiev until next week, but quite enjoyed the Eschenbach yesterday.  My main gripe is with the utter lack of cymbals throughout.  Pretty much all of the other percussion is perfectly captured (great tam-tams big and small, even suspended cymbal), but the cymbals are almost nonexistent.  Working backwards in the finale:  the organ, tam-tams, and brass are superb at the end, although I would have liked a little more prominence from the bells.  The soloists and chorus are superb.  The march of the souls suffers a bit from the lack of cymbals (where is that "Whipping" of the souls?) -- but every other aspect is excellent.  Eschenbach makes more of the percussion crescendo than most, but MTT has him beat hands down in this section (conversely -- the MTT lacks organ at the end).   Eschenbach also makes a lot of the primal scream at the beginning of the finale -- as well as in the Scherzo).  Contrast this to the recent Macal, where the screams are total non-events (Note: IMO, the Macal is a big DUD overall).  DH's review mentioned the slow second movement, but without looking, I believe that it is faster than Lennie/DG, MTT, and much faster than Lennie/LSO (which IIRC clocks in at over 12').  Also, it doesn't sound all that slow.  I'll second DH's mention of the first movements' recapitulation -- which is quite hair-raising due to the strong brass. 

As I stated above, I have an MP3 version for now -- so I cannot comment on the sound.  But all-in-all, this is quite an exceptional M2, despite my utter disappointment with the lack of cymbals. 

[Damfino]

DH and Scott are getting me psyched up for this one. I just preordered from Amazon. When I heard Eschenbach conduct it here in Houston, I always hoped he'd record it.

[barry guerrero]

It's strange that the recording didn't pick up the cymbals very well because, in general, cymbal playing from Philly's percussion section is usually excellent. In fact, the cymbals - along with the organ - are a big highlight of Eschenbach's "Organ Symphony" recording with Philly, also on Ondine. But hey, I'll settle for great tam-tams and organ anyday.

B.G.

[barry guerrero]

OK, I picked this up on Tuesday, and it's pretty darn good. As David mentioned, the balances between the chorus and the pipe organ are perfectly gauged. More to the point, Mahler's choral writing sounds better - and makes more sense - when it's sitting on a cushion of big, fat organ chords (with plenty of bass pedals). The gongs are real good too. And while I'm generally not a fan of expansive performances (Eschenbach's finale stretches beyond 37 minutes), my attention doesn't drift with this one at all. More to the point, Eschenbach doesn't allow the tension to sag. Also as mentioned, the first movement climax is terrific. I'm happy. I love Philly.

Barry

[Damfino]

I received the Eschenbach yesterday, and I like it as well. I did not give it my undivided attention but will this weekend. I really like the first movement climax as well. you could really hear the col legno playing in the strings which is often lost in recordings. And I liked the increase in tempo as the climactic passage approached (I'm talking about the climax where you think the movement is over but is not). I liked the over all speed of the first movement. I cannot stand a sluggish fist movement to M2.

The longer last movement finale is actually standard in several versions now (Haitink and Boulez draw it out as well), but I like it this way as well as the faster way. Both soloists were good, and as Barry said, very good balance between orchestra, chorus and organ.

As to the lack of cymbals-I think the recording seemed a little light on the high-end all around.

[Russell]

Just got the Eschenbach yesterday and only had time to sample the beginning of the first movement and the very end.  Really impressive, as everyone says, and the impact of the organ is tremendous.  But I'm really bothered over the cymbals being buried in the orchestral texture (and they sound pretty dull, to boot)--almost takes it out of the running for me...