Can anyone remember whether in the 1990s Haitink conducted a Proms Mahler 3 with a very good Swedish radio orchestra? My fallible memory can’t quite piece together the details, even though I was there!
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Haitink in 1999, but I don't think that the BBCSO is Swedish!Originally posted by Goon525 View Post
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Then I’m clearly conflating two different concerts!Originally posted by Pulcinella View PostComment
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Found on BBC genome for broadcasts of Haitink conducting Mahler 3rd::
21/9/1978 Haitink LPO
22/11/70 Haitink/LPO
16/2/81 Haitink/Philharmonia
29/7/16 Haitink/LSO
(There may well be others)Comment
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They also appeared at that year's Edinburgh Festival, same performers (I remember Michelle de Young's slightly wobbly rendition of, "Oh mensch", not quite reaching the starry heights of, say, Jessye Norman).Originally posted by Pulcinella View Post
It's the Mahler symphony I've seen in concert most often - and I somehow seem to have acquired in excess of 50 recordings of it
Last edited by HighlandDougie; 01-11-19, 13:06.Comment
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Over 50! Impressive. I can manage a paltry 32 including DVDs plus a few more off-air, so close to 40.Originally posted by HighlandDougie View PostThey also appeared at that year's Edinburgh Festival, same performers (I remember Michelle de Young's slightly wobbly rendition of, "Oh mensch", not quite reaching the starry heights of, say, Jessye Norman).
It's the Mahler symphony I've seen in concert most often - and I somehow seem to have acquired in excess of 50 recordings of it"The sound is the handwriting of the conductor" - Bernard HaitinkComment
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I'm always interested in early recordings of important works. In the case of Mahler 3, which was completed in 1896, the first studio recording I'm aware of was from over half a century later - Charles Adler with the Vienna Symphony in 1951. Anyone heard it? Not me.
What I do have is Boult with the BBCSO and Ferrier, recorded live in the first UK performance of the symphony - at a public concert at BBC Maida Vale on 29 November 1947. About to compare and contrast this with Haitink and the Concertgebouw!Comment
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I only have the Horestein/LSO recording on Unicorn. Engineered by Bob Auger I believe it was the first multi-track classical recording. Maybe a bit larger than life but still impressive sonically - and musically. Fantastic dynamics and the LSO on cracking form. 50 copies? Wow, some real devotees out there!Comment
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There's a Mahler 3 in Cardiff - St David's Hall - next Friday, 8th - Prague SO....I can't make it, but there it is....Comment
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I'm not sure what you mean by '50 copies' but, I was playing on that Horenstein recording. I will never forget it.Originally posted by Lordgeous View Post
Apart from the genius that was Horenstein, there was an extra poignancy in that Sir John Barbirolli and George Szell both died about 24 hours after we began the recording. JH himself announced this on, I think, day 2 of the recording sessions at the Fairfield Hall, Croydon.Comment
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"50 copies" is a reference to HighDoug's mentioning in #20 that he had "in excess of 50 recordings" of the work, Tony.
Great memories for you - thank you for sharing them here. That Horenstein is one of only two versions I own (the other is Bernstein) - both so superb, I've never sought to supplement them. I'd be in the market for a more recent version - the Roth or the Nott, perhaps? (IIRC, both have received plaudits on the Forum.)Last edited by ferneyhoughgeliebte; 02-11-19, 09:00.[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]Comment
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I’ve a few of this gargantuan work p. Be very interesting to see what and how the reviewer does this programme.Don’t cry for me
I go where music was born
J S Bach 1685-1750Comment
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Well - that is what Mahler tells him to do, Pet. It's a very carefully calibrated set of dynamics for the last 12 bars: The Timps (both sets) are marked f throughout; the bassoons, celli, contrabassoon, and double basses (who have the same I - V - I - V "pounding" as the Timps throughout these last bars) are marked ff in the strings, and fff in the winds - so Mahler is keeping the Timps behind the winds and strings, supporting them (unlike the Timp "solo" of so many performances), and the expression mark for these last bars underlines this: Nicht mit roher kraft. Gesattigten edlen Ton ("Not with brute force - suffused with noble sound").Originally posted by Petrushka View Post
Meanwhile, The (8) Horns and Trombones (the Tuba is silent until the very last bar) are marked P; after 3 bars the horns raised to f, but the Trombones twice reminded "sempre P" to curb their enthusiasm - until the last three bars where they allowed a single f.
The upper woodwinds are marked P for three bars, the last one of which is given a hairpin diminuendo, before immediately (with a miniscule pause for breath marked in the score) given ff for the last 9 bars. The upper strings are marked ff throughout (holding the same tremolo D major triad) - and it's the four Trumpets who are given the greatest prominence in these bars (daah - da -deeee).
The careful nuances of these 12 bars require and repay close attention and rehearsal from the performers.
PS:
- as, indeed, does the bar before these (on the previous page of the score, so easily overlooked by careless cleverclog commentators 
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