Search - Gustav Mahler, Georg Solti, Chicago Symphony Orchestra :: Mahler: Symphony No. 5

This is NOT how the CSO plays!

Peter Pirotte | Kansas City, MO | 08/15/2004

(1 out of 5 stars)

"To those of us fortunate enough to have been able to hear the Chicago Symphony Orchestra play live under the able baton of Barenboim or an often equally distinguished guest conductor, it is clear that this recording is a poor one. It has its moments where the musicianship of the players, particularly wind soloists, all but forces you to love it. However, thanks to the record producers, it doesn't happen often. Each instrument seems individually recorded, and as a result the volume is often suddenly turned down! A perfect example is the climax of the 2nd movement. (To hear what I'm referring to, go to about 10:30 in Track 2.) The trumpets and trombones enter, and as soon as the timpani strikes on the downbeat of the next measure, the volume of the whole orchestra is suddenly softer. Inventive interpretation by Solti? Not quite. This kind of thing happens on several occasions throughout this brilliant Symphony. I'm not sure if the live recording (also by London) is any better, but I would hope so.



Jay Friedman, principal trombone with the CSO for 40 years and counting, himself comments, "London Records was never interested in capturing the natural sound of the CSO. They had a pre-conceived sound with they were determined to force on the orchestra that focused on hard, edgy sonics in a boomy, over reverberant space. ... I remember the horn section was placed 50 feet or more from the trumpets and trombones in order to get a gimmicky stereo effect. The results of these sessons produced a raucous, rough, hard-edged sound that in no way represents the CSO, especially the brass section. ... Solti was a great conductor... I do remember his unhappiness with the sound of the first Mahler 5th recording. He wanted to cancel the recording, but it was too late."



I'm sorry but I would think that the music should come first, not some producer wanting to make money by selling a recording bent to the will of some 70's record producer who thought louder was better and thought that the CSO and the music-listening public shared his opinion. Too bad he ruined a great performance."

The sound of this recording is London's fault

the-movie-guy | 02/27/2002

(3 out of 5 stars)

"I am a huge fan of the CSO but this resording is very disappointing, not because of the orchestra. The brass section gets terrible reputation for playing too loud, but when it sounds like everyone has a microphone stuck up their bell it is hard to say that this is a good representation of the CSO sound. I think that London is to blame for bad mic placement and setting levels too high. Most of the things recorded by Chicago on London have a brightness to them, but when you listen to the Abbado Mahler 5 on DG (and pretty much any other CSO recording on DG) the sound is magnificently better."

THE Mahler's fifth

alessandro dosio | 01/05/2000

(5 out of 5 stars)

"It's simply the best Mahler's 5th I've ever heard. Solti had in his hands the best brass section in the world (in the 70's in particular) and you can admire them in this powerful and exciting recording."