One of the most articulate and down to earth commentaries in this series. A real pleasure to hear him. I believe Mahler once remarked during a rehearsal that changes in the score would be acceptable to him. I'm surprised that composers don't change scores as complex as these over a long period of time. I know painters sometimes do this. Reflection can help with a greater sense of objectivity.
All of these interviews are fascinating. A wonderful resource. But none are as interesting and charming as this one with Maazel. He is humble, sceptical and very insightful. I could listen to him for hours.
I think Maazel gets to the point, too, that Mahler's music is first and foremost music, not prophecy, history or philosophy, and that tends to get obscured when we talk about, in Maazel's own words the "philosophical connotations" of Mahler. If there is any philosophical or emotional interpretation or evocation possible in Mahler it is secondary to, and only builds upon, its primarily musical reality.
It's funny that he loved Beethoven, Bach and Mozart on the one hand, and Berg and Webern on the other, but that Mahler was a foreign world to him. Of course, he's approaching it as a conductor, so that might make the difference, but it's an interesting observation in his case. For me, Mahler has been the bridge from Beethoven to Berg, rather than a missing third.
His death was seemingly sudden. He had been busy with his summer musical festival at his farm in Virginia. Maazel always struck me as the antithesis of Bernstein. Maybe that is why I never connected with his recordings. His comment at 7:11 is directed at Bernstein clearly.
I loved both! Maazel's pose, natural elegance, emotional control and superb stick technique was of course the antithesis of Lennie who like a vulcano let out his enormous sensitivity and contagious love for every note! Boy I'm happy we had both back then! Regards from one who was fortunate enough to experience Karajan, Bernstein, Giulini, Kleiber and Maazel in early infancy!
![Jack Harlow - Hello Miss Johnson [Official Music Video]](http://i.ytimg.com/vi/Q86_nlRoIGw/mqdefault.jpg)
One of the most articulate and down to earth commentaries in this series. A real pleasure to hear him. I believe Mahler once remarked during a rehearsal that changes in the score would be acceptable to him. I'm surprised that composers don't change scores as complex as these over a long period of time. I know painters sometimes do this. Reflection can help with a greater sense of objectivity.
All of these interviews are fascinating. A wonderful resource. But none are as interesting and charming as this one with Maazel. He is humble, sceptical and very insightful. I could listen to him for hours.
Amazing interview. He was very insightful and down to earth at the same time
I think Maazel gets to the point, too, that Mahler's music is first and foremost music, not prophecy, history or philosophy, and that tends to get obscured when we talk about, in Maazel's own words the "philosophical connotations" of Mahler. If there is any philosophical or emotional interpretation or evocation possible in Mahler it is secondary to, and only builds upon, its primarily musical reality.
R.I.P. Maestro
It's funny that he loved Beethoven, Bach and Mozart on the one hand, and Berg and Webern on the other, but that Mahler was a foreign world to him. Of course, he's approaching it as a conductor, so that might make the difference, but it's an interesting observation in his case. For me, Mahler has been the bridge from Beethoven to Berg, rather than a missing third.
Yes and he is right about that a tragical piece also needs to have the counterpoint of wiews `the happy moments`
Fascinating!
Him and Anthony Bourdain had such a strikingly similar voice. RIP to both great individuals.
I would also proffer Orson Welles.
@@jrneal1220 Incidentally, Maazel's younger son is called Orson.
His death was seemingly sudden. He had been busy with his summer musical
festival at his farm in Virginia.
Maazel always struck me as the antithesis of Bernstein. Maybe that is why I never connected with his recordings. His comment at 7:11 is directed at
Bernstein clearly.
+Michael Doyle I totally agree with you, Bernstein was the name that came to my mind after that comment.
I loved both! Maazel's pose, natural elegance, emotional control and superb stick technique was of course the antithesis of Lennie who like a vulcano let out his enormous sensitivity and contagious love for every note! Boy I'm happy we had both back then! Regards from one who was fortunate enough to experience Karajan, Bernstein, Giulini, Kleiber and Maazel in early infancy!
I love Bernstein
An intelligence never to be seen again, in today's overhyped (kid)conductors market.
You are missed Lorin.