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Sanderling, according to his son Thomas Sanderling, ‘came from a generation of conductors who did not like to refer to recordings…one had to live with the score! And obviously he knew conductors like Walter and Klemperer, both of whom had known Mahler personally…And then there was Oskar Fried, another early disciple of Gustav Mahler, who had also been active in Russia at various times. My father was therefore very much part of this same culture’
Gustav Mahler: Symphony No. 9 in D major
I. Andante comodo
II. Im Tempo eines gemachlichen Landlers - Etwas tappisch und sehr derb
III. Rondo-Burleske: Allegro assai
IV. Adagio - Sehr langsam und noch zuruckhaltend
“Sanderling is unfussy, with no nudging or pointing up of pet moments, but there is no stinting. One emerges drained, as one should be. In the last movement the strings show themselves capable of an impressive fullness and weight of tone.”
“The maestro's score-driven approach to Mahler, and to music-making in general, can rival Klemperer's in its intellectual sobriety. ”
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