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After the successful release by the highly regarded Austrian conductor Manfred Honeck and the Pittsburgh Symphony Orchestra of recordings of two of Gustav Mahler’s symphonies, No. 1 in D major (EXCL00026) and No. 4 in G major (EXCL00048), this two channel double SACD set features a live performance of the composer’s massive Third Symphony in D minor. Considered to be one of the best modern day interpreters of Gustav Mahler’s music, the Austrian conductor Manfred Honeck began his career as conductor of Vienna's Jeunesse Orchestra, which he co-founded, and as assistant to Claudio Abbado with the Gustav Mahler Youth Orchestra in Vienna. After several highly successful guest appearances as conductor of the Pittsburgh Symphony Orchestra, he was appointed its Music Director in 2008. Gustav Mahler’s Symphony No. 3 in D minor was written between 1893 and 1896 and is the longest symphony in the standard repertoire. It has five movements and features a large orchestra, chorus, children’s choir, and female soloist. Both this recording and Tchaikovsky’s Fifth Symphony (OVCL00443) are released by Exton to coincide with the orchestra’s European Festivals tour – see BBC Proms dates below. Personnel: Pittsburgh Symphony Orchestra, Manfred Honeck (conductor), Michelle Deyoung (mezzo soprano), Mendelssohn Choir of Pittsburgh, Children’s Festival Chorus of Pittsburgh, Peter Sullivan (solo trombone), George Vosburgh (post horn)
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3 reviews
8 of 11 people found the following review helpful
Best overall Mahler 3 in my rather vast collection
8 Sep 2011
Format:Audio CD
For me, this is 'tha bomb' and a huge improvement over Honeck's two previous efforts: Mahler 1 and Mahler 4. Even the cover art is a big improvement - not that that matters. While the woodwinds aren't quite as prominent are they are on the recent Jansons/Concertgebouw M3 recording, this performance possesses far more visceral impact in the two outer movements. Hugely so, as the Pittsburgh brass and percussion make a powerful statement throughout, without also rendering the woodwinds and strings as being irrelevant. Far from it, in fact, as the PSO strings produce a positively gorgeous sound in the long Adagio finale (stretched to 25 minutes, but without sounding 'too slow' in the slightest). What further drives this performance is an equally gorgeous vocal movement - once Michelle DeYoung gets herself on track, that is (which she does quickly) - followed by a lively and colorful account of the brief 'bim-bam' choral movement. Special kudos to principal trombonist Peter Sullivan in his first movement solo, along with George Vosburgh's excellent offstage trumpet work in the scherzo - the so-called 'posthorn' solos. As if those gorgeous strings weren't enough (Honeck was a former violist for the Vienna Phil.), the sheer amplitude of Pittsburgh's brass section has to be heard to be believed at the climax of the finale's long brass chorale. Yet, that brass sound isn't harsh or strident in the slightest.
In final analysis, I know of no other Mahler 3 that covers so many bases so well, and from start to finish. The more intimate moments of the symphony are beautifully controlled and phrased, while the more wild moments are unleashed at their full technicolor glory. All of this comes to a great culmination in the long brass chorale near the end of the finale. Need I add that the Exton sonics are second to none? This is not just a 'keeper' but a true winner! The only other Mahler 3 I like as much as this one is the 'high resolution' download of the recent Alan Gilbert/N.Y Phil. performance (available through the N.Y. Phil's website). We are truly spoiled.
Another interesting tidbit: throughout the development section of the first movement, the elaborate snare drum part gets played on a deep 'military' drum; thus enhancing the 'outdoors-y' flavor of Mahler's parade ground music. Good stuff.
In final analysis, I know of no other Mahler 3 that covers so many bases so well, and from start to finish. The more intimate moments of the symphony are beautifully controlled and phrased, while the more wild moments are unleashed at their full technicolor glory. All of this comes to a great culmination in the long brass chorale near the end of the finale. Need I add that the Exton sonics are second to none? This is not just a 'keeper' but a true winner! The only other Mahler 3 I like as much as this one is the 'high resolution' download of the recent Alan Gilbert/N.Y Phil. performance (available through the N.Y. Phil's website). We are truly spoiled.
Another interesting tidbit: throughout the development section of the first movement, the elaborate snare drum part gets played on a deep 'military' drum; thus enhancing the 'outdoors-y' flavor of Mahler's parade ground music. Good stuff.
5 of 7 people found the following review helpful
Another stellar recording!
12 Sep 2011
Format:Audio CD
Awsome is the only word I can use that comes close to describing the journey this recording takes the listener on. Mahler No 3 is very difficult to perform and make sense of, but Maestro Honeck and the PSO give a reading of the highest quality and insight. The playing is simply gorgeous and the attention to detail borders on the pedantic. Nine french horns playing the opening theme establish from the get go that this is a serious effort and what follows is very well worth your attention. Get it!
3 of 5 people found the following review helpful
Very fine performance but sonics are shy of perfect
22 Dec 2011
Format:Audio CD|Amazon Verified Purchase
I echo Mr Guerrero's remarks in general. Something special is happening in Pittsburgh and this is very good evidence to back up that view. I like Honeck's ability to relax in the "pastoral interludes" in the first movement without slackening the pulse. The playing of the PSO brass is pretty close to the eighth wonder of the world. The horn section is, in my opinion, the best in the country (including Chicago!). Trumpets have an ability to offer searing power when necessary but without ungainly vibrato, they also play quietly very beautifully, which is important in Mahler. Trombones have great sound and technique without being overbearing. While wind soloists might not have the greatest individuality, they sound well but are not miked closely and so sound just a fraction recessed. I like Honeck's placement of the second violins on his right. Carlos Kleiber and Adrian Boult would approve.
My only gripe is that Exton isn't Telarc. For comparison try Telarc's recording of the Vaughan Williams 5th with Spano and the Atlanta Orchestra (a first rate CD all round). They can make a great, perfectly balanced recording which is spectacular and intimate by turns in a horrendous auditorium. Heinz Hall is not a bad recording venue, surely much better than Atlanta, yet we have a recording which gets constricted - slightly - in great tuttis. Additionally, the horns are obviously playing "backwards" and away from the mikes. This is a pity because their playing is unanimous and magnificent as they open the work and in their restatements of the opening theme - "homage to Brahms 1." Something tells me Wilma Cozart Fine would have done better with the three mike approach back in the days of Living Presence.
So, if Telarc had engineered this as well as their best work, or rather if Exton had engineered this as well as Telarc's best work - it would be getting 5 stars. Considering Exton charge a lot for their CD, if PERFECT sound is what you're after, you're not getting it here. It's fabulously transparent in the pianissimo sections, but when it gets loud, it's a crowded sound.
My only gripe is that Exton isn't Telarc. For comparison try Telarc's recording of the Vaughan Williams 5th with Spano and the Atlanta Orchestra (a first rate CD all round). They can make a great, perfectly balanced recording which is spectacular and intimate by turns in a horrendous auditorium. Heinz Hall is not a bad recording venue, surely much better than Atlanta, yet we have a recording which gets constricted - slightly - in great tuttis. Additionally, the horns are obviously playing "backwards" and away from the mikes. This is a pity because their playing is unanimous and magnificent as they open the work and in their restatements of the opening theme - "homage to Brahms 1." Something tells me Wilma Cozart Fine would have done better with the three mike approach back in the days of Living Presence.
So, if Telarc had engineered this as well as their best work, or rather if Exton had engineered this as well as Telarc's best work - it would be getting 5 stars. Considering Exton charge a lot for their CD, if PERFECT sound is what you're after, you're not getting it here. It's fabulously transparent in the pianissimo sections, but when it gets loud, it's a crowded sound.
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