Teodor Currentzis Mahler: Symphony No. 6

Mahler: Symphony No. 6

Teodor Currentzis

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Inbegrepen: 1 Booklet

Verschenen op 26 oktober 2018 bij Sony Classical

Hoofdartiest: Teodor Currentzis

Genre: Klassiek

Onderscheidingen: Gramophone Editor's Choice (december 2018)

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Album : 1 album - 4 tracks Totale duur : 01:24:18

    Mahler: Symphony No.6 in A Minor (Gustav Mahler)
  1. 1 I. Allegro energico, ma non troppo

    Gustav Mahler, Composer - Teodor Currentzis, Conductor, MainArtist - MusicAeterna, AssociatedPerformer - Giovanni Prosdocimi, Producer - Damien Quintard, Recording Engineer Auteursrecht : (P) 2018 Sony Music Entertainment

  2. 2 II. Scherzo

    Gustav Mahler, Composer - Teodor Currentzis, Conductor, MainArtist - MusicAeterna, AssociatedPerformer - Giovanni Prosdocimi, Producer - Damien Quintard, Recording Engineer Auteursrecht : (P) 2018 Sony Music Entertainment

  3. 3 III. Andante moderato

    Gustav Mahler, Composer - Teodor Currentzis, Conductor, MainArtist - MusicAeterna, AssociatedPerformer - Giovanni Prosdocimi, Producer - Damien Quintard, Recording Engineer Auteursrecht : (P) 2018 Sony Music Entertainment

  4. 4 IV. Finale. Sostenuto - Allegro moderato - Allegro energico

    Gustav Mahler, Composer - Teodor Currentzis, Conductor, MainArtist - MusicAeterna, AssociatedPerformer - Giovanni Prosdocimi, Producer - Damien Quintard, Recording Engineer Auteursrecht : (P) 2018 Sony Music Entertainment

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With Symphony No.6 in A Minor "Tragic" written in 1904 (the title, for once, is not a publisher's gimmick, but was indeed given by Mahler in the programme for the first performance in Vienna in 1906), Mahler almost returns to the classical symphony format; we find more voices in the score (a technique that he had already used in No. 5) and a four-movement structure (whereas No. 5 was articulated in five movements thrown into three "parts", with the absence of a programme or philosophical content). Admittedly, the orchestra remains huge, with four woodwinds, eight horns, and six trumpets, not to mention an impressive arsenal of percussion instruments including alpine bells, hammer and xylophone, which he never used elsewhere; in this respect, Mahler contributed to putting an end to the late romantic trend of gigantic works for titanic orchestras. It must be said that the last movement, which lasts at least half an hour, is of a truly tragic expression with its indelible darkness. This frightened the critics, who found the work somewhat bloated. It is therefore up to the conductor to make the score as transparent as possible, the contrapuntal lines readable and the orchestral colours perceptible through the orchestral immensity. Equipped with his MusicAeterna, Teorod Currentzis embarks on the adventure. © SM/Qobuz

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