General Category > Gustav Mahler and Related Discussions

What next? . . .

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barryguerrero:
You guys sometimes have the pulse of things. Any idea when we may see the final installment of the Vanska/Minnesota cycle (M3)?      .     .     .    .   How about the next installment in Bychkov/C.P.O.? .    .    .    .   Those are the last of what I care about at this point.

erikwilson7:
I don't know the answer to those, and I wish I did. That, and more evidence of P. Järvi's upcoming Mahler. But I want to point out a couple of other projects that I'm following (there is a lot of Bruckner to follow right now due to his bicentenntial):


* Markus Poschner's Bruckner cycle of all 19 symphony versions on Capriccio.
* Simon Rattle's Bruckner with London (hit or miss so far).
* Paavo Järvi's Bruckner with the Tonhalle.
* Dausgaard's Bruckner with Bergen on BIS (some have disliked this; I find it interesting).
* Storgårds' Shostakovich with the BBC Phil on Chandos (again, some have disliked this; it's fun so far).
* Noseda's Shostakovich with the LSO (I think this is mostly fantastic so far).

barryguerrero:
Oh, thanks Eric. I wonder if "19 versions" of Bruckner would jive with what Bill Carragan would say. I'll bet that according to his 'Red Book', there are probably at least 30 different versions. Anyway, that whole topic is of only slight interest to me. I guess it beats arguing endlessly over conductors.

I see that David Hurwitz had labeled the Solti/C.S.O. M8 as a 'reference recording'. Too bad there's so little real music in his 'big stick' approach to the work.

Leo K:
I’ve since changed my mind about the Solti M8 - one day it hit me how good it was, the singers and driving force of the orchestra suddenly sounded great. I don’t know why but it was like hearing it again for the first time.

waderice:
Even though the early M8 recordings (Abravanel, Bernstein, Haitink, Kubelik, and Solti) were all studio recordings, nearly all live recordings of the work after those five sound so much better as performances, not as big blast fests.  I know that there are a few recordings after those initial five that were recorded as studio ones, but I don't know nor particularly care what those are.  I'm quite happy that the recording by Philly/Nézet-Sëguin observing the hundredth anniversary of the work's first performance in America was a live recording, and that has the intensity as to how the work should sound.  Musical.  Not a blast fest.  And I'm so happy that I was at that performance!  You could feel how charged the air was in the Verizon Hall at the Kimmel Center (Verizon Hall will shortly be renamed/rededicated as the Marian Anderson Hall) when the performances took place.

Wade

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