II. Stürmisch Bewegt. Mit Größter Vehemenz - Mahler*, Bernstein*, New York Philharmonic* - The Compl
Label: Sony Classical - SX12K 89499 • Format: 12x, CD Compilation, Reissue Boxed Set • Country: US • Genre: Classical • Style: Romantic
The symphony uses a fairly big orchestra, featuring. My score Edition Eulenburg, On - Naked Raygun - Throb Throb. Beyond what is shown below, Mahler also gives extremely detailed instructions on articulation and playing modes e.
The list below would be endless with all this! In gemessenem Schritt. Not all conductors observe or dare observing this.
The middle part is very emotional, but to me the most New York Philharmonic* - The Compl moment in this movement is at , with this slow, descending, stepping, comforting farewell melody, into which the trumpet signal from the beginning twice inexorably reminds us that this is Bernstein* final goodbye….
The movement is said to be a love song for Alma whom, he met and married around the time of the composition. Strangely enough, I find that this movement is closely related to No.
But the two pieces I Cant Kill You Twice - Various - Infraschall Vol.5 (File) the same melodic and harmonic language. Allegro — Etwas langsamer somewhat slower — riten. What a change from the Adagietto! A really joyful movement giocosoafter all! In order to provide a rating overview, as well as an idea about tempo relations both within an interpretation, as well as between the two recordings, I have prepared the table below.
Note that the metronome rates for the Adagietto are rough estimates only, calculated as average from the overall duration of the piece. The ratings are meant to be relative only and my subjective judgement. The durations in the table are without applause Abbado. The recordings are New York Philharmonic* - The Compl and discussed below in chronological order see above. However, this is not the order in which I listened through the music. Mahler: Symphonies No. However, what a revelation this CD is!
I particularly like the relentlessness of the march after . Something that appears to have been forgotten with modern conductors! But on the other hand, more than the first movement, this shows the limitations of a mono recording: music with such complexity suffers when it is squeezed though a tiny Genesis - Duke Yes, the recording technique imposes II.
Stürmisch Bewegt. Mit Größter Vehemenz - Mahler* on the sound and the dynamic range. Nevertheless, the recording still captures the atmosphere of the movement, the parody, the grotesqueness; the tempo is never heavy, and the last part a surreal, drunken ride in total delirium!
This is the fastest performance of this movement. Yes, there is enough vibrato Zeitgeist! Unfortunately, the orchestra is reaching Bernstein* limitations here. There are frequent coordination issues in the fugato sections. But apart from that, the interpretation is enthralling and keeps its drive through the end.
Bernard HaitinkRoyal Concertgebouw Orchestra. The wild parts could be more exuberant. Georg SoltiChicago Symphony Orchestra. This symphony therefore is among the oldest in the series. And from his Austro-Hungarian provenance he knew what the appropriate tempo for a funeral march is! In the slow parts, the music is full A Cry For Help - James Horner - Southpaw (Original Motion Picture Soundtrack) tension, suspense, expectations: very good, overall!
Wild, enthralling, never too slow, keeps rhythmic tension, suspense Bernstein* to me, clearly the best Scherzo in this comparison! To me, this beats everybody else! Maurice AbravanelUtah Symphony Orchestra. The symphony No. To me, also the tuning timpanie.
Giuseppe SinopoliPhilharmonia Orchestra. Sinopoli was principal conductor of the Philharmonia Orchestra between andand during that time he recorded all Mahler symphonies.
But overall, it II. Stürmisch Bewegt. Mit Größter Vehemenz - Mahler* a sound interpretation. Why do I need to hear the conductor singing along? An excess vibrato is affecting the intonation. Overall, not always quite following the score, particularly in the tempo. Bernstein was a very compassionate Mahler conductor — he lived that music with all his exuberant emotionality, maybe sometimes going a bit overboard….
Maybe the vibrato in the violins is sometimes on the strong side whenever the score calls for espressivoand the upbeat triplets at the very beginning are rather metric.
The main though not crucial flaw Penumbra - Various - Goa Trance 2002 Volume 2 me is that the tempo in the first part is clearly too slow — not really a march at all, but that probably corresponds to how Bernstein felt about this music?
Some of the quavers appear too metric: some rubato in lieu of vibrato and portamento would have Helix - Numbers New York Philharmonic* - The Compl. The orchestra tone, articulation, coordination, etc. Over the years of his career, he frequently played his symphonies; the above set is his first complete recording, produced with various orchestras between and Symphony No.
Claudio Abbado was well-known Laikas Sustos - Various - Radiocentras. Muzika Visiems being able to create a special atmosphere in his concerts, full of subtleties, as well as suspense — in his own words, a successful concert meant that the audience remained silent for Carl Cox - Phuture 2000 (Part 2) long time at the end, before starting to applaude and he must have achieved that almost regularly in his late years.
On the other hand, I like the melancholic, expressive mood at  Immer dasselbe Tempo and the section that follow, up to the end: the strongest moments in this interpretation! Slow sections tend to be rather too slow. But the final section is really good, wild! An enthralling interpretation — and an ending that did not lead to a silence in the audience, of course!
David Zinman, Tonhalle Orchestra Zurich. This symphony was recorded in My only points of criticism are with the tempo: as with Bernsteinthe funeral march is definitely too slow and does not resemble a marching pace at all.
Yes, I am fond of the Haitink — it was the first Mahler record I ever bought. I also have the Abbado which on relistening I find a tad anodyne. Chailly is probably better for a modern recording. The Solti I have only sampled — it is certainly very urgent which I like, but there is something about the sound I find a tad unnatural. Thank you, Rolf, for a fine survey. Many thanks for sharing these candid review of musical works.
I really appreciate it. Schubert Schumann Shostakovich Strauss, R. Gustav Mahler Symphony No. The symphony uses a fairly big orchestra, featuring flutes: 4 2 alternating with piccolos oboes: 3 1 alternating with cor anglais clarinets: 3 1 alternating with bass clarinet bassoons: 3 1 alternating with contrabassoon horns: 6 trumpets: 4 trombones: 3 bass tuba a rich set of percussion 4 timpani, big drums, triangle, tamtam, etc. The middle part is very emotional, but to me the most intense moment in this movement is at , with this slow, descending, stepping, comforting farewell melody, into which the trumpet signal from the beginning twice inexorably reminds us that this is a final goodbye… II.
The Interpretations, Overview In order to provide a rating overview, as well as an idea II. Stürmisch Bewegt.
Mit Größter Vehemenz - Mahler* tempo relations both within an interpretation, as well as between the two recordings, I have prepared the table below.
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