For vinyl recommendations, I definitely love:
--Kaplin M2, with improved sonics over the MCA CD.
--Kubelik M9 on DG
--Horenstein M3 (can't think of the label right now)
--Bernstein's M9 on DG (although hard to find cheap!)
--Colin Davis DLVDE w/ Norman Jesse (simply wow...on Phillips)
For CD and SACD...The Bertini Cycle is my top cycle. Actually the MTT Cycle is a tie for my tastes.
For M9...here is a short list of my current favorite Mahler 9's (with some comments to a few of them):
1.Simon Rattle, Berlin Philharmonic, (2008) EMI High Quality CD, Japanese pressing (the European release has dissapointing sound and doesn't do this performance justice):
The third big climax in the first movement is like a Tsunami...not over exaggerated but sounding deep, stretched and allowed to spread, like a wave rising and travelling over land for miles...the timpani that thunder after this climax are shattering...I was so happy to hear this done right. It is interesting to hear Rattle's concept develop, and great to hear how better his vision is accomplished this time around (in comparison to a broadcast recorded near the time this performance).
The detailed execution of the Landler brought out dark textures and urban-like sophistication to complicate the country landscape. I was more than impressed with the last two movements...especially the Rondo with the detail in the recording, and the Adagio reminds me of Lenny's RCO but with pristine sound...in all the movements the strings, from basses to violins are captured in all their textured richness. The counterpoint in the Rondo is illuminating because the various instruments are so well heard...great detailed natural sound in the basses and brass. There are no strange tempo indulgences in the whole work, rather Rattle's conception coincides with Mahler in spirit, therefore his interpetative choices make emotional and musical sense for the whole Symphony.
2.Robert Olson/Colorado Mahlerfest Orch/CO Mahlerfest label (2005):
Simply has everything I want in an M9...very strong climaxes, beautiful and thoughtful pacing with contrast between the various sections, great low brass, thundering timpani, a HUGE tamtam sound in the third climax but balanced with the low brass (seriously, the main climax takes my breath away). Every movement has depth and passion, with great instrumental detail and nuanced playing. The recorded sound is very natural.
3.Michael Tilson Thomas/San Francisco Symphony Orch/SFSO SACD:
In many ways this is my dream M9. Like Neumann's CPO M9, this Andante Comodo feels rather sorrowfull, quiet and resigned, with sudden upheavals of exhalation with a resistance that sounds heavy with burden. This heaviness appears to lift as each movement progresses, until the Adagio finally dissapears into nothing with no struggle into the surrender. I was really effected by the "twilight" atmosphere that seemed to manifest from the orchestra and interpretation...this could also be the sound of the hall or the sound of the orchestra in general, I'm not sure. The SFSO, however, are magnificent and a highlight of this recording. This M9 really took me by surprise...what a moving experience in every way.
I saw Hurwitz's review and agree with the 9/9 rating, although, besides the poorly heard timpani in one section of the Rondo, I feel the sound could even be a 10 rating overall, the clarity and production are very fine.
I also read Annie Ozorio's review on Musicweb, and she quoted Alban Berg's statement that the Andante Comodo "expresses an extraordinary love of this earth, for Nature; the longing to live on it in peace, to enjoy it completely, to the very heart of one's being". I agree that MTT's rendition of the Andante Comodo (as well as his execution of the whole work) relates to Berg's quote rather well.
4.Gary Bertini/Tokyo Metropoliton Symphony Orch/Fontec SACD:
All the climaxes are shattering with the low brass powerful and easily heard. The scherzo soars with powerful pastorale winds, rustic landscapes and dances with captivating strides. The Rondo has great energy, color and contrast, its twists and turns are very uplifting and exciting. The excellant sound catches every line of the Rondo as the music breathes and rotates. The Adagio is on the level of Bernstein's BSO account, and a beatitude occurs in this performance...an ultimate surrender taken with peace and bliss.
5. Zdenek Macal/Czech Phil. Orch/Exton SACD:
Macal's Prague M9 is so different to this...he has changed his concept even more in the first movement. His new M9 has superior sound, and is actually among the best sounding M9's I've heard. The lower end of the orchestra is very detailed. The first movement has never sounded so rich and dark, like a deep ocean with vast mystery. I particulary focused on the lead in and actual rendering of the 3rd Climax in the first movement...Macal stretches it out and all the parts are well heard in better balance than most recordings (and the tam tam doesn't cover up everything else), and the A flat in the horn is brilliantly shown in the foreground for once, coloring this whole passage in a new way, also highlighted by the deep dynamic range. In the other three movements his interpetation seems to suggest a letting go with each movement, or there is a feeling of more objectivity as each movement passes. In any case, the CPO are a joy to witness.
6. Karajan/BPO/DG (the Live recording):
There is a kind of "line" Karajan holds throughout the course of the performance that keeps me on the edge of my seat all the way though the work. The overall tone is mystical, objective and all the more devasting for it's unflinching progress. I've never heard anything like it, except from Karajan's braodcasts of the M9...each has this same quality, and the 1st studio recording as well).
--Todd
Topic: New Here, New to Mahler, Would love some Recommendations (Read 50531 times)