Usually despatched in 2 - 3 working days. (Available now to download.)
Two years before his death, Gustav Mahler composed his Ninth Symphony, the last one he was able to complete. In view of his serious heart condition, the composer concerned himself in this work with the resulting existential change in his life.
Bernard Haitink is a regular guest on the podium of the Symphonieorchester des Bayerischen Rundfunks. In December of 2011, the conductor from the Netherlands led the orchestra in this work, replacing Mariss Jansons, who was indisposed at the time and he was highly praised for his "old-wise" interpretation. Following Bruckner's 5th Symphony, this is already the second release Bernard Haitink has presented with the Symphonieorchester des Bayerischen Rundfunks on the BR-KLASSIK label.
Bernard Haitink and the BR-Symphonieorchester: a perfectly interacting team.
A new live-recording from December of 2011.
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
“[Haitink] shows no sign of weakening his grip on the seemingly effortless long-term vision which has always been a hallmark of his masterly conducting. There are no surprises here other than in the Finale...Solo work is superb throughout, especially so from the first horn, and a live recording which captures barely a shuffle from the audience...a palpable front-runner.”
“the way Haitink negotiates the first movement's troubled course displays an unflinching grasp of where and when the climaxes should hit hardest...Between the outer movements' polar extremes Haitink manages vivid reportage of the Landler's ribald humour...This is unquestionably one of the great Ninths of recent years”
26th July 2012
“there's a feeling of urgency about this new performance that I don't remember in Haitink's Mahler before, as if he is now almost impatient with the Ninth's resigned acceptance of mortality. There's an angularity about the woodwind lines and a rawness to the textures from what is one of Europe's finest orchestras that seems to expose the music's nerve ends; it's not always comfortable listening, but it is sometimes startling.”