BaL 9.11.19 - Mahler: Symphony no. 3

[HighlandDougie]

Surely Horenstein would have been at the mix session (multi to stereo) and approved the balance (as with every reecording I've produced). Anybody know? I don't know why but I feel the need to defend this wonderful performance; it made such an impact on me at it's release. I doubt very much they would have, or felt the need to, tinker with the balance or sound for the CD transfer, but it does happen!

It is such a good performance that being a bit let down by the sound mix is something of a shame. That said, it shouldn't put anyone off. It still blazes forth from the speakers at appropriate moments - and in the "O Mensch" it captures Norma Procter's voice well. There is no audible difference between the mix on the LPs and on the CDs that I can hear. Whatever its audio shortcomings, it stands as a worthy tribute to John Goldsmith's enterprise in setting up Unicorn Records and his belief in Jascha Horenstein as a conductor largely ignored by major labels who had particular insights into, among others, Mahler, which were worth preserving with the best possible musicians and recording techniques of the time. What would be good to know is whether the download (available from Chandos) offers any improvement on the CD sound - I suspect, though, that it will be exactly the same.

[BBMmk2]

I was going to say that I have Bernard Haitink, in the Symphonieorchester des Bayerischen Rundfunks, as part of the Portrait set.
The Abbado sets with the Lucernes and Berliners. All three I can’t do without.

[Keraulophone]

I feel the need to defend this wonderful [Horenstein] performance; it made such an impact on me at it's [original] release

...on LP. Having heard so many wonderful performances of M3 both recorded and live (the last one standing unsupported with an aching lower back for 110 minutes at the Proms to hear the great Boston SO with Nelsons), no other leaves me in such a state of deep catharsis into which this one takes me.

I also like imagining the playing and singing taking place in the somewhat below-the-radar Fairfield Hall(s), an attempt, in 1962, to provide a cultural hub in a forest of faceless 1960s office blocks built to a policy of office decentralisation from London. For those of us living nearby, it was a convenient venue providing a mini-Festival Hall-like experience without the glamour but with better acoustics: a fair trade-off. The LSO/Celibidache combination was a memorable highlight in colourful repertoire.

[richardfinegold]

Surely Horenstein would have been at the mix session (multi to stereo) and approved the balance (as with every reecording I've produced). Anybody know? I don't know why but I feel the need to defend this wonderful performance; it made such an impact on me at it's release. I doubt very much they would have, or felt the need to, tinker with the balance or sound for the CD transfer, but it does happen!

I was referring to the brass on the CD version, comparing it to my aural memory of the lp version. Horenstein had of course long been deceased by the time the CD was mixed

[richardfinegold]

I was going to say that I have Bernard Haitink, in the Symphonieorchester des Bayerischen Rundfunks, as part of the Portrait set.
The Abbado sets with the Lucernes and Berliners. All three I can’t do without.

I have that as well, which sounds infinitely better than the CSO recording, otherwise the two are similar performances. Re Cloughie comment about BH/CSO Daphnis, I don't have that recording, but I did listen to a bit of the Levine/CSO Mahler 3 when J.L passed recently, (that being the recording that was my epiphany for the piece), and amazing how much better that sounds than the Haitink of 30 years later. I'll have to check the Levine recording venue, I suspect it was Medinah Temple which was torn down in the nineties

[Barbirollians]

Heavens above that 1962 NYPO/Bernstein - is indeed stupendous. No wonder if made so much of an impact at the time. Embarrassing that having bought this remastered Mahler Bernstein box in 2012 I have only just got round to listening to it .

[smittims]

That's the one with Martha Lipton, isn't it? I've long enjoyed that recording: the finale is I think Lennie at his best.

I've been satisfied with almost every performance I've heard of this work; it seems to be one of those pieces that brings out the best in people. So I distinguish them by the identity of the solo singer: I'm glad Kubelik chose Marjorie Thomas for his version (probably at the suggestion of his wife Elsie Morison who had sung with Marjorie many times) . And I wouldn't want to be without Helen Watts in the Solti recording.

[Barbirollians]

Yes Martha Lipton . I am very fond of Rattle’s account ,the Classic Norman/Abbado and that intense live recording with Barbirolli and Kerstin Meyer.

[smittims]

I've yet to hear that, though I have the Berlin performance on Testament with Lucretia West. I well remember Kerstin Meyer at the Halle in the late '60s under Barbirolli's baton,though I've forgotten what she sang. Chausson maybe?

Another fine Mahler 3 I've been reminde of is the Leinsdorf/ Boston S.O. with Shirley Verrett (RCA Victor 1966 I think).

(later): I've checked YouTube and find it was indeed Mahler 3 I heard with Kerstin Meyer and Barbirolli in 1969. this would have been the first time I heard the work. What a treat to find it again. Thanks for reminding me.

[richardfinegold]

Heavens above that 1962 NYPO/Bernstein - is indeed stupendous. No wonder if made so much of an impact at the time. Embarrassing that having bought this remastered Mahler Bernstein box in 2012 I have only just got round to listening to it .

I ad just played 1962 Bernstein last week and completely agree with you

[Barbirollians]

It's fantastic ! Today started listening to the Ely Cathedral Resurrection which is not in the Mahler box in a Japanese pressing. Unfortunately, was interrruped after the first movement but the very opening seemed surprisingly subdued and a bit mannered but it certainly soon warmed up !