Post by kwcc June 18, 2005 (1 of 8)
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Nice review, thanks for the thoughts.
I think Lenny deserves more consideration. His adagietto has tremendous range of tempo, of colour, of intensity and of emotion. Yes, he can be very, very calm when the music is calm, but there is a lot of forward motion where called for, too.
Just my two cents!
KW
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Post by seth June 18, 2005 (2 of 8)
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kwcc said:
Nice review, thanks for the thoughts.
I think Lenny deserves more consideration. His adagietto has tremendous range of tempo, of colour, of intensity and of emotion. Yes, he can be very, very calm when the music is calm, but there is a lot of forward motion where called for, too.
Just my two cents!
KW
There's actually a good bit of evidence that Mahler intended the movement to come out to be 9:00 to 9:30 minutes long. In fact, in Gielen's new (superb) recording of the 5th, his Adagietto is only 8:30. You'd think that would be too fast, but it comes out quite well.
Bernstein's is by no means the slowest. Levine's recording with Philadelphia is about a minute longer (12:01), and in-concert with the same orchestra, Scherchen pushes it to almost 15 minutes. The only place Bernstein runs into trouble with his tempos is the Scherzo, which is too sluggish under his batton.
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Mark,
Not to be picky, but exactly what do you mean when you say the brass playing can be a little "Pecky" at times? It certainly cannot be construed as a compliment. I am on the verge of buying this but don't want to be annoyed after I get it by "pecky" brass! In other words I want to learn indirectly, not by my own experience.
Thanks,
Bruce
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Post by Edvin April 14, 2006 (4 of 8)
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Bruce,
I think that this is a strange performance. I have tried to listen to it several times, but for some reason it doesn´t hold my attention. A word used quite frequently recently is "micro-managed" (2 words perhaps). To my ears this Mahler 5 sounds over rehearsed and lacking in both raw power and spontenaiety (spelling?).
Also, the aim here is to put the listener at the side of the conductor, not in the auditorium. Nott have chosen to place the horn soloist in the third movement in front, which means that with the listener on the podium, the horn player is very much in the left rear.
I don´t know what "pecky" means, but I know that "adagietto" means very slow.
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Post by akiralx April 14, 2006 (5 of 8)
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Windsurfer said:
Mark,
Not to be picky, but exactly what do you mean when you say the brass playing can be a little "Pecky" at times? It certainly cannot be construed as a compliment. I am on the verge of buying this but don't want to be annoyed after I get it by "pecky" brass! In other words I want to learn indirectly, not by my own experience.
Thanks,
Bruce
The main problem is the dreadful mistake by the timpanist who plays a bar early after the chorale near the end of the finale, and carries on until the very end of the coda - that wrecks the performance, sadly.
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Thanks, guys.
I think I can safely pass on this one now.
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Post by akiralx April 15, 2006 (7 of 8)
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Edvin said:
I don´t know what "pecky" means, but I know that "adagietto" means very slow.
Or 'a little adagio' perhaps.
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Post by Peter April 15, 2006 (8 of 8)
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Windsurfer said:
Thanks, guys.
I think I can safely pass on this one now.
I hope we won't be saying the same things about the forthcoming Janacek disc, too.
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