Edition Staatskapelle Dresden - Volume 21 - Profil Medien: PH07047 - download

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'Glorious' and 'sublime' were among the epithets applied to the playing of Dresden's 'Royal Chapel' ensemble when Mahler's Fourth Symphony was first performed in the city in 1908. Both epithets... — Gramophone Classical Music Guide, 2010 More…

Release Date: 3rd Mar 2008
Catalogue No: PH07047
Label: Profil Medien
Series: Edition Staatskapelle Dresden
Length: 79 minutes

Gramophone Magazine

August 2008

Editor's Choice

Mahler: Symphony No. 4

Work length1:02:16

Album only

Juliane Banse
Staatskapelle Dresden
Giuseppe Sinopoli

I. Bedachtig, nicht eilen

Track length18:11

$4.00

$5.15

II. In gemachlicher Bewegung, ohne Hast

Track length10:23

$3.00

$3.85

III. Ruhevoll, poco adagio

Track length21:58

Album only

IV. Sehr behaglich

Track length11:44

$3.00

$3.85

Mahler: Eine Einfuhrung von Giuseppe Sinopoli in Gustav Mahlers 4. Sinfonie (Ausschnitte) [Giuseppe Sinopoli's intorductory commentary on Gustav Mahler's Fourth Symphony]

Work length17:10

$14.00

$18.20

Giuseppe Sinopoli
Staatskapelle Dresden

So wollte ich Sie, [...] mit den Anfang der Sinfonie gruben. [I though I would greet you, [...] with the opening bars of the symphony.]

Track length4:07

$1.00

$1.30

Ich mochte lhnen nun den Anfang dieses Liedes vorspielen. [I should now like to play the beginning of This song]

Track length1:48

$1.00

$1.30

Der erste Satz, [...] ist in Sonatenform Komponiertnen. [the first movement [...] Is in sonata form.]

Track length2:04

$1.00

$1.30

Nach diesem Auftakt in h-Moll prasentiere... [After This upbeat in B Minor...]

Track length0:17

$1.00

$1.30

Und anschliebend ensteht das zweite Thema des Hauptsatzes: [and then comes the second theme of the first part of the expositon:]

Track length0:25

$1.00

$1.30

Und jetzt der Nachsatz: [and now the after-phrase:]

Track length0:39

$1.00

$1.30

Und jetzt kommt, was oft in der klassischen Musik geschieht... [Now comes something which often happens in Classical music...]

Track length1:36

$1.00

$1.30

Jetzt Kommen wir zu unserem dritten Thema... [Now we come to our third theme...]

Track length0:57

$1.00

$1.30

Und jetzt horen Sie den Seitensatz. [and now you hear the second part of the exposition.]

Track length1:15

$1.00

$1.30

Beethovens Klaviersonate op. 27 Nr.1 enthait imersten Satz ein thema, das absolut [...] [the first movemetn of Beethoven's Piano Sonata Op. 27 No. 1 contains a thema which Is absolutely [...]]

Track length0:36

$1.00

$1.30

Und nochmals die Celli zum Vergleich. [and again the cellos for comparison.]

Track length0:40

$1.00

$1.30

Ich bitte jetzt alle fur das erste Thema des Seitensatzes. [I would now like the first theme of the second part of the exposition from all of you.]

Track length0:38

$1.00

$1.30

Und nun kommt das zweite Thema des Seitensatzes. [and now comes the second theme of the second part of the exposition.]

Track length0:50

$1.00

$1.30

Dann kommt eine Wiederholung. [then comes a repeat.]

Track length1:18

$1.00

$1.30

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Live Recording from the Semperoper Dresden 1999

Reviews

2010

'Glorious' and 'sublime' were among the epithets applied to the playing of Dresden's 'Royal Chapel' ensemble when Mahler's Fourth Symphony was first performed in the city in 1908. Both epithets could be applied to the playing on this latter-day realisation under Giuseppe Sinopoli. People obsess about the Berlin and Vienna Philharmonics but under the right leadership the Dresden orchestra, which Sinopoli led from 1992 until his death at the age of 54 nine years later, can surpass either with its flawless ensemble and understated eloquence. There isn't an ugly note or gratuitously unpleasant sound in the Scherzo yet no jot of the music's wit, grace and sinister humour is lost. After which, the playing of the slow movement really is a glimpse of musical heaven on earth, the string playing glowing like old gold.
Sinopoli made a studio recording of the Fourth with the Philharmonia Orchestra in the early 1990s. The Dresden reading is essentially unchanged but its realisation is in a different league. The start may seem unduly brisk but a series of exquisitely shaped transitions take us into calmer waters and a succession of ever more enchanted landscapes where the performance reveals its essentially introspective side. Some might think it too introspective in those espressivo interludes where the pulse marginally hangs fire.
In the finale's calm opening and meditative close Sinopoli takes a very slow tempo indeed, way below the one Mahler himself adopts on his 1905 piano roll. Lorin Maazel takes a similar tempo in his celebrated 1984 recording with the Vienna Philharmonic. He, though, has Kathleen Battle, a brighter-voiced, less lustroussounding soloist than Sinopoli's excellent Juliane Banse. He also guards against somnolence by sharper pointing of the music's barcarolle-like rhythm. Not that straight comparisons are really in order here. Orchestrally, this is archive gold.
It is also a happy reminder of a conductor whose prodigious intellect and idiosyncratic ways could never entirely mask the fact that he was a good man and a wonderful musician.

August 2008

There isn't an ugly note or gratuitously unpleasant sound in the Scherzo yet no jot of the music's wit, grace and sinister humour is lost. After which, the playing of the slow movement really I a glimpse of musical heaven on earth, the string playing glowing like old gold.

Edition Staatskapelle Dresden - Volume 21

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