Dudamel

Undoubtedly the brightest new star in the classical music scene is the young Venezuelan conductor, Gustavo Dudamel. A product of the Venezuelan state-run music education program known as "El Sistema," he was discovered at the age of 23 when he won the International Mahler Conducting Competition in Germany. Classical music loves prodigies; the meteoric trajectory of his career since really isn't all that uncommon among musicians (see: Mozart, Hilary Hahn, Jacqueline DuPre, Leonard Bernstein, etc.). Following the competition, Dudamel found himself in demand around the world, and became and apprentice of sorts to two of the most prominent conductors on the planet, Simon Rattle and Claudio Abbado. The Gothenburg Symphony Orchestra engaged him as principle conductor in 2007, and Dudamel is currently in his first season as musical director of the Los Angeles Philharmonic. He's a surprisingly accessible and warm person, and orchestra rave about his approachability and ability to communicate his passion for music. Here's a video of him leading a conducting master class with the Philharmonia Orchestra and some young British conductors:



Dudamel is now only 28, but he's already being heralded as the second coming of Bernstein--an incredible musician and excellent educator and pedagogue. Not to mention the fact that he's might have the most raw talent in conducting Mahler since Bernstein--particularly in the Fifth. I can hardly wait for him to record the Second, Sixth, Seventh, and Ninth; his Third with the La Scala Orchestra in Milan was revelatory.

Since beginning his tenure as chief conductor of the Los Angeles Philharmonic, he's done an amazing job modifying El Sistema for students across Southern California. I really hope his work catches on elsewhere; El Sistema has been incredibly successful in giving disadvantaged young people purpose in life, and it's rightfully considered the crown jewel of arts programs in South America. In Southern California, where arts programs in schools have been all but decimated by budget cuts, an El Sistema-light is probably needed more than in any other place in America.

Here's Dudamel at the 2007 BBC Proms in London with his Simon Bolivar Youth Orchestra, conducting Arturo Marquez's Danzon No. 2.



I'm looking forward to seeing what Gustavo Dudamel brings to the LAPO--their relationship is still in its nascent stage, and it's impossible to predict how orchestras will ultimately respond the their directors. But Dudamel is certainly lucky to inherit the LAPO after Esa-Pekka Salonen's wildly successful reign. I'm betting that their collaboration will be central to American music for years to come.

Mahler: Symphony No. 6 "Tragic" CD Reviews

I'll start with a staple in any music lover's collection and a reliable favorite of mine, Gustav Mahler's Symphony No. 6 in A minor, popularly subtitled the "Tragic" Symphony. Reviews will be organized in alphabetical order by conductor, and the rating system will be out of a possible 5 stars for artistic quality of performance, and 5 for quality of recorded sound.

I'll include some of the best and worst recordings I've run across--there's really no need to review the pedestrian, middle-of-the-road recordings.

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Claudio Abbado/Berliner Philharmoniker
A sentimental favorite, Abbado deservingly won the Grammophone award for this inspired reading of the Sixth in 2005. Perhaps no active conductor today nails Mahler's idiosyncratic shifts of mood and tone like Abbado. The sound quality is quite good as well, particularly in the finale. Moreover, the hammerblows at the climax of the finale have never sounded more powerful or menacing as they do here. The adagio movement is the most achingly beautiful interpretation I've heard, brisk but far from rushed.
Artistic Quality: 5
Sound Quality: 4



Leonard Bernstein/Wiener Philharmoniker
Bernstein's second Mahler cycle is legendary; his recordings of the First, Second, Fifth, Sixth, Seventh, and Ninth Symphonies with the New York Philharmonic and the Vienna Philharmonic are considered some of the finest interpretations of Mahler ever performed. The thing that shines about this performance of the Sixth is that Bernstein is determined to highlight the smallest details of Mahler's intricate scoring; this is especially apparent in the introduction to the finale movement, perhaps the most chillingly atmospheric on disc.
Artistic Quality: 5
Sound Quality: 4



Pierre Boulez/Wiener Philharmoniker
A disappointment, especially after reading several reviews calling this "the" Mahler Sixth. Boulez's Mahler cycle has been described as "cool" Mahler, a departure from the norm. But, honestly, if you're going to buy a High Romantic period recording of what is undoubtedly Mahler's most hyper-emotional symphony, do you want it any other way than "hot?" I think not. The finale becomes a snooze-fest...which bodes terribly for the rest of the work. Moreover, I thought the sound production values were rather terrible.
Artistic Quality: 1.5
Sound Quality: 2



Valery Gergiev/London Symphony Orchestra
Gergiev begins both his recording career as the Principal Conductor of the London Symphony Orchestra as well has the LSO's first complete Mahler cycle with this harrowing performance. Tempos of all four movements are taken at a brisk pace; the LSO's pulsating low strings evoke menace unlike any other performance. Gergiev could perhaps slow down a bit in the finale, and the slow movement isn't nearly as well-controlled and beautifully phrased as Abbado's performance with Berlin. Overall, one of the finest Mahler Sixths available, and certainly the best of the 21st Century besides Abbado/Berlin. The recorded sound is excellent; I have the Hybrid SACD version.
Artistic Quality: 4.5
Sound Quality: 5


Michael Tilson Thomas/San Francisco Symphony Orchestra
I love Michael Tilson Thomas. And I love his Mahler; his Mahler Seventh with the LSO in the 70s was utterly revelatory, the finest reading of the work ever committed to disc, and his Fifth with the SFSO is particularly fine. But this recording of the Sixth is, in my opinion, an overrated misfire. This Sixth won the Grammy a few years back, and is arguably the most successful release in the Thomas/SFSO cycle, which is a wonder considering its halting phrasing and odd tempo shifts. On the plus side, the recording values are quite good, but far from the standard of Gergiev/LSO. I also bought the Hybrid SACD version of this CD, but even in multi-channel the sound quality failed to live up to the Londoners.
Artistic Quality: 2.5
Sound Quality: 4

A Fresh Start

It is said that the law is a jealous mistress--especially when it comes to competing for attention with other passions.

Being a law student means that my free time is extraordinarily limited, but I have found that the best way of coping with the often excruciating hazing process that is the 1L year is leaning on my love for music more than I have at any time in my life.

Music has always been my greatest passion, and my refuge from the inanities of life. Although I no longer find myself walking on a path towards making music my vocation, I still care more about it than just about anything else in the world.

I hope you find my musings on classical music, orchestras, and recordings informative and interesting. I'll be posting about concerts I attend, the state of classical music in America in this new millennium, reviews of new recordings, and recommendations of older recordings. As with any form of criticism, it is important to remember that art is subjective. My recommended recordings "click" with me and the way I perceive and feel music, but they may not click with you.

I hope that this blog tempts you to find your own taste in music, to explore how music makes you feel, and to seek out performances that speak to your soul in uniquely resonant ways.