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Symfonieën - Verschenen op 24 februari 2017 | Berlin Classics

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Symfonieën - Verschenen op 3 september 2021 | London Philharmonic Orchestra

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Munich, September 1910. A tidalwave is flooding the world of music. Mahler's Symphony No. 8 in E-flat major has just premiered, conducted by the composer himself. This monumental symphony was a triumph in terms of its duration and the number of performers involved. Mahler's impresario, Emil Gutmann, used the term "Symphony of a Thousand" for promotional purposes, much to the composer's displeasure. It was an inspired turn of phrase though, which has persisted to the present day.The two-part work uses two forms of writing which differ in every respect: the Veni Creator Spiritus, a ninth-century Latin poem probably written by the monk Raban Maur, and the ending of Goethe's Faust. However, an impression of great coherence emerges from the whole: the two texts each evoke ideas of transcendence, but an incarnate, earthly transcendence, accessible to Man.This production brings together the London Philharmonic with three impressively uniform vocal ensembles (the London Symphony Chorus, the Clare College - Cambridge Choir and the Tiffin Boy's Choir). © Pierre Lamy/Qobuz
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Symfonieën - Verschenen op 10 juni 2008 | LSO Live

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Symfonieën - Verschenen op 7 april 2008 | LSO Live

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Symfonieën - Verschenen op 15 augustus 2011 | LSO Live

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Symfonieën - Verschenen op 9 maart 2010 | LSO Live

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Symfonieën - Verschenen op 12 augustus 2008 | LSO Live

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« Recorded live at the Barbican in March, Valery Gergiev's performance of the Seventh Symphony as part of his complete Mahler cycle with the London Symphony is typical of his no-holds-barred approach to a composer who himself always goes to the ultimate limits. Even by Mahler's standards, this work explores a huge range of emotion, while highlighting his tendency to undercut and contradict his own material. The weird and grotesque constantly subvert beauty and aspiration in this thrilling interpretation, right through to the ice-cold shudder that precedes the final chord.» (George Hall, Independent on Sunday, 10th August 2008) « This is a terrific, gripping performance from Gergiev and the LSO of Mahler s Seventh Symphony, an edge-of-the-seat experience of a work that can often be elusive. Gergiev's starting point is to get the detail right. No stressed accent is ever underplayed, no subsidiary counterpoint or detail of colour goes unnoticed. Helped in these live performances by a highly energised orchestra eager to display its finesse, he brings an almost palpable darkness, fear and mystery to the three central movements, giving an impression, in the central scherzo, of hot, tormenting laser lights darting in from all angles, and imbues the outer movements with an almost frenzied momentum.» (Stephen Pettitt, The Sunday Times, 17th August, 2008)
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Symfonieën - Verschenen op 10 juni 2016 | Seattle Symphony Media

Hi-Res Booklet Onderscheidingen Gramophone Award
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Symfonieën - Verschenen op 19 juli 2019 | London Philharmonic Orchestra

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Wie schön, die vielen Glissandi! Die haben uns gefehlt. Zu einer Zeit, in der sich alle Dirigenten, ob jung oder alt, verpflichtet fühlen, ihren Beitrag zu Mahlers Werk zu leisten, während so viele andere Repertoires es verdienen, entdeckt zu werden, scheut Vladimir Jurowski, der sich bereits mehrfach ausgezeichnet hat, und zwar mit großer Freude in der Welt des "tschechischen" Komponisten (Symphonie Nr. 1, Symphonie Nr. 2, Totenfeier), nicht davor zurück, Lösungen zu finden, die heute besonders zweifelhaft erscheinen. Es ist eigenartig, aber so viel Stil kann man nicht ablehnen... Wie Ruhevoll es hier ist! Jurowski setzt seine mahlersche Reise hier mit der Symphonie Nr. 4 fort. Und er bietet einen völlig neuen Weg, bei dem sich die Stimmen von Dvořák und Janáček mit denen von Bruckner und Strauss verbinden. Wäre Mahler vielleicht eine Synthese? Auf jeden Fall ist er gerade deshalb modern und Jurowski weiß das. All dies scheint für ihn zu einem Spiel zu werden. Suchen Sie nicht nach Äther (Auf Wiedersehn Abbado) und auch nicht nach der Ewigkeit (Haitink). Stattdessen gurgeln die großen Flöten, meckern die Klarinetten, erröten die Fagotte, toben die Pauken, und über all diesem böhmischen Lärm fangen die Geigen vor lauter "Beißen" sogar zu singen an. Die vielschichtige Poetik von Bedächtig ist noch nie so um jeden Preis lebendig, natürlich, in strahlendem Dur erklungen. Die Skordatur des zweiten Satzes gibt uns eine kleine Vorstellung von der Hölle und eine Art Vorgeschmack auf die Burleske der Neunten. Aber das Horn besteht immer noch darauf, gehört zu werden, und die Lyrik wird alles gewinnen, auch im Herzen der wiedergekehrten Hölle. Im Schlusslied (Sehr behaglich) führt die perfekte Stimme der Sofia Fomina ihren luftigen Tanz auf, mit einem Hauch kindlichen Geists (Reinheit, Einfachheit), der über „Kein' Musik ist ja nicht auf Erden die unsrer verglichen kann werden“ hinausgeht. Und plötzlich stellt sich die Frage, ob etwa Seefried und Walter die Inspiration für Jurowskis bezaubernde Lesart, einem wahren "Sacre du Printemps" Mitteleuropas, sind? Und wann erscheint die Symphonie Nr. 6? © Pierre-Yves Lascar/Qobuz
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Symfonieën - Verschenen op 29 september 2017 | MUNCHNER PHILHARMONIKER GBR

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - 5 Sterne Fono Forum Klassik
Gustav Mahler and the Munich Philharmonic share a very special connection. As a composer he sustainably linked the 19th century Austro-German tradition and the modernism of the early 20th century. The world premiere of his Symphony No. 4 took place under his baton on 25 November 1901 in Munich’s Großen Kaim-Saal with the then called Kaim-Orchester, present day Munich Philharmonic. His works have been a substantial part of the Munich Philharmonic’s core repertoire ever since and the orchestra has excelled on many occasions. After the MPHIL release of Mahler’s Symphony No. 2 in September 2016 now follows the release of the Symphony No. 4 with which the orchestra’s history is so closely intertwined. The live concert recording released on this album took place at the Philharmonie im Gasteig in Munich, the orchestra’s home, with Salzburg soprano Genia Kuehmeier. Valery Gergiev has paid the Austro-German repertoire particular attention throughout his career, which ignited a lasting fascination for Gustav Mahler. Over recent decades he has continued to explore the Austro-German repertoire, garnering adulation, especially for his interpretations of Wagner, Strauss, Mahler and Bruckner – music that is at the very heart of the Munich Philharmonic’s repertoire. © Warner Classics
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Symfonieën - Verschenen op 26 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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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Symfonieën - Verschenen op 25 juni 2021 | Berlin Philharmonic Orchestra

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In a volcanic outburst of creativity, the 27-year-old Gustav Mahler wrote his First Symphony within just a few weeks. He then struggled significantly longer to find a definitive shape for this unprecedentedly novel work, which shook the musical public like an earthquake and divided heated tempers into Mahler lovers and Mahler loathers. No one was left cold by the overpowering sound of this work he initially entitled Titan (after Jean Paul’s novel). It begins as a quivering surface (“Wie ein Naturlaut” – “Like a sound of nature”) out of which motivic ideas emerge – fanfare and birdcall fragments from near and far, including an obstinate cuckoo – until a melody is articulated, derived from the Lieder eines fahrenden Gesellen (Songs of a Wayfarer), where it is sung to the words “Ging heut Morgen übers Feld…Wird’s nicht eine schöne Welt?” (“This morning I went across the fields…Isn’t the world looking lovely?”). In programmatic indications that he later withdrew, Mahler describes the movement as “the awakening of Nature after a long winter’s sleep”. The earthy ländler-scherzo is followed by a whimsical funeral-march parody based on a minor-mode version of the folksong canon Bruder Jakob (Frère Jacques). Naïve humour and obscure tragedy clash very much as in Jean Paul’s writings. The “horrifying outcry” that launches the finale definitively exposes the “lovely world’s” ambiguity. The violence of this last movement tears open a roaring abyss. According to Mahler, in the tumultuous masses of sound the “hero” – is it the composer himself? – is locked in a terrible battle “with all the sorrows of this world”. Then, almost imperceptibly, out of a reminiscence of the shimmering sounds of nature that began the symphony, a “victory chorale” takes shape and, with the mobilization of all forces, is elevated into a gigantic apotheosis. Mahler’s First: a hero’s life – or indeed a commedia humana? © 2020 Berlin Phil Media GmbH
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Symfonieën - Verschenen op 23 maart 2018 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Symfonieën - Verschenen op 13 januari 2009 | LSO Live

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Symfonieën - Verschenen op 28 oktober 2008 | LSO Live

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