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Symfonische muziek - Verschenen op 13 januari 2009 | LSO Live

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Symfonische muziek - Verschenen op 7 april 2008 | RCA Red Seal

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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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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Symfonische muziek - Verschenen op 28 oktober 2008 | LSO Live

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Symfonieën - Verschenen op 7 juni 2019 | Accentus Music

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In an important moment, the great interpreter of Anton Bruckner’s symphonies for Eternal Records (the ethereal symphonies nos. 4 and 7 in Dresden during the seventies, the subtle Symphony No. 6 in San Francisco with Decca, all those with Gewandhaus during his years with Querstand), Herbert Blomstedt returns to head the Bamberger Symphoniker with a 9th by Mahler. But there seems to be something up here. Blomstedt seems to have concentrated his efforts on all that is intrinsically ‘new’ in Mahler’s sonic universe. Blomstedt has stripped back the instrumentals, accusing some of being “ugly” or out of place. He has put emphasis on the harshness of the writing and the explosive character of the changes between string, brass and woodwind parts (Im Tempo eines gemàchlichen Ländlers); even the lyricism has gone under the knife (the central episode of Rono-Burleske). What’s going on? Where are we being taken? We are clearly at the conception of a completely new world here in which the tempos carry a feeling of moderation throughout the symphony and allow one to live, intensely, in the moment: the end of Rondo-Burleske acts as an initial cataclysm. The symphony could have come to an end here but it is followed by the enormous 20-minute-long Adagio postlude in which one asks if it could possibly get more sad or morbid. The colors dull, the tones themselves inexorably fade and the polyphonic layers die down. Emotions fly. With this 9th, recorded in June 2018 in the Joseph-Keilberth-Saal of the Bamberg Konzerthalle, Herbert Blomstedt returns to deliver true Mahler: the abstract. Love is mystical, cosmic and human. It is without hope. Bruckner’s 19th Century is blown away. Fascinating. © Pierre-Yves Lascar/Qobuz
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Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica