Gustav Mahler

(1860-1911)

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Mahler: Das klagende Lied

Mahler: Das klagende Lied


Mahler:

Das klagende Lied

Gundula Janowitz (soprano), Sonja Draksler (alto), Julius Patzak (tenor)

Vienna Radio Orchestra, Kurt Richter

Schubert:

Die schöne Müllerin, D795 (extracts)

(15 songs, recorded in 1944)

Julius Patzak (tenor), Michael Raucheisen (piano)


This performance was recorded in 1960.

Archipel Records - ARPCD0515

(CD)

$8.75

Usually despatched in 2 - 3 working days.

Mahler: Symphony No. 3

Mahler: Symphony No. 3

Dmitri Mitropoulos's Last Concert


Brahms:

Symphony No. 3 in F major, Op. 90

Recorded in Salzburg on 10th August 1958

Concertgebouw Orkest

Debussy:

La Mer

Recorded in Salzburg on 21st August 1960

Berliner Philharmoniker

Mahler:

Symphony No. 3

Recorded in Köln on 31st October 1960

Lucretia West (alto)

Kölner Rundfunk-Sinfonieorchester


This is Mitropoulos’s last recording and was made in 1960. The bonus works are La Mer by Debussy, played by the Berlin Philharmonic and Brahms Symphony No.3 played by the Concertgebouw. Mitropoulos is the conductor.

Archipel Records - ARPCD0517

(CD - 2 discs)

$13.50

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Elizabeth Schwarzkopf: The Radiant Soprano

Elizabeth Schwarzkopf: The Radiant Soprano


Bach, J S:

Cantata BWV51 'Jauchzet Gott in allen Landen'

Cantata BWV208 'Was mir behagt, ist nur die muntre Jagd!'

Cantata BWV68 'Also hat Gott die Welt geliebt: Mein glaubiges Herze

Cantata BWV199 'Mein Herze schwimmt im Blut'

Bist du bei mir, BWV508

Brahms:

Vergebliches Ständchen, Op. 84 No. 4

Immer leiser wird mein Schlummer, Op. 105 No. 2

Wie Melodien zieht es mir, Op. 105 No. 1

Der Jäger (No. 4 from Sieben Lieder, Op. 95)

Liebestreu, Op. 3 No. 1

Ständchen, Op. 106 No. 1

Dvorak:

Songs My Mother Taught Me, Op. 55 No. 4

Grieg:

Barnlige sange, Op. 61 No. 3 'Lok'

Ich liebe Dich, Op. 5 No. 3

Med en vandlije, Op. 25 No. 4

Våren, Op. 33 No. 2

Det første møde, Op. 21 No. 1

Zur Rosenzeit (No. 5 from Seks Sange, Op. 48)

Handel:

L'Allegro, Il Penseroso ed Il Moderato: Sweet Bird

Heuberger:

Gehen wir ins Chambre séparée) from The Opera Ball

Humperdinck:

Suse, liebe Suse... Brüderchen, komm tanz mit mir (from Hänsel und Gretel)

Der kleine Sandmann bin ich (from Hänsel und Gretel)

Irmgard Seefried (Hansel

Philharmonia Orchestra, Josef Krips

Jensen, A:

Murmelndes Lüftchen, Op. 21 No. 4

Lehár:

Bitte meine Herren (from Die Lustige Witwe)

Viljalied (from Die lustige Witwe)

Lippen schweigen (from Die Lustige Witwe)

Eberhard Wächter (baritone)

Philharmonia Orchestra & Chorus, Lovro von Matačić

Einer wird kommen (from Der Zarewitsch)

Heut’ noch werd' ich Ehefrau...Unbekannt, deshalb nicht minder interessant (from Der Graf von Luxemburg)

Ich danke...Soll ich? Soll ich nicht? (from Der Graf von Luxemburg)

Meine Lippen sie Kussen so heiss (from Giuditta)

Liszt:

Die drei Zigeuner, S.320

Mahler:

Lob des hohen Verstandes (Des Knaben Wunderhorn)

Medtner:

Selbstbetrug, Op. 15 No. 3

Aus 'Lila', Op. 15 No. 5

Mendelssohn:

Auf Flügeln des Gesanges, Op. 34 No. 2

Millöcker:

Ich habe Liebe schon genossen...Ich schenk' mein Herz (from Die Dubarry)

Was ich im Leben beginne...Ja so ist sie, die Dubarry (from Die Dubarry)

Mozart:

Exsultate, jubilate, K165

Ridente la calma, K152

Oiseaux, si tous les ans, K307

Dans un bois solitaire, K308

Die kleine Spinnerin, K531

Als Luise die Briefe, K520

Abendempfindung an Laura, K523

Das Kinderspiel, K598

Die Alte K517

Das Traumbild, K.530

Das Veilchen, K476

Im Frühlingsanfang, K597

Die Zufriedenheit,K.349

Das Lied der Trennung, K519

An Chloë, K524

Sehnsucht nach dem Frühlinge, K596

Ch'io mi scordi di te?... Non temer, amato bene, K505

Vado, ma dove? oh Dei!, K583

Alma grande e nobil core K578

Nehmt meinen Dank, ihr holden Gönner!, concert aria K383

L'amerò, sarò costante (from Il re pastore)

Zeffiretti lusinghieri (from Idomeneo)

Welche Kummer herrscht in meiner Seele (from Die Entführung aus dem Serail)

Traurigkeit (from Die Entführung aus dem Serail)

Martern aller Arten (from Die Entführung aus dem Serail)

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Porgi amor (from Le nozze di Figaro)

Voi che sapete (from Le nozze di Figaro)

Dove sono i bei momenti (from Le nozze di Figaro)

Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro)

Batti, batti, o bel Masetto (from Don Giovanni)

Vedrai, carino (from Don Giovanni)

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni)

Ach, ich fühl's (from Die Zauberflöte, K620)

Come scoglio (from Così fan tutte)

Philharmonia Orchestra, Karl Böhm

Mussorgsky:

In der Pilzen

Puccini:

Tu che di gel sei cinta (from Turandot)

Wiener Philharmoniker, Karl Böhm

O mio babbino caro (from Gianni Schicchi)

Wiener Phlharmoniker, Herbert von Karajan

Rossini:

La regata veneziana (C. Pepoli)

Victoria de los Angeles (soprano)

Duetto buffo di due gatti (Comic Duet for Two Cats)

Victoria de los Angeles (soprano)

Schubert:

Die Vogel D691

Liebhaber in allen Gestalten, D558

An die Musik D547

Im Frühling, D882

Wehmut, D772 (Collin)

Ganymed, D544 (Goethe)

Das Lied im Grünen, D917

Gretchen am Spinnrade, D118

Nähe des Geliebten, D162

Die junge Nonne, D828

An Sylvia, D891

Auf dem Wasser zu singen, D774

Nachtviolen D752 (Mayrhofer)

Der Musensohn, D764 (Goethe)

Litanei auf das Fest Allerseelen, D343

Ungeduld (No. 7 from Die schöne Müllerin, D795)

Heidenröslein, D257

Der Jüngling an der Quelle, D300 (Salis-Seewis)

Der Einsame, D800

Die Forelle, D550

Liebe schwarmt auf allen Wegen, D239 No. 6 (Goethe)

Seligkeit D433 (Holty)

An mein Klavier D342 (Schubart)

Erlkönig, D328

Schumann:

Liederkreis, Op. 39

Aufträge, Op. 77 No. 5

Widmung, Op. 25 No. 1

Tanzlied

Dietrich Fischer-Dieskau (baritone)

Siecynski:

Wien, Wien nur du Allein (Vienna, City of My Dreams)

Strauss, J, II:

Dieser Anstand, so manierlich (from Die Fledermaus)

Nicolai Gedda (tenor)

Klänge der Heimat (from Die Fledermaus)

Philharmonia Orchestra, Herbert von Karajan

So elend und so true…O habet acht (from Der Zigeunerbaron)

Nicolai Gedda (tenor)

Wer uns getraut? (from Der Zigeunerbaron)

Willy Ferenz (bass)

Philharmonia Orchestra & Chorus, Otto Ackermann

Nun's Chorus & Laura's Song from Casanova

Strauss, R:

Vier letzte Lieder

Morgen mittag um elf! (from Capriccio)

Ich danke, Fraulein (from Arabella)

Anny Felbermayer (Zdenka)

Mein Elemer! Das hat so einen sonderbaren (from Arabella)

Anny Felbermayer (Zdenka), Murray Dickie (Elemer)

Sie woll'n mich heiraten, sagt mein Vater (from Arabella)

Josef Metternich (Mandryka)

Und jetzt sag ich Adieu, mein lieber Dominik (from Arabella)

Harald Pröglhöf (Dominik), Walter Berry (Lamoral)

Das war sehr gut, Mandryka (from Arabella)

Josef Metternich (Mandryka)

Philharmonia Orchestra, Lovro von Matačić

Der Rosenkavalier: excerpts

Christa Ludwig (Octavian), Teresa Stich-Randall (Sophie)

Philharmonia Orchestra, Herbert von Karajan

Muttertändelei, Op. 43 No. 2

Waldseligkeit, Op. 49 No. 1

Zueignung, Op. 10 No. 1

Freundliche Vision, Op. 48 No. 1

Die heiligen drei Könige aus Morgenland Op. 56 No. 6

Radio-Symphonie-Orchester Berlin, George Szell

Ruhe, meine Seele!, Op. 27 No. 1

Meinem Kinde, Op. 37 No. 3

Wiegenlied, Op. 41 No. 1

Morgen, Op. 27 No. 4

Edith Peinemann (violin)

Das Bächlein, Op. 88 No. 1

Das Rosenband, Op. 36 No. 1

Winterweihe, Op. 48 No. 4

London Symphony Orchestra, George Szell

Herr Gott in Himmel! (from Der Rosenkavalier)

Irmgard Seefried (Octavian)

Wiener Philharmoniker, Herbert von Karajan

Suppe:

Hab' ich nur deine Liebe (from Boccaccio)

Tchaikovsky:

None but the lonely heart, Op. 6 No. 6

Verdi:

Libera me (from Requiem)

Philharmonia Chorus and Orchestra, Carlo Maria Giulini

Wagner:

Dich, teure Halle (from Tannhauser)

Philharmonia Orchestra, Walter Susskind

Einsam in trüben Tagen (from Lohengrin)

Philharmonia Orchestra, Walter Susskind

Weber:

Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz)

Philharmonia Orchestra, Walter Susskind

Wolf, H:

Im Frühling (No. 13 from Mörike-Lieder)

Elfenlied (No. 16 from Mörike-Lieder)

Lebe wohl (No. 36 from Mörike-Lieder)

Schlafendes Jesuskind (No. 25 from Mörike-Lieder)

Phänomen (No. 32 from Goethe-Lieder)

Die Spröde (No. 26 from Goethe-Lieder)

Die Bekehrte (No. 27 from Goethe-Lieder)

Anakreons Grab (No. 29 from Goethe-Lieder)

Blumengruss (No. 24 from Goethe-Lieder)

Epiphanias (No. 19 from Goethe-Lieder)

Wie lange schon war immer mein Verlangen (No. 11 from Italienisches Liederbuch)

Was soll der Zorn, mein Schatz, der dich erhitzt? (No. 32 from Italienisches Liederbuch)

Nein, junger Herr, so treibt man’s nicht, fürwahr (No. 12 from Italienisches Liederbuch)

Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch)

Bedeckt mich mit Blumen (No. 26 from Spanisches Liederbuch: Weltliche Lieder)

Herr, was trägt der Boden hier (from Spanisches Liederbuch)

In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder)

Mögen alle bösen Zungen (No. 13 from Spanisches Liederbuch: Weltliche Lieder)

Wie Glanzet der Helle Mond

Wiegenlied im Sommer (from Sechs Lieder für eine Frauenstimme)

Nachtzauber (No. 8 from Eichendorff-Lieder)

Die Zigeunerin (No. 7 from Eichendorff-Lieder)

Mignon IV 'Kennst du das Land' (No. 9 from Goethe-Lieder)

Zeller:

Ich bin die Christel von der Post (from Der Vogelhändler)

Schenkt man sich Rosen in Tirol (from Der Vogelhändler)

Wo sie war die Müllerin...Sei nicht bös' (from Der Obersteiger)


Elizabeth Schwarzkopf (soprano)

Elisabeth Schwarzkopf (1915–2006) is universally acknowledged to be one of the greatest singers of the 20th century. Blessed with a voice of exquisite beauty, as well as a striking physical presence, she shone brightly in opera, excelled in the concert hall and brought a unique artistry to the recital platform. She was signed exclusively to EMI in 1946 by the recording producer Walter Legge, with whom she formed a dedicated artistic and personal relationship, and together they produced a stream of magnificent recordings over almost 30 years. In addition to the tonal qualities of her voice, Schwarzkopf was renowned for her unrivalled communicative ability, which the vocal critic John Steane described as 'almost making the voice visible'. Thus she could translate her charismatic stage presence into purely vocal terms through the medium of recording, and still convey all the dramatic meaning of her songs and operatic characters to listeners who could hear but not see her. This rare quality is evident in all the recordings in this unique collection, which covers a lifetime of work and reveals the development of her art.

The first CD begins with recordings of works by Bach, Handel and Mozart that are among the earliest that Schwarzkopf made for EMI. They show her voice at its freshest and also exhibit her fine legato and appreciable technique in Baroque music.

CD 2 begins with the famous collaboration between Schwarzkopf and the eminent pianist Walter Gieseking in a collection of simple but refined songs by Mozart that reveal great beauty of tone, evenness of line and sincerity of expression in the singing, as well as sensitive accompaniment from Gieseking. These are followed by four of Mozart’s concert arias with orchestra, in which the conductor is the highly regarded George Szell.

At the beginning of her career, Schwarzkopf sang mainly lighter roles and in CD 3 we have a collection of Mozart arias that demonstrate this part of her repertoire in the arias of Susanna (Le nozze di Figaro) and Pamina (Die Zauberflöte), but also a number of lyric roles that she never sang on stage, including Zerlina (Don Giovanni) and Cherubino (Le nozze di Figaro). This disc also gives us the chance to compare Schwarzkopf’s totally different characterisation of the three principal female roles in Don Giovanni (Elvira, Anna and Zerlina) and Le nozze di Figaro (Susanna, Cherubino and the Countess).

CD 4 brings us back to the field of Lieder and includes another collaboration with a famous pianist, this time Edwin Fischer, in a highly acclaimed recital of Schubert Lieder, as well as more Schubert songs with her two regular accompanists, Gerald Moore and Geoffrey Parsons.

In CD 5 we encounter the widely varied programmes of songs by a wide-ranging selection of composers – from Mendelssohn and Schumann, through Liszt and Brahms, to Mahler and Medtner and many more in between – that would often be a feature of Schwarzkopf’s recitals. To each of these songs she brings her own individuality and stamps them with her personal qualities of beautiful singing and vivid interpretation.

The next disc is devoted entirely to the songs of Hugo Wolf, a composer whom Legge had championed since the beginning of the 1930s. Guided by Legge, Schwarzkopf became a peerless interpreter of Wolf's compositions. This live recording is of a legendary concert in Salzburg on 12 August 1953 marking the 50th anniversary of Hugo Wolf’s death. The piano accompanist is the great conductor Wilhelm Furtwängler.

CD 7 brings us to Richard Strauss, a composer of whose works Schwarzkopf was a matchless performer. It begins with Schwarzkopf’s 1953 recording of Strauss’s valedictory Vier letzte Lieder, followed by the closing scene from Capriccio, an opera that Schwarzkopf performed a number of times on stage, and ends with scenes from Arabella, which Schwarzkopf sang only in the recording studio.

CD 8 stays with Richard Strauss. It starts with a long extract from the first act of Der Rosenkavalier beginning with the aging Marschallin contemplating the passing of the years in a famous monologue and then going to the end of the act in an extended duet with her young lover, the handsome Octavian. This is followed by the glorious trio from the end of the third act, one of Strauss’s most beautiful compositions for the female voice. Then come 12 of Strauss’s wonderful songs for soprano with orchestra, all conducted in supreme Straussian style by George Szell.

In CD 9 we turn to the lighter side of Schwarzkopf’s repertoire with extracts from a whole range of delightful Viennese operettas, beginning with two of Johann Strauss II’s favourite works: Die Fledermaus and Der Zigeunerbaron. Then come several extracts from Schwarzkopf’s second complete recording of Die lustige Witwe by Franz Lehár, and finally the complete recital of operetta arias that was always one of Schwarzkopf’s must popular albums.

The final CD in the set starts with some of Schwarzkopf’s earliest operatic recordings, when she was singing Sophie in Der Rosenkavalier rather than the Marschallin, and a very youthful-sounding Gretel in Hänsel und Gretel. Then come a varied assortment of operatic arias that recall some of the roles that Schwarzkopf sang in the early part of her career, and the disc concludes with four items from the memorable concert at the Royal Festival Hall, London, in February 1967, when Schwarzkopf joined with her two distinguished colleagues Dietrich Fischer- Dieskau and Victoria de los Angeles to pay homage to that doyen of accompanists, Gerald Moore.

EMI Icons - 9184592

(CD - 10 discs)

$37.00

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Mahler: Symphony No. 9

Mahler: Symphony No. 9


Claudio Abbado and his hand-picked players of the Lucerne Festival Orchestra take their acclaimed Mahler cycle to a new level with this performance of the most complex and compelling of the symphonies, the intense, searching Ninth. Abbado brings all his renowned clarity of vision and the experience of a lifetime to this contradictory music – half valedictory, half life-affirming – and his “orchestra of soloists”, including some of the leading instrumentalists of our time, revels in the transparent textures and virtuosity of Mahler’s last completed symphony. “A rendition ... of astonishing depth and subtlety” (Daily Telegraph).

“The listener is rendered speechless at the thrilling depth and perfection of the symbiosis achieved here between artistic wisdom and undimmed joy in making music at the highest level.” Christian Wildhagen, Frankfurter Allgemeine Zeitung, August 24, 1010

“[...]sensitizing feelings, penetrating into the depths of perception like a kind of perfectly-tuned ear on the world, to yield the most beautiful results in the music.” Claus Spahn, ZEIT Online. Musik, August 12, 2010

Bonus: Multi-Angle Feature Conductor Camera

Picture Format Blu-Ray: HDCAM 1080/59,94

Sound Formats Blu-Ray: DTS HD Master Audio PCM Stereo

Region Code: 0 (worldwide)

Running Time: 94:56

Disc Format: BD 25

FSK: 0

“This is a mind-blowing experience - a Mahler Ninth as great as any I've heard...There are no idiosyncracies in Abbado's approach, but instead there is an unerring sense of musical trajectory...the playing has a richness and expressive depth all the more telling for Abbado's wonderful sense of flexibility - really letting his orchestra play - and the vibrant transparency of the sound..the playing has an eloquence, intensity and utter beauty is simply overwhelming” International Record Review, April 2011

“This captures much of the peerless tone-colour, shape, drive and above all those hushed dynamics of [the] performance, awarded what feels like an infinite silence at the end...Abbado's pacing is unrivalled...the mixture of close-ups and wide shots in the final rituals is superb as ever from this team. Finest concert DVD ever? I think so.” BBC Music Magazine, June 2011 *****

“This, his first commercial recording of the work, is even more luminous, elegant and subtly integrated than its predecessors...An interpretation that might seem too cool is in fact superbly gauged to provide maximal catharsis by the close...When the music finally ends and, as in any truly great account of this highly affecting score, one feels that life itself is ebbing away, all present are held in awed silence.” Gramophone Magazine, June 2011

“This really is something special, and one of the few classical orchestral DVDs which I’ve watched repeatedly. Abbado’s performance is remarkable. It’s not just the pin-sharp orchestral playing from the hand-picked orchestra, but the effortless ease with which this piece unfurls.” The Arts Desk, 14th December 2011

GGramophone Magazine

DVD of the Month - June 2011

BBC Music Magazine Awards 2012

DVD Award Winner

Blu-ray Disc

Region: all

Accentus Music - ACC10214

(Blu-ray)

$38.75

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Mahler: Symphony No. 2 'Resurrection'

Mahler: Symphony No. 2 'Resurrection'

Saal 1, Funkhaus, Cologne 10 September 1965


Stefania Woytowicz (soprano) & Anny Delorie (contralto)

Kölner Rundfunkchor & Kölner Rundfunk-Sinfonie-Orchester, William Steinberg

William Steinberg was born in Cologne and by 1933 had become conductor of the Cologne Opera.

He was an early protégé of Otto Klemperer, and with Bronislav Huberman was the co-founder of the Israel Philharmonic, which was first conducted by Arturo Toscanini. The great Italian conductor invited Steinberg to the US to help him form the NBC Symphony Orchestra, and after a highly acclaimed series of concerts, he went on to prestigious positions with the Buffalo and Pittsburg Symphonies. He spent 24 seasons with the Pittsburg Symphony before becoming Music Director of the Boston Symphony and London Philharmonic Orchestra, as well as being Principal Guest Conductor of the New York Philharmonic.

This live studio recording is a rarity as it has never been issued before. Steinberg was a frequent performer of Mahler’s works in the US, though he only recorded the composer’s Symphony No.1 with Pittsburg in 1952 for Capitol Records.

This blazing account from 1965 of Mahler’s titanic ‘Resurrection’ Symphony in brilliant stereo sound confirms his authority as a great Mahlerian.

Dutch contralto Anny Delorie (1925-2009) sings the ‘Urlicht’ very beautifully and is joined in the final movement by the radiant Polish soprano Stefania Woytowicz (1922-2005).

ica classics Legacy - ICAC5001

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Mahler: Symphony No. 6 in A minor 'Tragic'

Mahler: Symphony No. 6 in A minor 'Tragic'


This release of a concert performance of Mahler’s Sixth is the third in a very successful series of recordings on Simax by the Oslo Philharmonic Orchestra of the composer’s symphonies, and the first to feature its current chief conductor Jukka-Pekka Saraste.

This recording of Mahler’s Sixth Symphony was made during concerts in March 2010. Previous releases by the Oslo Philharmonic Orchestra of the First and Ninth (PSC1270), and the Seventh (PSC1271) have been conducted by Mariss Jansons, but the this new CD features renowned Finnish conductor Jukka-Pekka Saraste. The Oslo Philharmonic are playing concerts of Mahler in Europe this season with Saraste, and will perform Symphonies 9, 4 and 8 during this and the coming season.

Gustav Mahler made many comments to the effect that his Sixth Symphony should be understood as a highly personal, even autobiographical work. Although It was composed in the summers of 1903 and 1904, one of the happiest times of his life he considered the Sixth his 'Tragic Symphony'. When Mahler composed the symphony he originally placed the scherzo second and the Andante moderato third, but remained unsure if this was the most effective order of movements. After trying both possible orders in early performances however he decided the Andante should come second and the scherzo third. However in 1910 he decided to return to the original order of the movements, as reflected in this recording.

“The team's foothold on the first three movement is sure and unexaggerated...But it's the finale, to which all roads must seem to lead, where Saraste pulls all the stops out - utterly compelling...String welters in the wake of the first two hammer blows...have never sounded clearer...Perhaps the sound is a shade reverberant...but it allows all the details in Saraste's magnificently thorough interpretation to shine through.” BBC Music Magazine, June 2011 *****

“You can certainly hear right into the tumult, so clear and open is Saraste's layering of the texture” Gramophone Magazine, July 2011

“He inherited a band that, under Jansons, had become one of the finest in Europe. Standards have slipped not one iota. He negotiates the forbidding psychological and musical terrain of this symphony with the same mix of passion, flair and intelligence Jansons showed, the impact of the work magnified by a sure grasp of its sprawling forms, clarity of inner detail and well-judged tempi.” Sunday Times, 15th May 2011 ****

Simax - PSC1316

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Daniel Barenboim conducts Mahler Symphony No. 9

Daniel Barenboim conducts Mahler Symphony No. 9

including a Documentary with Barenboim and Boulez


Mahler:

Symphony No. 9


Video director: Andreas Morell & Christoph Engel

Performed as a complete cycle in Berlin, Vienna and New York, the concerts were a tremendous success. The Financial Times even wrote “New York is going Mahler mad.”

A fascinating 22 minutes Documentary on the musical world of Mahler as seen by Barenboim and Boulez.

2011 is the 100th anniversary of the death of Gustav Mahler.

“Barenboim´s reading seethes with subtly controlled passion.” New York Times

“A milestone for the Staatskappelle Berlin.” New York Times

Running Time Total: 101 minutes

Symphony: 79 minutes

Documentary: 22 minutes

Picture 16:9, color

Sound PCM Stereo, DTS 5.1

(Bonus: PCM Stereo)

Subtitles Documentary: English

Packaging NTSC: Amaray 1 DVD

Booklet English, German, French

Sticker Yes

“The camerawork here is strong, bringing the viewer into the most interesting sections of the orchestra at any given moment and doing so in a particularly musical fashion. For Barenboim and Boulez, the Mahler project was as much about developing a relationship with a particular orchestra as it was with the composer; short of actually being with them in the concert hall, this is probably the best way to experience the results.” Gramophone Magazine, September 2011

GGramophone Magazine

DVD of the Month - September 2011

DVD Video

Region: 0

Format: NTSC

C Major - 703708

(DVD Video)

$29.75

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Sir John Barbirolli conducts Mahler Symphony No. 9

Sir John Barbirolli conducts Mahler Symphony No. 9


Mahler:

Symphony No. 9

Live Recording, Torino, November 25, 1960


During the fifties when Gustav Mahler’s name was still unknown, the famous English director of Italian origins John Barbirolli was already proposing his symphonies to the worldwide audience, achieving astonishing excellence in the modernity of their interpretation.

Istituto Discografico Italiano - IDIS6599

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Mahler: Symphony No. 9

Mahler: Symphony No. 9


At the beginning of the 2010/2011 season Jukka-Pekka Saraste will become principal conductor of the WDR Symphony Orchestra in Cologne, having given regular guest performances with it since 2001.

Jukka-Pekka Saraste has established himself as one of the most eminent conductors of his generation. His artistic work is equally marked by musical depth and integrity. He has not only done much to firmly anchor the music of Scandinavia in concert life, but has also gained broad acknowledgement for his great affinity with late Romantic and modern classical music.

“Mahler is all about weighing and balancing the extremes...and Saraste's judgement in such matters is sharp and instinctive...[he] creates great atmosphere in [the] "lost" moments, time and pulse suspended like an out-of-body experience...it's the tension between defiance and resignation that really shows Saraste's perception and understanding.” Gramophone Magazine, March 2011

“there's much to commend throughout, especially in the Scherzo and Rondo-Burleske where the woodwind have the lion's share of character; the E flat clarinet shrieks are impressive indeed. A pity Saraste had to slip into a lower gear so soon before the trumpet unleashes heaven in the midst of hell, but the last spurt of horror is brilliantly done.” BBC Music Magazine, August 2011 ***

GGramophone Magazine

Editor's Choice - March 2011

Profil Medien - PH10035

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Mahler: Symphony No. 4

Mahler: Symphony No. 4


This new 2-channel Hybrid SACD recording of the Fourth Symphony in G Major is the second release by the Pittsburgh Symphony Orchestra and its new director of music Manfred Honeck in a series of recordings of the symphonies of Gustav Mahler. The singer featured in the last movement is the Korean soprano Sunhae Im.

The Austrian conductor Manfred Honeck began his career as conductor of Vienna's Jeunesse Orchestra which he co-founded, and as assistant to Claudio Abbado with the Gustav Mahler Youth Orchestra in Vienna. After several highly successful guest appearances as conductor of the Pittsburgh Symphony Orchestra, he was appointed its ninth Music Director in 2008.

Mahler’s Symphony No. 4 in G Major was written between 1899 and 1901. The last movement incorporates a song for soprano entitled "Das himmlische Leben" which was originally written in 1892, and presents a child's vision of Heaven. The symphony has a neo-classical structure and, due to the reduced orchestra size, offers a seemingly simple and naive sound world. The effect of the music however is a strange mixture of the eerie and the idyllic, and this brings a distinctive mood to the work.

“some of the counter-melodies from the Pittsburgh first horn [in the Scherzo] sound quite hair-raising...the song finale - sweetly delivered by Sunhae Im without archness or parody - achieves a fine balance between bustle and bliss. Recorded live in Heinz Hall, Pittsburgh, this release has many fresh insights to offer.” BBC Music Magazine, December 2011 ****

“Honeck brings a wealth of insider knowledge and a distinctive Viennese/Bohemian take on expressive content...this freshly observed, full-blooded reading of No. 4 can stand comparison with the very best. Honeck is having no truck with fashionable miniaturisation...Everything seems goal-directed and for once intonation does not falter at the revelation of the gates of Heaven. The rapt stillness thereafter is really quite something.” Gramophone Magazine, Awards Issue 2011

“Honeck begins this performance in breezy fashion...Perky woodwinds are attractive...In the finale Sunhae Im is very pleasing and she does well with quicker tempos” International Record Review, March 2011

Super Audio CD

Format:

Hybrid Multi-channel

Exton Manfred Honeck Mahler Symphonies - EXCL00048

(SACD)

$17.75

Usually despatched in 2 - 3 working days.

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