Abbado's new Mahler 9
Posted by: Todd A on 13 August 2002
First some (sort of) sad news: my local Tower Records just went out of business this last weekend. One less record store to peruse through. (Of course, I've relied on my local classical specialist for a few years - their 10000+ titles always rather dwarfed Tower's selection.)
Now the good news: there was a clearance sale. All Universal labels were going at about $11 a disc for new releases, so I picked up a few. Among them was Claudio Abbado's newest recording of Mahler's Ninth. I hereby declare this a Great Recording. It is not the greatest, if there could ever be such a thing, but it ranks among the top of the eleven versions I have. The entire work is so well done I cannot pick out a favorite single movement or passage, but I'l just write that the most evident strength of the work is its striking intensity. Abbado's take is definitely more in the ascetic, analytical Klemperer 'n' Karajan mold rather than the hot, emotive Walter 'n' Zander mode, so if you must have the latter type of performance, this recording is not for you. (I must have both, so this recording is definitely for me.) Altogether, then, the finest Ninth in some time. I even prefer it to the Zander recording. Sound is good, if not demonstration quality.
And just what is it about live Mahler Ninth's? With the notable exceptions of Klemperer and Abravanel, my favorite versions are all live: Karajan's '82 recording, Zander's '96, and now Abbado's '99. (I prefer Walter's studio version to his live one.) Maybe there is just some magic in live performances.
Posted on: 14 August 2002 by David Hobbs-Mallyon
Todd,
You are costing me a lot of money at the moment. Whilst not much of a Mahler fan, I make an exception for the 9th. I saw Abbado do this live with the BPO a few years ago - the performance was stunning.
David
Posted on: 21 August 2002 by David Hobbs-Mallyon
Well I got this recording today. After 1 listen, impressions are extremely favourable. Abbado's approach is definitely more detached than Walter or Barbirolli, but for me infinitely preferable to the regimented and cold approach of Karajan. The recording is live, so there are a few places where the phrasing sounds a bit sloppy - but I'll happily put up with that for such a performance. Where Abbado really wins is on the sound he is getting out of the orchestra (Berlin Phil on top form) and on the inner detail - which the recording fully brings out. Just like many modern orchestral recordings, the aim seems to be to give the listener the impression that they are conducting the piece rather than listening in the hall, which I'm not a fan of, but for the sheer detail this is a first class recording.
The last few minutes are breathtaking. Highly recommended.
Out of interest, the recording actually gives you the 1:48 min of silence before the applause at the end. Anyone know who started this craze of keeping the audience quiet after the music has finished. I've seen several conductors do it, and it seems to be turning into some sort of competition for the longest silence.
David
Posted on: 21 August 2002 by herm
Well, it makes some sense after the M 9, doesn't it?
This praise is tempting. Fifteen, twenty years ago I would've ran to get this recording (if I hadn't bought it first anyways) - it's just that I find I rarely ever listen to the Mahlers and Bruckners I own (often double or triple versions)...
Herman
Posted on: 21 August 2002 by David Hobbs-Mallyon
Herman,
In some sense, yes - particularly after a good performance, but when it's happening after every performance, maybe not.
I also rarely listen to Mahler, frankly because I don't really like a lot of his music. But when I do this will be near the top of the list.
As for Brucker, if you're only on triple versions, then you haven't got enough.
David
Posted on: 22 August 2002 by herm
Hey Jarrett,
you're back! I was wondering what was up with you.
You should be aware, though, that Abbado and the Berlin PO have acted according to your wishes, and then some. Previous to the Mahler project they recorded the nine Beethoven symphonies, which, indeed, was reviewed along the lines of, "we already have a couple of Beethoven cycles, but this is the one to get."
Herman
Posted on: 22 August 2002 by David Hobbs-Mallyon
quote:
I wish Abbado and other conductors would attempt to record something more modern
Jarrett, I think considering the performance, it was worth recording.
If you want a more modern work with the Berlin Phil, I can highly recommend the Ligeti disc that came out a couple of months, with Jonathan Nott conducting. It's a collection of his micropolyphonic works - some of them classics IMO.
David
Posted on: 22 August 2002 by Todd A
quote:
I wish Abbado and other conductors would attempt to record something more modern--get their heads out of the 19th Century. I certainly would appreciate more widespread recognition of today's composers and >1960s.
Agreed. Fortunately there are at least some fine recordings of new(er) works coming out, you just have to look a little harder sometimes; the DG 20/21 series and Naxos 21st Century Classics are fine examples of succesful series of modern works. Hell, look at Boulez, he regularly conducts more modern stuff, especially his own works. I think the reason for the relative dearth of recordings of newer works by big-name conductors and orchestras (or ensembles) on the major labels is simply a matter of market size: most consumers of classical music seem to prefer the war-horses and eschew exploring new music. Quite a pity, I must write, but it is reality. So few people want to listen to music without the Big Tune, or at least the Big Reputation. (This problem appears worse in the States than in Europe.)
Posted on: 22 August 2002 by Wolf
For powerful contemporary music John Adams has just come out with his 'Naive and Sentemental Music.' wow!!! powerful music for the turn of the century. I've posted before for Adams, but this piece really knocks your socks off in the third movement. Loves that bass drum banging away and testing your speakers lower register while all hell breaks loose in the other sections of the orchestra.
Salonen and the LA Phil that recorded it are now on tour of Europe and selling out. they are a really incredible orchestra, try 'em out.
glenn
Posted on: 23 August 2002 by herm
Hi Jarrett,
you're referring to Messiaen's Saint Francois d'Assissi (or something like that)?
What keeping you from getting hold of it? There's an excellent recording by Kent Nagano on DG, I think. Like most truly lengthy operas (and my recollection of the Dutch late mid eighties premiere is it was over three hours long) it works best in the theatre - but the Nagano was praised bu all concerned.
Herman
Posted on: 23 August 2002 by herm
The Messiaen is 60 USD at Tower's. It's the only available recording - but it's very good.
Herman
Posted on: 26 August 2002 by --duncan--
1.48 minutes after a great M9 seems the shortest silence permissible. Or perhaps the opportunity for a cheap John Cage joke. What drives me to distraction are the idiots who seem to compete in shouting the first “Bravo”, before the final chord has had chance to die away. Unfortunately some people just don’t appear to get it. This kind of thing is one reason I spend more time listening at home than in halls nowadays.
Mr Grumpy hat off, I think I heard the same Abaddo/M9 as David and have been waiting for this disc ever since. Proms mid 90’s ? My abiding memory of that concert was the sound of 6000 people hardly daring to breath for the final six or seven minutes. The band applauded the audience afterwards
duncan
Posted on: 03 September 2002 by David Sutton
Well, I went out and bought it during my recent trip to UK. Sixteen quid at Tower Records. Its very good. But it does not beat the Barshai version on BIS, which is my reference. The recording is very clear, but again I think Klemperer has more authority...
Thanks for bringing it to our attention. Its always fun to compare!!
David
