mbhaub
500+ Head-Fier
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Quote:
This is correct: and the magic ingredient is a live performance. I played in one with community orchestra and chorus of all things. Not so good at times. Yet the cumulative effect was overwhelming. The audience began clapping vociferously as the choir intoned its last "zu Gott!" and kept it up for the next minute or so as the orchestra finished. Then an uproar of approval: shouting, people standing on their seats, tears. It was really something. It was one of those magical performances musicians live for. Yet compared to any studio recording, the performance was crude. That's why the few live ones out there (Stokowski, Barbirolli et al) have something extra that the studio bound recordings (Kubelik DG comes to mind) lack. Of course, the theory isn't perfect: I can't explain why the MTT performance is so low-voltage, and it was live. Blomstedt got a lot more out of it with the same orchestra and choir.
Regarding the differences in the new Kaplan, if you know the music well, and have keen musical memory and ear, their is one really potent difference in the climax of the choral part near the end, where a dramatic chord which was once sung in the minor is now in the major, and it's like a radiant beam shining through. Is it authentic? I don't know, and until I read the score and notes for myself will remain skeptical.
If you're loolking for a fine digitital M2, try the Jansons on Chandos. Great sound, very athletic conducting, and the whole is certainly exciting. Jansons doesn't do boring.
Originally Posted by PSmith08 Fair enough. I do think, though, that it takes more to pull off a good M2 than almost any other of his works for a lot of reasons. |
This is correct: and the magic ingredient is a live performance. I played in one with community orchestra and chorus of all things. Not so good at times. Yet the cumulative effect was overwhelming. The audience began clapping vociferously as the choir intoned its last "zu Gott!" and kept it up for the next minute or so as the orchestra finished. Then an uproar of approval: shouting, people standing on their seats, tears. It was really something. It was one of those magical performances musicians live for. Yet compared to any studio recording, the performance was crude. That's why the few live ones out there (Stokowski, Barbirolli et al) have something extra that the studio bound recordings (Kubelik DG comes to mind) lack. Of course, the theory isn't perfect: I can't explain why the MTT performance is so low-voltage, and it was live. Blomstedt got a lot more out of it with the same orchestra and choir.
Regarding the differences in the new Kaplan, if you know the music well, and have keen musical memory and ear, their is one really potent difference in the climax of the choral part near the end, where a dramatic chord which was once sung in the minor is now in the major, and it's like a radiant beam shining through. Is it authentic? I don't know, and until I read the score and notes for myself will remain skeptical.
If you're loolking for a fine digitital M2, try the Jansons on Chandos. Great sound, very athletic conducting, and the whole is certainly exciting. Jansons doesn't do boring.