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It's all about the music, dude! Sit down, relax and listen to some tunes.

Even Mengelberg

62.108.1.72

got criticised as other conductors and orchestras were criticised, but I never read a review in Gramophone which made minced meat from a recording, no, worse, they rave anything which is bad and step aside when a Gergiev disc has been released. Perhaps he's the only present day conductor who lives for the arts, conducts various orchestras, but will never leave the Kirov Orchestra which he supports with his own wages.

When they deal with Mahler's 'adagietto' from the 5th, they quote Mengelberg and Chailly, because Chailly quotes Mengelberg: 'It's a love-letter from Gustav to Alma, it shouldn't be spun out, but read fast, like it's a song which grows to be passionate in the midsection, but don't make it a movement where all suffering of the world is being depicted.' And as a recommendation they of course give Sir John Barbirolli, guided by pictures from Chailly, first trumpettist Peter Masseurs and first hornist Jacob Slagter from the CO. For the first three and last movements I'd choose CO/Chailly, because it's a very good recording, but Chailly also fucks up the adagietto, but he doesn't do a worse job than Barbirolli.

But because the major record companies are dependant on the opinions of those critics, who must be failed musicians, they don't protest, because Chailly won a Grammophone Award for this recording.

Do you understand it?

I think it's more politics and economy nowadays than the prewar years, because than artists were judged on their merits, but after the war anyone who had a glimpse of collaboration with the Nazis, came from Russia or later became a member of the Communist Party was erased from the history books and now obscure labels provide us with Mengelberg, Furtwangler and the likes and it's utterly shocking to compare those highly individualistic accounts of the masterpieces with today's, except for Gergiev, less inspired recordings, since most conductors signed a deal and don't have much influence on the repertoire they'll conduct. That's why Anne Sofie von Otter has to record a Christmas album, otherwise she won't be allowed to do a great Scandinavian program. The critics write, pushed by the industry a raving review about this Christmas album and it's a best-seller.

Hanslick could be made despicable, even in 'Meistersinger', but today's critics imo have more power and they're not that critical anymore as long as they have to serve the public they write for and a negative review could mean an orchestra or conductor will have less exposure the second night he conducts and won't be asked again.

Rob


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