This is by far my favorite interpretation of Mahler 5, even with what you people claim is "ballooning." In fact, I like this BECAUSE of that choice. It gives it a much darker and more somber feel. Not to dis Bud Herseth, but this is far better. Bud is consistent and has very solid attacks, but his phrasing and sense of musicality is somewhat lackluster in all of the recordings I could find. Gabor seems to truly understand the concept and situation surrounding the piece. Mahler had a tragic life and as such it translated into his music. Gabor has done excellently in pervaying this soul-crushing sadness and grief that bereft Mahler by giving this opening passage an almost lilt. It begins in a quiet yet controled state, like trying to stay calm and collected, but it soon explodes into a wail of emotional sobbing... like a cry for help, or a cry of almost anger lashing out at the world for the cruel hand that had been repeatedly delt. It then steadily climbs back down into the same kind of state one feels after heavily crying. It's genius. Gabor is a master of not ony his instrument, but of his musical concept and emotional perveyance.
I will never forget the brilliance of Herseth’s tone, which was quite unique and immediately recognizable. Good to be reminded of hanging from the first row of the upper balcony as a teenager in Chicago’s Symphony Hall.
I think it's more that Bud approached this solo in a traditional military fanfare style (which is in the score notes), where one would be expected to play triumphantly and with utmost confidence and decorum... which he sells perfectly. Brings the comparison down to simple artistic interpretation, the question is whether this interpretation is the responsibility of the soloist, or of Mahler and his original notes. As a trumpet player, I love both, and Bud's version still serves as a hallmark of the trumpet repertoire. As a musician, I do prefer Gabor's interpretation, even if it isn't as canonically correct. But I'm a sucker for romance, emotion, expressiveness. Gabor's is how I hear it in my head when I think up how I'd like to play it in a perfect world.
蔡嘉憲 some real idiots commenting on this. His performance is fantastic! The low f trumpet is what Mahler heard in his head when he wrote this. Any good player can make a piston or rotor horn sound as bright or dark as they want. As for the articulation it certainly intones a plaintive cry that fits the funeral march.
❤️🎺❤️ Absolutely gorgeous. I love the way he weaves in and out of the orchestra. And at the end slightly behind the beat almost like... Patsy Cline. The rest of you lay down the rhythm and I'll just play my solo the way I feel it. It's just perfect. Why oh why did you stop the recording THERE???
Aaron Jackson well, Mahler did not write this piece for an American or a British orchestra. And the Berliner Philharmoniker are most certainly a German orchestra. What's your point here?
People forget that this solo is supposed to be like Taps, a haunting funeral knell that calls the Reaper to attention. "Trauermarsch" translates from the German into "Funeral March." That's the intent here. And I love his interpretation of this. Soft, pained, but focused. And with a German trumpet, that's perfect.
Let's set the record straight. If you think your teacher or the first trumpet of your local symphony orchestra is way better than the 1st trumpet of the Berlin Philharmonic...something in your music education has gone way wrong!!
FBI hmmmmm where did he say that??? I can’t find it anywhere! But seriously, only the best of the best make it into world-famous symphonies, let alone become the first chair
FBI sorry for the sarcasm in the first comment, dude, but Kyle’s original comment never said that the first trumpet was the best player in the world, and to claim that he did is mostly just twisting his words
Tate Allen the dude basically just said he’s the best trumpet player in the world, which, although there’s a chance he may be, there’s also a bigger chance he isn’t. Just the fact that he claimed that the player is better than any local orchestra is stupidity, and before he should make any claims like that, I suggest he listens to a couple of other symphony orchestra groups, such as the San Francisco Symphony or the Dallas Wind Symphony, so that way, he won’t be so close minded. Although he literally didn’t say it, he’s basically did
coming back here - finally saw Mahler No. 5 live the previous night before typing this, by the Calgary Philharmonic Orchestra. In person makes it an entirely different experience!
Alguien tiene informacion, biografía y/o donde realizo sus estudios en idioma español de Gabór Tarkövi el trompetista de esta orquesta. Se los agradecería.
Great articulation, Id like it if he lifted the releases and the high notes, i wish didnt do "wA wA". he could be more aggressive in the upper register.
why do trumpets in orchestras never play an actual, normal, standard, Bb trumpet??? It's always gotta be some bass trumpet tuned to F or some shit like that
SI, COMO YO CREO, TODOS LOSW MÚSICOS SON ÁNGELES ENVIADOS POR DIOS COMO UN ADELANTO DEL PARAÍSO, GUSTAV MAHLER ES EL ARCÁNGEL SAN MIGUEL PARA TODOS ELLOS. ¡¡¡TE AMO, GUSTAV!!!
i agree. maybe it has to do with the rotary trumpet. if it was on a piston trumpet it probably would be much easier to get a block sound. idk much about this stuff though
Yea honestly. Earth's premiere principal trumpet player or not, I'll bet if he walked into a master class where no one knew who he was they'd tear him apart for playing that excerpt extremely flat and with "dwahs." I'm not saying Gabor isn't world class but this wasn't ideal.
Direct attacks isn't the only articulation acceptable to play this solo. Tarkovi's articulation here confers a very different tone and mood from the very direct, and may I say "American" approach (as adopted by Adolf "Bud" Herseth). I'm not a trumpeter obviously but I see absolutely no problem in this. And before you slam me for commenting on trumpet playing despite being a strings player, bear in mind that the most important and fundamental element in any music-making is to express or convey anything the music say coherently and convincingly. Any technique which so many people dwell on is only used for this very basic and critical element of music-making. How Tarkovi executed it should not take priority before how he conveyed it -- if he did the latter excellently (which he did), then any technique involved is irrelevant. It is for the very same reason that I have never understood why Herseth's Mahler 5 opening solo seems to be so universally admired. His techniques are flawless without any slightest doubt, but the music doesn't come across to me as being so direct and in-the-face. His phrasing was okay to me but the rhythm of the opening triplets, the more metallic tone (probably due to the piston trumpet he used), and the articulation were far from ideal for me. On the whole, I do not think Herseth convincingly expressed what the music meant -- it is meant to be dark and, being Austrian, powerful without being, may I say, seco. Again, this is merely my opinion and I respect Herseth's take on this solo, as well as his many fans around the globe. The interpretation of Mahler 5 is obviously very personal and there is no right or wrong (except if you say the Adagietto should be presto instead, of course). It was mainly because I saw some of the comments here slamming Tarkovi's, in my opinion, well thought-out and musically sound articulations that I decided to post such a long, perhaps boring comment here. P.S. In my opinion, Abbado's and Rattle's Mahler are the best. Bernstein doesn't work for me -- not even close. Probably this would give you a hint of how I interpret Mahler. A more direct hint of course would be the other videos on my channel, in many of which I was (one of) the performer(s) haha
Haha, man wtf? :'D Have you heard this guy live? His sound is increadible and if he was unknown and would walk into a master class, he would blow away every criticism that comes his way. You may or may not like it, but this is world class. None would tear him apart, because everyone would know he is one of the best the way he plays this. It is so perfect (in his style) and professional. Just compare this with the Mahler 5 that Bud is playing. It's ugly and he even get lost in his solo, and make the whole orchestra unstable. And that is Bud's triumph-card? Before ppl start throwing eggs at me: I'm not a big fan of Gabor's "dwah"-attacks, but when people criticize him because he doesn't play like everyone else, it's just a joke. This is music, and this is very good - americans.
It's hard to compare Bilger and Tarkovi. They are both brilliant, but their approaches are very different. Bilger's technique is so relaxed, that even the most intense solos have a cleanness and clarity that is unmatched. Tarkovi is intense and raw, in the best sense.
no the other guy said "ummm cornet not trumpet" and then i said "trumpets sound better one this piece" Cornets have a bluh sound and trumpets have a bla
Look the guy that i replied to liked cornets on this piece better than trumpets and i said trumpets sound better on this piece, and you pointed out the obvious and then i explained my self then you say you dont understand but you agre with my reply
In all of music history, there has never been a more "all about ME" conductor than boy Simon Rattle. Karajan and Fürtwangler were aimable serfs in comparison to this self-aggrandizing prat!
