Poll

In the world of conducting, which five of the following frequent Mahlerites have had the most impact on you?

Walter
9 (7.8%)
Klemperer
8 (7%)
Mirtropoulos
2 (1.7%)
Scherchen
1 (0.9%)
Horenstein
8 (7%)
Barbirolli
3 (2.6%)
Bernstein
16 (13.9%)
Kubelik
4 (3.5%)
Haitink
4 (3.5%)
Tennstedt
6 (5.2%)
Solti
5 (4.3%)
Inbal
2 (1.7%)
Bertini
9 (7.8%)
Abbado
8 (7%)
Neumann
3 (2.6%)
Maazel
1 (0.9%)
Boulez
9 (7.8%)
MTT
5 (4.3%)
Gielen
1 (0.9%)
Zander
1 (0.9%)
Chailly
7 (6.1%)
Rattle
3 (2.6%)

Total Members Voted: 19

Voting closed: April 04, 2007, 06:37:01 AM

Author Topic: 5 finest Mahlerites  (Read 26717 times)

Offline Leo K

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Re: 5 finest Mahlerites
« Reply #30 on: March 30, 2007, 12:40:46 AM »
Who said (or wrote) of Lenny that he was always performing a Concerto for Conductor and Orchestra?

   . & '

This reminds me of what a woodwind player in a major European orchestra once told me.  Bernstain was a frequent guest conductor and Mahler was often on the menu.  But whatever was played in a public concert the rehearsals were nothing but a practice run for the conductor's podium gymnastics, facial expressions, and eloquence of arm-waving.  The music was allowed to take care of itself according to her.

I'm not aware of whether or not the same degree of self-absorption characterised his recording sessions.  What I do know is that while I'm prepared to accept the exposure of Mahler's neuroses (I wouldn't be here if I didn't) I won't accept the superimposition of a conductor's neuroses on top of them.

Needless to say I didn't vote for Bernstein.  And I found it difficult to make a choice.  I've been completely swept away by the two Mahler symphonies I've heard live from Tennstedt, but the corresponding EMI recordings are so woefully deficient in the sonics department that the conductor's vision simply doesn't emerge.  So where does your vote go in this situation?


One man's neuroses is another man's truth.   :)

 

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