Mahler 3. CBSO /Nelsons. 19.30 17/06/15

[Nick Armstrong]

Yes I was able to catch it all, and I'd agree with the last few qualified comments, though with a slightly different twist - I thought it was a 'game of two halves, Jimmy'. I found the playing and overall performance of the first three movements had a distinct 'run through' feel, some solo work which frankly didn't belong in the orchestral 'Premiership' (not all - I liked the clarinet; but the solo trombone ). And then I thought something happened in the 4th - the mezzo was very good in the intense quiet bits, so once the louder section was out of the way, it was suddenly much more involving I thought, and turned the performance around - the choral movement was suitably cheeky and the final movement tremendous. I feared for the brass chorale near the end given the accident-prone earlier 'passages of play' but in fact it all worked and really came off.

The team had a great last 30 minutes, Brian!!!

[teamsaint]

The Mezzo was good at times, exactly as you say, In the quieter passages ,but ordinary at others.
Some of the solo work was indeed far from brilliant.
My usually intense concentration was broken a few times later on, so might re run the second half and give that section another chance.

[cloughie]

The Mezzo was good at times, exactly as you say, In the quieter passages ,but ordinary at others.
Some of the solo work was indeed far from brilliant.
My usually intense concentration was broken a few times later on, so might re run the second half and give that section another chance.

Just having a listen on I player - sounds a pleasant enough performance so far - not got to vocals yet so can't comment on mezzo.
Now I can but would rather not!

[Stanley Stewart]

Much to treasure and relish in last night's performance but I'm convinced that tonight's repeat performance will unleash that 'little something extra' which was restrained last night.

[Flosshilde]

I thought the first movement was pretty good - it seemed to bring out things I haven't heard before; less 'smooth', & some hints of menace. Overall a performance I felt held by, & I think if I'd been in the hall my reaction would have been much the same as the audience's.

[Nimrod]

I was able to hear part of the third movement and all of the last three. The offstage posthorn was not very secure. But what really puzzled me was in the fourth movement. The oboe was made to sound like a strangled cat! I opened the score thinking all the other performers of this over the years must have missed something! The only comment I can find next to that oboe part is "hinaufziehen (Wie ein Naturlaut)"

Does anyone know the translation of this? I thought the mezzo was quite good as was the 5th movement. But Nelsons' treatment of the tempo markings in the last movement were somewhat wilful and I've heard much better interpretations.

[Nick Armstrong]

The oboe was made to sound like a strangled cat! I opened the score thinking all the other performers of this over the years must have missed something! The only comment I can find next to that oboe part is "hinaufziehen (Wie ein Naturlaut)"

Does anyone know the translation of this?

It means 'pull up' or 'slide up' ('to sound like something in Nature' - a bird call, presumably).

In 35 years of listening to this piece, the first conductor I heard to take this as meaning the sort of glissandi we heard the other evening, was Claudio Abbado in his Berlin recording. It seemed to become 'the thing to do' from the late 90s.

The live and recorded performances I heard by Abbado, Tennstedt, Haitink et al. before that didn't feature it.

It can be effectively raw and haunting ... or if ineptly performed, can seem an affectation and stick out like a sore thumb....

PS: see this article: http://fugato.com/pickett/mahler3-4.shtml

[vinteuil]

It means 'pull up' or 'slide up' ('to sound like something in Nature' - a bird call, presumably).

/ ... /

It can be effectively raw and haunting ... or if ineptly performed, can seem an affectation and stick out like a sore thumb....

PS: see this article: http://fugato.com/pickett/mahler3-4.shtml

... many thanks for that, Calibang - and please can we now have some HIPP Mahler

[Nick Armstrong]

... many thanks for that, Calibang - and please can we now have some HIPP Mahler

Please step up, François-Xavier Roth!

[ferneyhoughgeliebte]

It means 'pull up' or 'slide up' ('to sound like something in Nature' - a bird call, presumably).

In 35 years of listening to this piece, the first conductor I heard to take this as meaning the sort of glissandi we heard the other evening, was Claudio Abbado in his Berlin recording. It seemed to become 'the thing to do' from the late 90s.
The live and recorded performances I heard by Abbado, Tennstedt, Haitink et al. before that didn't feature it.
It can be effectively raw and haunting ... or if ineptly performed, can seem an affectation and stick out like a sore thumb....
PS: see this article: http://fugato.com/pickett/mahler3-4.shtml

[Nimrod]

Thank you for the explanation, Caliban. I still thought the way it was done sounded quite ugly!

[Simon B]

Folklore has it that setting off the fire alarm is the only way to get a standing ovation in Birmingham. Perhaps leaving is the key. Either way, this is what the audience thought of the Thursday performance:



I might also have quibbled over interpretational details and one or two uncharacteristic rough edges here and there had I listened to a relay, but that's sometimes (or often) besides the point live. As an event - nearly as good as they come. The intensity of the last movement was irresistible.

Nelsons will clearly be genuinely missed by the orchestra - it's not just PR. Several players who've left recently came back for this (including trumpeter Alan Thomas who's now principal at the BBCSO, and Peter Hill who came out of retirement for two nights only on 2nd timps). Nelsons did his best to shake hands with or hug every member of the orchestra and nearly succeeded. Not something you can imagine happening often without an impromptu stabbing occurring with the more usual level of conductor/musician bonhomie! Memorable.

[Nick Armstrong]

Thank you for the explanation, Caliban. I still thought the way it was done sounded quite ugly!

So did I. I didn't think the double-reed brigade had a great night

[Nick Armstrong]

I like the way AN conducted the mass horn shakes in rehearsal, at 2'12" here: