Thank you very much for taking the time to comment on the updated Mahler First Survey.
I take your point about the introduction to the third movement, as I have with Ford's suggestion of some kind of summary/appendix - I think I'll try and incorporate both when I come to revise the Survey in due course.
I also liked your point about the "wrong interpretation working in the right hands" - a prime candidate for this would surely be Barbirolli's studio recording of the Mahler VI, don't you think ? My esteemed MWI colleague Marc Bridle is due to update the Mahler Sixth Symphony Survey soon, so no doubt he would have many interesting thoughts connected with this.
As for Hans Rosbaud, as chance would have it I am just finishing off a review of the new SWR box of him conducting Mahler's Symphonies 1,4,5,6,7 & 9 which should appear on MWI in due course. With regards to other projects, well I have to update the surveys on Mahler's Second and Third Symphonies, which should keep me busy if not for many months, probably for a couple of years ! That said, i'm sure I speak for all in appreciating your suggestions, if I too struggle with trying to work out who Lorin Maazel identifies with most - himself, possibly ?!!
Warmest regards,
Lee
Thank you so much for bringing Musicweb-International’s readers up to date and for all the discussion about Titan, alternate arrangements, and the introduction to the 3rd movement. For recordings after 2008, is it possible to label them quickly as to whether they use a solo bass or the whole bass section (I’m a stubborn pre-2008 purist, here) ?
One interesting difference of opinion. I also love the warmer recordings of Mahler’s 1st and I credit Duggan for introducing me to such conductors as Barbirolli. But, I’m also very interested in historical recordings in general and I love to hear things like the Rosbaud release. I found that l really enjoyed the cold, clear, one-dimensional reading of his 1st. In trying to figure out why, I keep thinking about Tony’s idea that sometimes the “wrong” interpretation held all the way through, and in the “right” hands, can work.
If a critic gets bored and wants a new project, I would be interested in a summary guide for the curious looking to branch out more and make more connections.
For instance, if you like Bernstein, listen to his students Tilson Thomas and Alsop. Contrast him with Boulez.
If you like Barbirolli, listen to his Bruckner and Elgar too.
Maazel isn’t so identified with Mahler, but he is identified with (who)?
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