Fischer: Mozart Symphonies 39-40-41

[Bryn]

So what if they were not intended to be performed thus? I'm all for unconventional programming, especially anything that is not that tired old format of overture, concerto, interval, symphony. Having an interval halfway through the 40th when Mahler symphonies are usually performed without one - brilliant! . . .

Even when Mahler's score specifically calls for a break, as in the 3rd Symphony. Then there's Messiaen, who sanctioned performance of selected movements from his Turangalîla-symphonie.

[Sir Velo]

why not concoct a four-movement symphony out of them?

For a moment I thought you were going to suggest No.38 as the scherzo! That just might be an idea...

[Alison]

So what if they were not intended to be performed thus? I'm all for unconventional programming, especially anything that is not that tired old format of overture, concerto, interval, symphony. Having an interval halfway through the 40th when Mahler symphonies are usually performed without one - brilliant!

So here's a mad idea which I'm sure no one here will support but what the hey. If these three symphonies are all part of a whole, the Holy Trinity if you will, why not concoct a four-movement symphony out of them? I'd have 1st movement 40th, 2nd movement 41st, 3rd movement 39th and 4th movement 41st. I'd go to listen to it. It's so crazy it just might work and we might hear the music in a new way.

I tried this with Tchaikovsky in my teens. The super symphony was:

5 (i)
6 (ii)
6 (iii)
4 (iv)

It was ghastly!! A useful learning exercise nonetheless.

[Ein Heldenleben]

Although I enjoyed the Fischer / OAE performance including the unusual movement split I did think the horns were overdominant in the mix and the very detailed timpani instructions in the intro to No. 39 were not quite clear enough. Perverse of me but I do like a tiny bit of violin vibrato unless the strings are capable of absolute uniformity in intonation.

[Eine Alpensinfonie]

These three symphonies played consecutively work brilliantly if you have two intervals, after the 4th and 8th movements - probably the only places where applause is appropriate too.

I wonder why no-one else has thought of this

[Bryn]

These three symphonies played consecutively work brilliantly if you have two intervals, after the 4th and 8th movements - probably the only places where applause is appropriate too.

I wonder why no-one else has thought of this

Probably because they fully appreciate that the composer would likely have disagreed, especially regarding applause. He would very likely have responded to such applause by repeating entire movements.

[Once Was 4]

Even when Mahler's score specifically calls for a break, as in the 3rd Symphony. Then there's Messiaen, who sanctioned performance of selected movements from his Turangalîla-symphonie.

Sorry if I have missed it but has anybody factored in that there are three very different instrumentations here (four if you include the fact that No 40 has versions with and without clarinets)?

As for Mahler calling for breaks: I once played in (actually a very fine) performance of Mahler 2 where the conductor (our boss at the time) left the rostrum between the 1st and 2nd movements with a stopwatch so as to give Mahler the exact break which he specified. There were definite mutterings in the audience which could have spoiled the atmosphere.