My favorite Mahler recordings

I'm posting this in celebration of Mahler's birthday (July 7th, 1860). These preferences change all the time; and there's a lot of Boulez here because the series he recorded over the last decade or so made things so CLEAR. They are great 'study' recordings. With age I seem to prefer the clarity.

Bernstein's recordings are an old preference from discovering Mahler in my teens. And a few years ago I picked up his full cycle with the Vienna Phil that was recorded between his two cycles for Columbia/Sony and DG - I think it's a great cycle, in addition to getting to watch him perform.

And Barbirolli is another old fave - slow tempos that somehow stay exciting.

1st - Bernstein, NYPhil
2nd - Bernstein, NYPhil
3rd - Horenstein, LSO
4th - Bernstein, NYPhil
5th - Boulez, Vienna
6th - Barbirolli, New Philharmonia
  (but I also like the Mitropoulos, NYPhil)
7th - Boulez, Cleveland
8th - Boulez, Berlin
Das Lied - Kletzki, Philharmonia
    (Fischer-Dieskau, Dickie)
9th - Barbirolli, Berlin
10th - Rattle, Bournemouth

Honorable mentions:

Tennstedt's complete set
Bernstein's complete DVD cycle with Vienna
  (recorded between his two CD cycles)
The NY Phil set of historic Mahler recordings

other good recordings of the 6th:
Boulez, Horenstein, Szell

Bill Monroe - old time bluegrass and rap

I've been listening to some Bill Monroe recordings lately. In case you don't know, Bill Monroe was one of the founders of 'bluegrass' style. In fact, the style is named after his band, "Bill Monroe and the Blue Grass Boys". In particular, I'm enjoying

"Bean Blossom" (a live recording of a music festival he started)

, and

"I Saw the Light" (a collection of gospel quartet songs.)

I'm not sure I can explain what appeals to me about roots and folk music. I work in commercial theatre music. I grew up on classical music and 60's rock. But there's something about Taj Mahal, Janis Ian, Patty Griffin and now Bill Monroe that speaks to me. I'm aware of the musical simplicity - but that doesn't get in my way. There's a sense of truthfulness (or 'truthiness' as Stephen Colbert says) that makes it land in some way. In my daily life, I certainly don't share the blues experience - but the blues take me somewhere different than Sondheim, Mahler and Bach.

Someone recently knocked me for wanting to listen more to WFUV (a folk and folk-rock station) than WFMU (a wonderfully eclectic college station that plays anything.) This person knocked WFUV for playing 'that folky shit'. But as I thought about it, I realized that i was more interested in music based on song structures than music based on grooves and oddity. There's plenty of great stuff on WFMU, and plenty that I don't like on WFUV. But I prefer to hear the struggles of song writers to that of musicians trying to shock or surprise me with novelty. (Old Fuddy Dud Alert - here it comes ...) And a lot of music today is built on groove and words - melody and harmony taking a back seat. That doesn't work for me in any kind of music.

But WHY has that occurred? I know rap and hip-hop were cultural developments as well as musical ones ... but why the strong move towards groove over everything else? And why the persistence of that tendency for a few decades now? We don't seem to be dancing as much as we used to (that could be my age speaking) - so the predominance of groove doesn't seem to be a dance thing. Yes, words that are done in a rap style have a different approach to communication than sung lyrics. But despite the content being so direct, the 'tonal' context seems so limited after a while - it's always the same voice, the same inflection.

This is way off what I wanted to talk about - the appeal of roots music. But maybe for others, the spoken word has that simple directness that I'm finding in roots music.

Or maybe what I hear in hip-hop as a lack of musical gesture is what my father heard when we were playing Jimi Hendrix records in the 60's - for him maybe Hendrix was a lack of organized musical structure and indulgent soloing.

But what is disturbing to me is not the music I don't like ... but the music that seems void of content - music where there's not enough content to hang my displeasure on.

the crystal point

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I’m find there’s something called “a crystal point”.

I first look at a number and I start out complaining: “How am I going to do it with so few instruments?” “Why does he make these compositional choices? They seem arbitrary.” “Shouldn’t there be a much more different arrangement?”

Then, I’ll go and procrastinate - torrent a little, a book on tape, a book on Kindle.

Then I’ll come back to the chart and maybe look for a starting synth sound, stare at the screen for a few moments ...

Then it lines up ... a sort of ‘crystal point’: suddenly a few colors in my teeny tiny band match an odd choice of the composer - a synth patch work for a figure here - a woodwind choice is just right for the line there - throw away that vocal doubling - add a fill into the gaping hole there with a fill.

This moment usually happens about 1 am. I often stand up and go right to sleep. Colors and choices don’t disappear from memory like pitches and rhythms do (at least for me.)

Occasionally such a crystallizing moment (is that a more apt phrase?) occurs upon first hearing. Receiving an assignment from a performance as opposed to the printed page presents solutions much more quickly. if the emotional journey of the song is clear, and you’ve become familiar with what your present instrumentation can do ... sometimes all the right choices play out in your head as you are listening. The score page becomes an issue of how well you can execute what is already obvious.

The challenge, of course, is when such a moment of crystallization does NOT occur - and you have to move forward anyway. You want to think that only you can recognize which scores were inspired and which ones just got done. But sometimes, it’s all too obvious.

Sunday, 4 A.M., by Elizabeth Bishop

An endless and flooded
dreamland, lying low,
cross- and wheel-studded
like a tick-tack-toe.

At the right, ancillary,
"Mary" 's close and blue,
Which Mary? Aunt Mary?
Tall Mary Stearns I knew?

The old kitchen knife box,
full of rusty nails,
is at the left. A high vox
humana somewhere wails:

The gray horse needs shoeing!
It's always the same!
What are you doing,
there beyond the frame?

If you're the donor,
you might do too much!
Turn on the light. Turn over.
On the bed a smutch -

black-and-gold gesso
on the altered cloth.
The cat jumps to the window;
in his mouth's a moth.

Dream dream confronting,
now the cupboard's bare.
The cat's gone-a-hunting.
The brook feels for the stair.

The world seldom changes,
but the wet foot dangles
until a bird arranges
two notes at right angles.

- Elizabeth Bishop