Mahler 6th/Farbermann/LSO
Lawrence Chalmers
It's on Vox and was recorded (if I read the notes correctly) in 1980.
Someone I know said it was analogue but I thought they had started the
digital process by that time. I was curious about this because
Farbermann is a percussionist and I wanted to see what edition he used
and if he used 2 or 3 hammerblows.
He uses 3 and the percussion is very pinpointed and unusual. The whole
performance is unusual and not to the liking of some. I think its
weirdly wonderful,even if it seems a bit much interpretively. The
andante sounds like an adagio, but still works for me.
The percussion in the scherzo emerged in ways I've not heard elsewhere.
The hammerblows are hair-raising. According to the notes he uses the
'critical' edition of 1963, IIRC but
it has been suggested by a percussionist I know that, in some passages,
he may have reverted to an earlier edition, not only percussion-wise but
in other orchestral as well. Nevertheless, I'm happy with this uusual
performance and would like to hear the F. Charles Adler recording of the
earlier edition. Farbermann practices the current order of movements.
I love the playing of the LSO, especially the tuba! Weird as it is,
this performance works or me. Comments, opinions?
Rip Applebag
for some time. My favorite recordings ended up being Chailly, Bernstein II
and Solti. I heard an excellent Boulez/CSO live performance also.
Tangentially (sp?), did you ever see Ken Russel's "Mahler" film?
"Lawrence Chalmers" <law...@webtv.net> wrote in message
news:17346-3D3...@storefull-2232.public.lawson.webtv.net...
horizon
"Rip Applebag" <m...@foot.com> wrote in message
news:dIN19.23732$nm.11...@bin5.nnrp.aus1.giganews.com...
> I have not heard the performance in question, but the Mahler 6 obsessed me
> for some time. My favorite recordings ended up being Chailly, Bernstein
II
> and Solti. I heard an excellent Boulez/CSO live performance also.
> Tangentially (sp?), did you ever see Ken Russel's "Mahler" film?
Performance, like all of Farberman's Mahler, is slow, uninflected, and to my
ears, boring. The physical recording was digital, produced by Max Wilcox,
and if I remember correctly, was quite good.
Matt C
Tony Duggan
horizon <mcarn...@nyc.rr.com> wrote in message
news:I7P19.126495$Wi.32...@twister.nyc.rr.com...
For a superb new Mahler Sixth, check out my review of Gunter Herbig on
Berlin Classics. Highly recomended, as you will see:
http://www.musicweb.uk.net/classrev/2002/Aug02/Mahler6_Herbig.htm
--
Tony Duggan, England.
dug...@scribble.freeserve.co.uk
Mahler CD recordings survey is at:
http://www.musicweb.uk.net/Mahler/index.html
Simon Roberts
<dug...@scribble.freeserve.co.uk> wrote:
>
>For a superb new Mahler Sixth, check out my review of Gunter Herbig on
>Berlin Classics. Highly recomended, as you will see:
>
>http://www.musicweb.uk.net/classrev/2002/Aug02/Mahler6_Herbig.htm
It's reassuring to learn that Herbig "let[s] the music largely speak for
itself".
Simon
Bob Lombard
wrote:
>It's reassuring to learn that Herbig "let[s] the music largely speak for
>itself".
>
Reassuring indeed. With such affirmation, one hardly needs to hear the
performance itself.
bl
Fabulutz
Applebag" <m...@foot.com> wrote:
did you ever see Ken Russel's "Mahler" film?
I like it, but it's not for everybody. First you have to understand Ken
Russell's approach, which informs all of his films. The final result is
a kalaidoscopic impressionist portrait; not without humor; not to be
taken literally. I would certainly recommend it to anyone who is
obsessed with Mahler and not easily offended!
-Kevbo
Tony Duggan
Simon Roberts <sd...@pobox.upenn.edu> wrote in message
news:slrn3vsakfp...@pobox.upenn.edu...
Even more reassuring if that had been what I actually wrote ! Context is
all and I always choose my words with care. The full quotation reads:
"I am aware this is something of a controversial view at odds with those who
believe conductors of this work should try to reflect in their
interpretation that which they hear in the music rather than err on the side
of letting the music largely speak for itself. But I'll stick to my guns.
This work must be framed by a wide degree of creative detachment for it to
make its real effect."
And note that "err on the side of" which I noticed you chose to ignore.
Within such caveats lie 2500 words.
Simon Roberts
<dug...@scribble.freeserve.co.uk> wrote:
>
>Simon Roberts <sd...@pobox.upenn.edu> wrote in message
>>
>> itself".
>
>Even more reassuring if that had been what I actually wrote ! Context is
>all and I always choose my words with care. The full quotation reads:
>
>"I am aware this is something of a controversial view at odds with those who
>believe conductors of this work should try to reflect in their
>interpretation that which they hear in the music rather than err on the side
>of letting the music largely speak for itself. But I'll stick to my guns.
>This work must be framed by a wide degree of creative detachment for it to
>make its real effect."
Actually, the full quotation would include the rest of the paragraph,
where you state that Herbig falls into that camp: "So for us to get closer
to the full implications of the Sixth I believe we must turn to the
handful of conductors who take this more circumspect, symphonically-aware
approach, essentially the Modernist approach, and I believe Gunter Herbig
is among them."
Be that as it may, my main point was to note another example of that
tiresome ltmsfi phrase in action, a phrase which I wouldn't expect to see
used by someone who chooses his words "with care" (nor would such a person
refer to two interpretative camps and describe them in those terms).
Simon