[QUOTE=amateur51;250822]'Calculated' is the last word I would ever apply to a Tennstedt Mahler performance. I write as an unashamed fan who saw KT in performance many times in London and from the choir seats (facing the conductor) for Mahler 1, 5, 6 & 7. He seemed to hover above the orchestra and once then piece was under way you realised that there was a sort of telekinesis going on - he assumed different shapes with his hands and arms as the piece progressed, there could be great lunges at a section of the ortchestrtas resulting in a grweart cry from that section, frequent screw-tightening gestures at the brass, and all the time a look of ecstatic agony on his face until the music stopped, when he wouild apparently 'come down' and chat and laugh with the leader and others, mopping himself furiously with his hanky. Then he'd crank himself up for the next movement. He always appeared to me to be modest, surprised by it all even, and very popular with orchestra and audience alike.
I have been swept away at many concerts by the visual interaction between the musicians, but later when I hear a broadcast or a recording of the same event, I feel very differently, wondering what happened to the magic. At any rate, Tennestedt's Mahler just doesn't move me in any way except to want to change the recording to something more congenial.
He has his fans and his detractors. Thank goodness that we are spoiled for choice in Mahler.
I have been swept away at many concerts by the visual interaction between the musicians, but later when I hear a broadcast or a recording of the same event, I feel very differently, wondering what happened to the magic. At any rate, Tennestedt's Mahler just doesn't move me in any way except to want to change the recording to something more congenial.
He has his fans and his detractors. Thank goodness that we are spoiled for choice in Mahler.
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