Several years ago, my best friend from high school and I were comparing the slow movement of the Sixth with the more famous Adagietto, and we agreed that the third movement of the Sixth was "something very special." Were the ravishing photos of nature that accompany the third movement here taken in the Dolomites where Mahler went to receive his inspirations? Their ineffable beauty is a great relief after the (extremely appropriate!) Hieronymus Bosch reproductions that illustrate the scherzo! The illustrations in the video of the coda of the Finale made me burst into tears several times!! The person who compiled this presentation deserves a significant prize!
A legendary recording of the "Tragische", up there with with the 1955 Mitropoulos, the Horenstein at Bournemouth, and "Sir John" Barbirolli's NPO account. Unlike all those just named, this is currently unavailable on physical media, so this is a great upload, thanks!
I agree with Greg. I have been searching for a good recording of this symphony and this is it! What a dignified interpretation and excellent performance. Thank you lordmeloman.
Barbirolli's interpretation takes my vote. The slow tempo and the incredible energy of the intro march makes it feel titanic in scope. The rest of the piece is also just so well balanced but can be a little sickening to listen to as Mahler goes all out on his countermelody and musical storytelling
Excellent choice of tempo in Mvt. 1, the march in it's grim, conscienceless implacability, encounters a soaring expectation of love's ultimate victory over death, in Alma's theme. An enormous rift appears and explodes into the titanic drum tattoo, immediately thereafter a staggering and stumbling. Then it is done all over. The conflict is waged all about, love scattered this way and that, dissolving into march, soaring anew, falling apart. Ultimately, love does triumph, or so it seems, though militancy lingers. Many scenarios are possible in this great movement of Mahler's 6th, and the listener's role is to choose, cast and direct them as s(he) wills, taking care not to run too far afield into fantasy and becoming lost. A conductor's role in performing no. 6 is to balance all the activities of the various sections of strings, winds, brass, and percussion and, most important of all, to decide what is most important to stress, and what to inhibit or restrain from taking precedence that material which is subordinate. Sanderling tends to stress too many of the diverse contributions of brass and percussion, obscuring the string and/or wind sound which should be in the foreground. It's top and bottom heavy playing which dominate mostly, and that is unfortunate, because the details which are wonderfully brought forward are just the ones some of which must play a supportive role. If you like your Mahler with all the dishes, cutlery and glassware clattering in the sink, this is the reading for you. It is not a wrong way but a frequently mistaken way to balance the orchestral sections, which obscures by over stressing for the sake of effect.
One can always argue about what should be brought to the fore at which moments - it's probably a matter of taste. Sometimes I agree with Sandering; sometimes I feel that he is exaggerating what voices he is pushing into the background.
For 7 I will mention the old Scherchen Vienna State Opera recording right off the bat. The old Walter NY Phil. did it for me with 5, but as alternatives, I would suggest Bernstein for 7 and Barbirolli for 5.
Hola amigos: la quinta es y será de Berstein de los años 50' (en de su ciclo integral de Mahler). El sentido heroico llega al final y la obra subyace como una afirmacion humana. Ademas, el sonido es bueno. El adagieto de Alma es sereno y no afeminado, ademas la obra entera se sostiene y se afirma la dimensión sinfonica en lugar de la melodramatica. Es todo y saludos de Perú.
"Great performance; incredible bargain."- By Bob Zeidler "Almost the Best September"-By William Michaels "Sanderling triumphs on unexpected ground", December 26, 2012- By Santa Fe Listener "Thomas Sanderling/St. Petersburg Philharmonic Mahler 6: A Refference Recording", May 29, 2011 By Michael Hansen
„Tragic Triumph“ February 6, 2001 By Fidelio “Expressive opulence!”, February 8, 2012 By Hiram Gomez Pardo “Distinctive performance in outstanding sound”, October 23, 2003 By R. J. Claster
Mr. Gossard. The late Tony Duggan would certainly disagree with what you say about this recording, and he did understand something - very much in fact - about music-making, and about Mahler in particular. (see Music Web Int.)
Several years ago, my best friend from high school and I were comparing the slow movement of the Sixth with the more famous Adagietto, and we agreed that the third movement of the Sixth was "something very special." Were the ravishing photos of nature that accompany the third movement here taken in the Dolomites where Mahler went to receive his inspirations? Their ineffable beauty is a great relief after the (extremely appropriate!) Hieronymus Bosch reproductions that illustrate the scherzo! The illustrations in the video of the coda of the Finale made me burst into tears several times!! The person who compiled this presentation deserves a significant prize!
Fantastic musical world that Mahler creates in this symphony...I have listened to it since my twenties and never tire of hearing it.....
A legendary recording of the "Tragische", up there with with the 1955 Mitropoulos, the Horenstein at Bournemouth, and "Sir John" Barbirolli's NPO account. Unlike all those just named, this is currently unavailable on physical media, so this is a great upload, thanks!
Another very good one is Karajan live.
helloo, yeah i think is a very wonderful recording and it is one my favorite mahler 6ths.
Great rendition of this awesome piece. Thank you very much.
eine wunderschöne aufführung! herrliches blech!
Thank you so much for posting this excellent performance, with such fine illustrations too - a double delight! Best wishes, Allan
Both he and his half brother Stefan are both first class conductors through and through!!
I agree with Greg. I have been searching for a good recording of this symphony and this is it! What a dignified interpretation and excellent performance. Thank you lordmeloman.
I just found this one...a peak experience. The best Sixth I have ever heard, by a mile. Excellent performance!
Barbirolli's interpretation takes my vote.
The slow tempo and the incredible energy of the intro march makes it feel titanic in scope. The rest of the piece is also just so well balanced but can be a little sickening to listen to as Mahler goes all out on his countermelody and musical storytelling
The best is actually Michael gielen in a recent release. Sanderling is more mainstream.
excellent sound
wow perpect timing!
music and image
perpect understanding about mahler 6
Con quella di Horenstein e Tennstedt (EMI live) una delle migliori interpretazioni della 6 ° !
Excellent choice of tempo in Mvt. 1, the march in it's grim, conscienceless implacability, encounters a soaring expectation of love's ultimate victory over death, in Alma's theme. An enormous rift appears and explodes into the titanic drum tattoo, immediately thereafter a staggering and stumbling. Then it is done all over. The conflict is waged all about, love scattered this way and that, dissolving into march, soaring anew, falling apart. Ultimately, love does triumph, or so it seems, though militancy lingers.
Many scenarios are possible in this great movement of Mahler's 6th, and the listener's role is to choose, cast and direct them as s(he) wills, taking care not to run too far afield into fantasy and becoming lost.
A conductor's role in performing no. 6 is to balance all the activities of the various sections of strings, winds, brass, and percussion and, most important of all, to decide what is most important to stress, and what to inhibit or restrain from taking precedence that material which is subordinate.
Sanderling tends to stress too many of the diverse contributions of brass and percussion, obscuring the string and/or wind sound which should be in the foreground. It's top and bottom heavy playing which dominate mostly, and that is unfortunate, because the details which are wonderfully brought forward are just the ones some of which must play a supportive role. If you like your Mahler with all the dishes, cutlery and glassware clattering in the sink, this is the reading for you. It is not a wrong way but a frequently mistaken way to balance the orchestral sections, which obscures by over stressing for the sake of effect.
One can always argue about what should be brought to the fore at which moments - it's probably a matter of taste. Sometimes I agree with Sandering; sometimes I feel that he is exaggerating what voices he is pushing into the background.
Could you tell us your recommendations for the other 8 Mahler symphonies? I'd especially like to find good recordings of 5 and 7.
For 7 I will mention the old Scherchen Vienna State Opera recording right off the bat. The old Walter NY Phil. did it for me with 5, but as alternatives, I would suggest Bernstein for 7 and Barbirolli for 5.
Hola amigos: la quinta es y será de Berstein de los años 50' (en de su ciclo integral de Mahler). El sentido heroico llega al final y la obra subyace como una afirmacion humana. Ademas, el sonido es bueno. El adagieto de Alma es sereno y no afeminado, ademas la obra entera se sostiene y se afirma la dimensión sinfonica en lugar de la melodramatica. Es todo y saludos de Perú.
"Great performance; incredible bargain."- By Bob Zeidler
"Almost the Best September"-By William Michaels
"Sanderling triumphs on unexpected ground", December 26, 2012-
By Santa Fe Listener
"Thomas Sanderling/St. Petersburg Philharmonic Mahler 6: A Refference Recording", May 29, 2011
By Michael Hansen
„Tragic Triumph“ February 6, 2001 By Fidelio
“Expressive opulence!”, February 8, 2012
By Hiram Gomez Pardo
“Distinctive performance in outstanding sound”, October 23, 2003
By R. J. Claster
Mr. Gossard. The late Tony Duggan would certainly disagree with what you say about this recording, and he did understand something - very much in fact - about music-making, and about Mahler in particular. (see Music Web Int.)