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Gustav Mahler and Related Discussions / Re: Bychkov/CPO Mahler 8th concert last night
« Last post by John Kim on April 12, 2024, 06:12:06 PM »Correction. I was told it was not with CPO.
John
John
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62
Gustav Mahler and Related Discussions / Re: Bychkov/CPO Mahler 8th concert last night
« Last post by John Kim on April 12, 2024, 05:01:43 PM »Erik
As far as I know, all of Bychkov/CPO Mahler releases so far are based on live recordings.
John
As far as I know, all of Bychkov/CPO Mahler releases so far are based on live recordings.
John
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Gustav Mahler and Related Discussions / Re: Bychkov/CPO Mahler 8th concert last night
« Last post by erikwilson7 on April 12, 2024, 05:00:09 PM »Perhaps, but did Pentatone say this would be a studio cycle?
Exciting news nonetheless.
Exciting news nonetheless.
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Gustav Mahler and Related Discussions / Bychkov/CPO Mahler 8th concert last night
« Last post by John Kim on April 12, 2024, 04:46:24 PM »There was a report on the concert and it got a rave review. Let's hope Pentatone recorded the live performance for a future release.
John
John
65
Gustav Mahler and Related Discussions / Re: Klaus Mäkelä named Music Director of Chicago Symphony
« Last post by barryguerrero on April 06, 2024, 06:40:33 AM »I'm glad to hear that Makela's Shostakovich 10 was really good. I have no desire for this guy to be a turkey and fail. The 10th is not that easy of a symphony to pull off. In my opinion, it doesn't play itself. Some good news is still good news.
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Gustav Mahler and Related Discussions / Re: OT: Shostakovich 8th w/ Haitink/BRSO on BR Klassik
« Last post by barryguerrero on April 06, 2024, 06:37:59 AM »"Jansons/Pittsburgh really shines here" . . . Indeed!!!
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Gustav Mahler and Related Discussions / Re: OT: Shostakovich 8th w/ Haitink/BRSO on BR Klassik
« Last post by Roland Flessner on April 06, 2024, 05:25:45 AM »I'm not a big fan of the trumpet solo in III on this recording. It's almost legato. The score doesn't include articulation markings, but it seems out of character to me.
That aside, overall this is a really good recording. I will grouse that the tamtam seems a bit shallow at the big climax. Jansons/Pittsburgh really shines here.
That aside, overall this is a really good recording. I will grouse that the tamtam seems a bit shallow at the big climax. Jansons/Pittsburgh really shines here.
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Gustav Mahler and Related Discussions / Re: Klaus Mäkelä named Music Director of Chicago Symphony
« Last post by Roland Flessner on April 06, 2024, 03:35:41 AM »The Mäkelä Shostakovich 10 was superb last night, nIcely paced, intense without being overwrought, with first-class execution by the orchestra all around, and stellar work by the percussion. I'd consider myself lucky to hear another live performance of it as good. I'm not quite as familiar with the Cello Concerto #1 that preceded it, but that was just as fine. (Soloist was Sol Gabetta, who hails from Argentina.)
In the late-'90s remodel, an unsightly acoustic reflector was added above the stage. (Musicians call it The Spaceship.) It's a double-edged sword: it brought clearer sound to the farther reaches of the hall, but it flattens dynamic contrast and can make the woodwinds sound shrill. Before that, sound was really murky in the Upper Balcony where I usually sit. Although it's more tolerable now, once the music gets to forte or louder, the string tone disappears. Before The Spaceship landed, I would sit in the Gallery, the top balcony, but now the sound is way too harsh up there. Tinkering with this hall is merely rearranging deck chairs on the Titanic, or if you prefer a different metaphor, you can't make a silk purse out of a sow's ear.
Several years ago, I paid beaucoup bucks to hear Thielemann and Staatskapelle Dresden. I was on the main floor in an area with standing waves and the sound was just a mess.
Barry, I agree that the Solti M7 is his best CSO Mahler recording up until the wheels come off the bus in the finale. It's the only CD in the series that I've kept. While he can whip up a big noise, I don't think he had much feel for Mahler's counterpoint, which is really the heart of the music.
In the late-'90s remodel, an unsightly acoustic reflector was added above the stage. (Musicians call it The Spaceship.) It's a double-edged sword: it brought clearer sound to the farther reaches of the hall, but it flattens dynamic contrast and can make the woodwinds sound shrill. Before that, sound was really murky in the Upper Balcony where I usually sit. Although it's more tolerable now, once the music gets to forte or louder, the string tone disappears. Before The Spaceship landed, I would sit in the Gallery, the top balcony, but now the sound is way too harsh up there. Tinkering with this hall is merely rearranging deck chairs on the Titanic, or if you prefer a different metaphor, you can't make a silk purse out of a sow's ear.
Several years ago, I paid beaucoup bucks to hear Thielemann and Staatskapelle Dresden. I was on the main floor in an area with standing waves and the sound was just a mess.
Barry, I agree that the Solti M7 is his best CSO Mahler recording up until the wheels come off the bus in the finale. It's the only CD in the series that I've kept. While he can whip up a big noise, I don't think he had much feel for Mahler's counterpoint, which is really the heart of the music.
69
Gustav Mahler and Related Discussions / Re: Has the Bychkov/CPO Mahler cycle stagnated?
« Last post by John Kim on April 06, 2024, 02:14:40 AM »Barry,
Thanks for the posting.
Indeed, why would they not resume the Bychkov Mahler cycle until 2025 because they already have archives of M6, M7, even M3 in their cans?? It simply doesn't make sense.
John
Thanks for the posting.
Indeed, why would they not resume the Bychkov Mahler cycle until 2025 because they already have archives of M6, M7, even M3 in their cans?? It simply doesn't make sense.
John
70
Gustav Mahler and Related Discussions / Re: Has the Bychkov/CPO Mahler cycle stagnated?
« Last post by barryguerrero on April 04, 2024, 06:19:41 PM »I received a reply from Pentatone's Kasper van Kooten. He said that the Czech Phil. wants to dedicate 2024 to Czech music, and they will definitely resume the Bychkov Mahler cycle in 2025. I find that very strange. There already exists billions of recordings of Czech music with the C.P.O. However, the Supraphon ones have all but disappeared. Maybe that's what really bothers them, since they are in proximity of Supraphon. Regardless, why would they have an issue with releasing their already 'in the can' Mahler recordings within the same year as the Czech stuff? . . . . I'm guessing there's probably another factor that Mr. van Kooten is keeping close to his vest. If I had to venture a guess, I'll bet he wants get the Payare Mahler cycle - if it is one! - established in 2024. Regardless, the result is the same. We will see futher Bychkov/C.P.O. Mahler in 2025.
Record labels are so strange. It's often times a matter of money and sponsorship, and they NEVER share any of that info. They act like what they're doing is a matter of national security.
Record labels are so strange. It's often times a matter of money and sponsorship, and they NEVER share any of that info. They act like what they're doing is a matter of national security.
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