What next? . . .

[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

[ChrisH]

It seems Bychkov is leaving the Czech Philharmonic in 2028. This report from Slipped Disc claims that the Mahler Cycle is basically ready to go.

"Here in Prague, we will combine (not in the same performance!) two enormous masterpieces which are so related spiritually: Bach’s B minor Mass and Mahler’s 8th Symphony. Mahler’s performances will bring us to the completion of the recording cycle of his symphonies, which will have taken 7 years to realize."

https://slippedisc.com/2024/04/breaking-bychkov-names-exit-date-at-czech-philharmonic/

[barryguerrero]

Since Johan Botha passed away, no tenor seems to up to being closer to a true Heldentenor. Brandon Javanovich is excellent on the Markus Stenz M8, but he doesn't seem to be doing M8 any more (probably needed too badly in opera productions). Let's hope that Bychkov secures a good cast of soloists and, above all, finds a better than adequate tenor.

I deleted my Solti rant because it added nothing but negativity. You guys know I feel about his work - worst conductor I've ever seen in a live performance ever. To be fair, it was pretty late in his career.

[Leo K]

Even though you don’t like the Solti M8 I still appreciate your thoughts on it Barry.

Recently, I've found myself really drawn more towards the M8. This shift in preference has been influenced by listening to Jascha Horenstein's recording of Mahler's 8, which was reissued on the Pristine label. The performance struck a chord with me, really knocked me out. It struck me how Brahms's 3rd begins almost the same way, with this jump of sound. It’s also a twin work to DLvDE in some ways. The singing and text between the two works are an interesting mix of emotive philosophical outlook. The clarity and emotive power of this recording has resonated with me, leading me to consider it among the best available renditions of the M8.