@mahler123 that’s just the point with Budapest. They are a fine orchestra but really not at the same level as an orchestra like Chicago. While interpretation is a part, at some point it’s closer to a professional sport and some teams just have more talented players. Perhaps I am showing my hand, but as a player in professional orchestras, I find Budapest’s playing quite dull.
As for that recording of Mahler 3 with CSO. I’m assuming you’re talking about the Resound release? That’s actually my favorite recording of the work. Maybe the “recording” sounds a bit dry, but the sound is there. The opening with the horns is intense and bright, with great attack. The posthorn (cornet is this case) solo in the 3rd Mvt is as wonderful as it’s ever been performed. The strings and winds throughout play with emotion that comes through on every note. Really my only criticism is the trombone solo in the 1st being a bit too herky jerky, having heard it performed in Philadelphia by the wonderful Nitzan Haroz.
I offer another example where most orchestras including Budapest just can’t match the top orchestras. Mahler 9. It is such a wonderful work, but must be treated with care. Budapest plays the notes on the page, but that’s not enough. In contrast, the more recent recording of Dudamel and Los Angeles is divine. It’s hard to put your finger on it, but it feels like they play every phrase just a bit longer than the page says, giving it this sweet, flowing character. Everything is rounded, and this brings a connectedness not found in other recordings.
Like I said, if you’re just listening to a recording for how closely it matches the live performance, you’re an audiophile. I get it. When it comes to orchestra I care about that too, but I care far more about the performance. I want to hear how the very top musicians perform these works. The conductor is but one person. The manager, for sure, but an otherwise much less talented team is not going to perform a miracle.
As for that recording of Mahler 3 with CSO. I’m assuming you’re talking about the Resound release? That’s actually my favorite recording of the work. Maybe the “recording” sounds a bit dry, but the sound is there. The opening with the horns is intense and bright, with great attack. The posthorn (cornet is this case) solo in the 3rd Mvt is as wonderful as it’s ever been performed. The strings and winds throughout play with emotion that comes through on every note. Really my only criticism is the trombone solo in the 1st being a bit too herky jerky, having heard it performed in Philadelphia by the wonderful Nitzan Haroz.
I offer another example where most orchestras including Budapest just can’t match the top orchestras. Mahler 9. It is such a wonderful work, but must be treated with care. Budapest plays the notes on the page, but that’s not enough. In contrast, the more recent recording of Dudamel and Los Angeles is divine. It’s hard to put your finger on it, but it feels like they play every phrase just a bit longer than the page says, giving it this sweet, flowing character. Everything is rounded, and this brings a connectedness not found in other recordings.
Like I said, if you’re just listening to a recording for how closely it matches the live performance, you’re an audiophile. I get it. When it comes to orchestra I care about that too, but I care far more about the performance. I want to hear how the very top musicians perform these works. The conductor is but one person. The manager, for sure, but an otherwise much less talented team is not going to perform a miracle.