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1 Symphony No.1: 1. Langsam. Schleppend 15’33
2 Symphony No.2: 4. Urlicht (Baker/LSO) 7’18
3 Symphony No.3: 5. Lustig im Tempo 4’12
C. Ludwig/Konzertvereinigung Wiener Staatsopernchor/Wiener Sängerknaben
4 Symphony No.4: 2. In gemächlicher Bewegung 10’14
5 Symphony No.5: 4. Adagietto 12’10
6 Symphony No.6: 2. Scherzo. Wuchtig 13’06
7 Symphony No.7: 4. Nachtmusik II 14’44
8 Symphony No.8: 1. Hymnus “Veni, creator spiritus” 24’18
Moser/Blegen/Zeumer/Mayr/Baltsa/Riegel/Prey/van Dam/Konzertvereinigung Wiener Staatsopernchor/Singverein der Gesellschaft der Musikfreunde/WienerSängerknaben
9 Symphony No.9: 4. Adagio 26’09
Deutsche Grammophon’s most successful Mahler release in recent years has been the magnificent box set (0734088) of the symphonies and Das Lied von der Erde on DVD with Leonard Bernstein, which has sold over 50,000 copies since it first came out in 2008.
As part of our 2010 Mahler celebrations, rather than produce a simple CD compilation of Mahler extracts, we thought: why not offer a traversal of Bernstein’s DVD cycle? Compiler Alan Newcombe has been able to put together a 120-minute single DVD that includes movements from each of Symphonies nos. 1 to 9 – almost like a mega-Mahler symphony rolled into one. It starts with the first movement of no. 1 and ends with the last movement of no. 9 (see tracklist below).
Here is Lenny in all his glory, coaxing performances of rare passion and sensibility from the Wiener Philharmoniker (there is one track with the London Symphony Orchestra, with Janet Baker as the soloist in Urlicht).
Usually despatched in 2 - 3 working days.
Mahler - Symphony No. 2
This release contains two remasterings of the same performance
Symphony No. 2 'Resurrection'
Symphony No. 2 'Resurrection'
Compact disc 2 with Ambient Mastering (Ambient Mastering utilises very small frequency delays to give a sense of space and width to a mono, or very narrow stereo, recording. The amount of processing is determined by the mastering engineer. No artificial reverberation is added in this process, so that the natural acoustic of the original remains largely unaltered.)
Paul Baily – mastering engineer.
Klemperer once called Mahler his creator spiritus. But he told his biographer Peter Heyworth, “I’m not a silly, enthusiastic boy: I don’t like everything he wrote”. Despite having assisted the composer at a performance, Klemperer did not care for Mahler’s Third Symphony, nor for the Fifth. He gave up the First after just one attempt, and could never quite bring himself to conduct the Sixth or the Eighth – until the end of his life when a London concert of the latter became one of his unrealised fantasies for the New Philharmonia’s 1971/72 season. In autumn 1905, as a student in Berlin, he had conducted the off-stage band for performances of the Second given by Oskar Fried. Mahler himself attended and instructed Klemperer on how to get the proper effect he wanted from the brass – “blaring, but from a long way away”. He was pleased with the result and congratulated the young conductor. A short time later Klemperer played the first movement’s off-stage side-drum when Mahler took over from Arthur Nikisch to conduct the Third Symphony in Berlin. Determining now to call on the composer in Vienna for a reference, Klemperer, as visiting card, brought his own piano arrangement of the symphony, playing the Scherzo from memory (a reduction which seems to have been lost during Klemperer’s wartime years in America). Mahler wrote to his wife Alma how impressed he was and, eventually, wrote out a most complete testimonial on a visiting card: “Gustav Mahler recommends Herr Klemperer as an outstanding musician, who despite his youth is already very experienced and is predestined for a conductor’s career. He vouches for the successful outcome of any probationary appointment...”
From the booklet note Mike Ashman, 2010
Usually despatched in 4 - 5 working days.
Signum’s third disc with the Philharmonia Orchestra and their Principal Conductor Esa-Pekka Salonen is drawn again from their celebrated Vienna: City of Dreams series of 2008-9. The Ninth symphony is often interpreted as a farewell to the world, in part because Mahler never had the chance to hear it performed. As one critic wrote, “If you want to learn to weep, you should listen to the first movement of the Ninth, the great, magnificent song of ultimate farewell”. Other releases this year with the Philharmonia orchestra will include Mahler’s Sixth Symphony with Esa-Pekka Salonen, and Mahler’s Fourth Symphony with Sir Charles Mackerras.
Esa-Pekka Salonen on the disc:
“Our new recording of the piece is a live recording, of a performance we gave after we had played the piece on tour in places such as the Concertgebouw and Cologne. I very much like the idea of recording this piece live. In fact, the idea of recording that finale in a studio doesn’t feel right. So many of the most celebrated recordings of the piece – Bernstein, Karajan, Bruno Walter in 1938 – have been concert recordings. It’s no accident. This is about death and there must be a sense of no return. It’s your only shot. You just do it and live with the results. This is real life and death, not a video game.”
“Salonen emphasises the prophetic rather than the nostalgic. He is electrifying in the grotesque rondo-burlesque scherzo...In the two massive slow outer movements...[he] empathises with the love of life and the beauties of nature that paradoxically emerge from Mahler’s premonition of death.” Sunday Times, 6th June 2010
“Salonen surely does nearly everything that most of us require from a cutting-edge interpreter with plenty to say. His Boulezian ear for balance keeps all the textures phantasmagorically clear...[His] alertness to the right sonority gives us some moments of supernatural beauty” BBC Music Magazine, August 2010 ****
“No painstaking, hyper-emotional lingering for Esa-Pekka Salonen: he propels this symphony with a single-minded, urgent zest for life...Salonen delivers a compelling performance...a persuasive traversal full of temperament, acuity and apposite contrasts of mood.” International Record Review, July/August 2010
“...a very composerly performance - forensically clear” Gramophone Magazine, September 2010
(also available to download from $10.00)
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