Search - Gustav Mahler, Michael Tilson Thomas, San Francisco Symphony Orchestra :: Mahler: Symphony No. 9 [Hybrid SACD]

I love it

MasterG | Minneapolis, MN | 04/28/2005

(5 out of 5 stars)

"Michael Tilson Thomas's Mahler cycle has, in my opinion, been somewhat inconsistent in quality from symphony to symphony. This is probably one of his best so far though - this is one of Mahler's best works and MTT shows just how much care and thought he put into making this rendition a moving, powerful, and personal account of this great symphony. This conductor is not one to follow what is in the score exactly as there are personal touches all over the place. Sometimes this has not been very effective in other Mahler performances by MTT, but I think in this case it comes off quite successfully. Tempos are chosen well (although I would have liked to have heard more accelerando at the end of the 3rd movement) and the orchestra's playing is generally top-notch. Although there are other great performances of this symphony available on disc, I personally have really fallen in love with this version and would highly recommend it."

A qualified thumbs up

THREEWIRE | Collegeville, PA USA | 10/09/2009

(3 out of 5 stars)

"At the outset, I should note that I am reviewing the 24-bit, 96 kHz PCM master from downloaded from iTraxx. While PCM and not DSD, I would assume my version is similar in sound to the DSD SACD version. My system consists of iTunes, with an Apogee DAC, Outlaw amplification, and Paradigm Monitor 7s, with a Paradigm 10" sub.



Sound:



This is very much a multi-miked, super-sized recording. Spotlight miking appears to have been used throughout the orchestra, most notably with the woodwinds and the basses. As such, many details hidden in other recordings are easily heard here, although at least some of that may be attributable to Thomas' interpretation or the work, which does at times highlight lines not usually emphasized in other interpretations. There is excellent bass extension, although the mid-bass feels a bit muddy. This is especially apparent with the tympani, which occasionally are obscured entirely. Also poorly caught are the cellos -- an essentially component to Mahler's sound pallet. Midway through the Second Movement, a critical solo cello performance feels buried behind the woodwinds, creating a confusing orchestral image. One would have thought that this cello line would have been emphasized in the mix. All this said, the overall balance of the orchestra is satisfyingly forward and brightly lit, without being grainy or harsh (notwithstanding a few odd notes here or there that unduly pop out of the mix). The soundstage is invitingly wide, but given the rather forward balance of the orchestra as a whole, soundstage depth feels somewhat compressed at times; especially during louder passages.



Performance:



There is no denying that the San Francisco Orchestra has risen to world-class levels. The playing throughout is excellent. Given the forward and (largely) detailed nature of the recording, there was nowhere to hide a poor individual performance. The woodwinds bear up to the high level of scrutiny the recording provides the listener. The brass play with great weight and authority, while the strings sound polished and, at times, opulent. The orchestra bears the load of Mahler's score with the poise and panache expected from a truly top-tier band. The San Francisco players should be proud of the their achievement, with great credit to Michael Tilson Thomas' leadership.



Interpretation:



It is often said that Mahler's 9th is "top-heavy:" with the breathtakingly inspired First Movement overwhelming the rest of the work. In my favorite performances, however, I never found this to be the case. Alas, it feel so here. Thomas does indeed do the First Movement proud. There are some minor quibbles, but largely the movement has sweep and grandeur, punctuated by terror and even great charm. The Second Movement, while not taken as fast on the whole, feels too rushed for the parody to be fully realized. The Third Movement is so frenetic that some of the brilliance of Mahler's contrapuntal mastery is lost, with the respite of the gorgeous middle section feeling more like a syrupy interlude than a glimpse into inner peace to be found in the final movement. The last third of the Rondo sounds scattered and confused -- almost more possessed by demons than beset by them. The last movement seems to find Thomas back on solid ground, and the performance concludes with a poignant sense of quiet acceptance.



Overall, this is a fine addition to the catalogue. I am increasingly convinced that there are no definitive Mahler performances, only a long line of valid interpretations. So broad and deep was Mahler's vision that likely no performance can be viewed as entirely authoritative and definitive. Thus, where I might find this performance less convincing, others may be fully persuaded. Suffice it to say that this is not another routine reading of this work, but a unique, deeply felt, and fully realized interpretation. I may not have been completely convinced by some of the performance, but that does not temper my enthusiasm for this fresh take on Mahler's 9th, one deserving of respect and admiration."

Very good, just short of fantastic

J. T. Brown | Albuquerque, NM United States | 08/26/2005

(4 out of 5 stars)

"as with the previous recordings of Mahler symphonies by the SFSO and MTT, i really like this recording. the sound and playing is very good, as always with this orchestra. i give it 4 stars only because i am comparing it to the Royal Concertgebouw under Chailly recording, also an SACD. listening to this recording alone, i would say it is great, but in comparison to the Chailly recording, this disc is just missing something. it does not feel as dramatic, as explosive, as depressing as the Chailly recording. if for some reason you have a qualm with Chailly, than i would suggest this recording over all others."