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Symphony No. 4 Hybrid SACD

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Product Details

  • Performer: Erdmann; Nott; Bamberger Symphoniker
  • Composer: Mahler Gustav
  • Audio CD (April 28 2009)
  • Number of Discs: 1
  • Format: Hybrid SACD
  • Label: Tud
  • ASIN: B001Q3FRJY
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #165,730 in Music (See Top 100 in Music)
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Product Description

Nott,Jonathan/Bamberger So

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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0xa29172ac) out of 5 stars 2 reviews
HASH(0xa17ce7f8) out of 5 stars and in good sound", not a 5 star performance July 18 2016
By Amazon Customer - Published on Amazon.com
Format: Audio CD
On what planet is an "agreeable, straight forward M4, and in good sound", not a 5 star performance? . . . especially one that posses a fresh voiced, 'idiomatic' soprano like Mojca Erdmann. I own MANY recordings of Mahler 4, and this Nott one is right up there with my best ones. It's Nott so "straight forward" as to sound totally self effacing, the way Bernard Haitink often times can. The first movement has plenty of 'play' between the interchanging fast and slow sections, while also pegging the 20-something tam-tam strokes leading to the climax of the movement (with its pre-echo of Mahler 5's opening trumpet fanfare).

The scherzo is kept up to pace (I agree that it should be conducted in 1). And, more importantly, 'death's fiddle' actually sounds scratchy and menacing for once (Mahler calls for the solo violin to be tuned up a step). I also love the sloppy sounding portimenti on the high strings at the climax of the trio section (sliding from one note to the next on the fingerboard). Most everybody observes those portimenti, but most sound somewhat apologetic in the process. Not Nott.

The third movement is beautifully paced (21 minutes) and possess one of the best climaxes ever. I even did back-to-back comparisons of that fabulous climax, and Nott does it as well as anyone. The fourth movement, IMHO, is really very good. I like the finale even better on the Ivan Fischer M4, who has the excellent Miah Persson on his roster. That's hard to beat, but Nott isn't far behind at all. Did I mention that the sound quality is excellent?
1 of 4 people found the following review helpful
HASH(0xa1d002d0) out of 5 stars *** 1/2 stars: An agreeable, straightforward Mahler Fourth, in quite good sound Sept. 19 2010
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
Jonathan Nott is an English-born conductor, ow 48, who left London to become a Kapellmeister in provincial Germany, an unusual career choice nowadays. He has been rewarded with constant praise in the British press, which greets the Bamberg orchestra as if it were a major ensemble. It isn't, by a long shot, but some aspects of Nott's Mahler cycle are admirable: he gets very clear textures, proceed without fuss, and has the advantage of up-to-date sonics (one critic called these recordings the front-runners in SACD, which wounds plausible listening through two channels). But how can reviewers go overboard for readings that are, well, those of a fairly talented Kapellmeister. This new Mahler Fourth is given on a small scale compared to almost any big-name conductor and orchestra, which is not automatically a criticism--there's room in Mahler's most intimate symphony for reduced expression. Ivan Fischer took a similarly fresh approach with his Budapest Festival Orch. and was similarly praised.

Even so, one hears a lot of Mahler being left out when the playing is this modest and straightforward. Nott underplays every movement in order to achieve a smooth, light presentation. In the devil's fiddle episodes of the second movement he is pointed and snappy, but I still get the impression of the music moving briskly, one foot ahead of the other. If you are used to the lush string body of orchestras in Chicago, London, Berlin, or Vienna, the beginning of the slow movement will seem rather bare bones, and Nott's plain-faced phrasing fails to exploit the hushed wonder of this movement. Mahler's slow music should ache in the heart, and here it doesn't. The finale proceeds at a nice walking tempo, not notably fast or slow; the soprano soloist, Mojca Erdman, has a very appealing voice. She gives us a lyrical flow rather than a characterization of the child's view of heaven. Nott is tasteful ad yet a bit ordinary.

I don't mean to swat at a recording that deserves to make friends, but it's hard to be charitable when so much praise has been lavished on a reading that is agreeable without being exceptional. In this light vein the Fischer has more character and better playing.

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