Prom 29: Friday 5th August at 7.30. p.m. (Mahler 2)

[cavatina]

I found some of the pianissimos virtually inaudible on the other side of the hall (box 46, 2nd Tier).

I found them virtually inaudible from the front of the arena. At one point, it was so extreme I even gave a worried thought to what our resident audiophile aesthetes might say to blast the engineers. In this case, if there was any kind of dynamics problem on the broadcast, it was definitely the fault of the conductor.

But speaking of the conductor, the reason the audience didn't applaud between movements is that he was very skillful at indicating the music wasn't at a resting place by keeping his baton in the air. If every conductor were as good at this as he was, clapping between movements would be much less of a problem.

[Nick Armstrong]

the reason the audience didn't applaud between movements is that he was very skillful at indicating the music wasn't at a resting place by keeping his baton in the air. If every conductor were as good at this as he was, clapping between movements would be much less of a problem.

exactly.

But perhaps the fact that most don't, means they don't mind. I suspect they're just glad people have actually turned up and are appreciating the concert, most of the time. Young Gustavo doesn't have any worries on that score....

[Nick Armstrong]

So, if I wanted to purchase a Mahler 2, who would it be then? The conductor/orch/choir of choice?

I'd agree with Makropoulos, Anna - but also don't forget our dear LPO in the recently-issued Jurowski interpretation: http://www.amazon.co.uk/Mahler-Symph...2678649&sr=8-1

If it's of any interest, yours truly was in the front stalls contributing slightly to the acoustics for that, but then the same goes for the Tennstedt referred to above (though I was a slightly larger acoustic baffle in 2009 than I was in 1989 )

[Eine Alpensinfonie]

I like to hear it played by Mahler's own orchestra, the VPO, and would opt for the Decca twofer with Mehta.

[Ventilhorn]

Prompted by "Playing from memory" on pianist Susan Tomes' blog (http://www.susantomes.com/playing-memory/), how unusual is it to conduct Mahler 2 without a score?

Full Score:" A document that clever conductors like to be seen without and posers in the audience like to be seen with.

I too was impressed by the singing, but not quite so bowled over by the orchestra whose playing I found disjointed and unconvincing.

Forget the old "Youth orchestra" tag. The BBC house orchestras and the recent televised LPO prom reveal that they too have as many young players; who do a better job with half the number.

I am reminded of the old Jewish tailors' joke: "Never mind the quality, sir, feel the width!"

Well I do mind the quality and doubling the number of participants never makes for a better ensemble.

But full marks for some excellent choral singing.

VH

[PJPJ]

I like to hear it played by Mahler's own orchestra, the VPO, and would opt for the Decca twofer with Mehta.

So do I - I must listen to Maazel (Sony) as well. Mehta's is on a single CD (Dudamel's would be a smidgeon too long to fit on just one).

[Bryn]

Rather more than a smidgeon too long. Early someone mentioned Klemperer, yet his famous recording with Betty Blackhead also fits nicely on a single CD.

[Norfolk Born]

Talking of length....I timed Dudamel at 91 minutes, which is only 3 minutes longer than Tennstedt in his LPO box set (the only recording I have with which to make a comparison). Dudamel's last movement was 4 minutes longer, the other 3 of very similar length.
Overall, I found Dudamel's reading sometimes slow, but NEVER dull, and the mezzo was absolutely wonderful.
The lady wife, whose views on these matters I respect as a matter of course, thought that Dudamel showed the score too much respect. Is it possible he was going out of his way to avoid appearing 'flash'?
Does anybody else remember a televised version with Bernstein conducting the Mahler 2nd from Lincoln Cathedral (or did I imagine it)?
Anna - how I envy you, setting out on your Mahlerian journey of discovery! Haitink and Klemperer are always worth considering, by the way.

[Mary Chambers]

With some exceptions, you're a pretty cold-hearted lot, aren't you? Stop comparing it with performances, live or recorded, by past or even present masters. Look at it for what it was - real, impassioned, imperfect, utterly uplifting. Look at the concentration, the faces of the singers, Anna Larsson's tear-filled eyes. Hear the ecstatic response of the audience. Perhaps they aren't all experienced, perhaps they aren't thinking of Abbado and Tennstedt, but are living in the moment of real live music-making. If you remain unmoved you must be made of stone!

[amateur51]

I like to hear it played by Mahler's own orchestra, the VPO, and would opt for the Decca twofer with Mehta.

There is an earler Mehta recording that used to be on Decca that was very fine, both musically & sonically. Like Caliban I was at the LPO/Tennstedt 'live' performance and it was a cracker!

Edit: I think the one I mentioned IS the one that EA recommends

Sorry!

It's great!

[Nachtigall]

With some exceptions, you're a pretty cold-hearted lot, aren't you? Stop comparing it with performances, live or recorded, by past or even present masters. Look at it for what it was - real, impassioned, imperfect, utterly uplifting. Look at the concentration, the faces of the singers, Anna Larsson's tear-filled eyes. Hear the ecstatic response of the audience. Perhaps they aren't all experienced, perhaps they aren't thinking of Abbado and Tennstedt, but are living in the moment of real live music-making. If you remain unmoved you must be made of stone!

[BetweenTheStaves]

With some exceptions, you're a pretty cold-hearted lot, aren't you? Stop comparing it with performances, live or recorded, by past or even present masters. ...

Why not? For many of us, myself included, we have heard this live on many occasions and will have probably several different versions on CD. We live and breathe this symphony in all its nuances and so it is only natural to compare.

Look at it for what it was - real, impassioned, imperfect, utterly uplifting. Look at the concentration, the faces of the singers, Anna Larsson's tear-filled eyes.

Tad difficult on the radio.

Hear the ecstatic response of the audience.

Sorry but I don't buy into "15 minutes of applause so it must be good". I am not saying that it wasn't an occasion although the cynic in me can't but help hear the after-dinner conversation among the chattering classes...

"I heard Dudamel on Friday"

"Oh wow. What was he playing"

"Dunno but it was loud at times"

And lest I be accused of having a heart of stone, I listened to the closing moments sitting outside with the sound coming from a small transistor radio and I got tingles down my spine on several occasions..but it was Mahler's music plus memories of live concerts attended in days gone by....not the hype.

[Norfolk Born]

With some exceptions, you're a pretty cold-hearted lot, aren't you? Stop comparing it with performances, live or recorded, by past or even present masters. Look at it for what it was - real, impassioned, imperfect, utterly uplifting. Look at the concentration, the faces of the singers, Anna Larsson's tear-filled eyes. Hear the ecstatic response of the audience. Perhaps they aren't all experienced, perhaps they aren't thinking of Abbado and Tennstedt, but are living in the moment of real live music-making. If you remain unmoved you must be made of stone!

Christa Ludwig's singing on Klemperer's recording of 'Das Lied von der Erde' never fails to move me. I don't know why it does, any more than I don't know why I wasn't moved by Dudamel's 'Resurrection', wonderful though the mezzo's contribution was. Sorry about that, Mary!

[amateur51]

With some exceptions, you're a pretty cold-hearted lot, aren't you? Stop comparing it with performances, live or recorded, by past or even present masters. Look at it for what it was - real, impassioned, imperfect, utterly uplifting. Look at the concentration, the faces of the singers, Anna Larsson's tear-filled eyes. Hear the ecstatic response of the audience. Perhaps they aren't all experienced, perhaps they aren't thinking of Abbado and Tennstedt, but are living in the moment of real live music-making. If you remain unmoved you must be made of stone!

Spot on there, Mary Chambers ma'am!

The stopwatch is never a good judge of a performance.

I agree with Ofcachap about Dudamel's possibly not wanting appear 'flash'. And with Ventilhorn but from a different angle - he had a massive orchestra to control and and it is all too easy for performances of this work to be driven over the cliff - witness several 'live' performances by Solti, where there was nowhere to go at the last. I got the impression that Dudamel knew exactly where he wanted to take us & he got us there - a stunning last section.

Watching/listening to last night's performance, I realised that it is probably 10 years or more since I last heard this symophony because I had listened to too many recordings at that point; I had become jaded. This is a not a work for routine listening imho. Consequently I came to last night's broadcast with relatively fresh ears, knowing 'what's coming next' but daring to hope that my enthusiasm for the piece would be rekindled ... and it was indeed.

I would be delighted if the performance were to be issued as a DVD to be watched perhaps once a decade

[Mary Chambers]

Why not? For many of us, myself included, we have heard this live on many occasions and will have probably several different versions on CD. We live and breathe this symphony in all its nuances and so it is only natural to compare.

Have you ever performed in it? I have, several times, and I know what it does to performers. This is probably why I feel very strongly about it. I also know that audiences always respond to loud endings, but I think you are under-estimating them if you think they are only reacting to the fact that it's Dudamel.