Gustav Mahler - Symphony No. 5
Gran presentación (en mi opinión personal, una de las más grandes grabaciones de todos los tiempos) del legendario director Leonard Bernstein junto a la Orquesta Sinfónica de Londres, el Coro del Festival de Edinburgo, Sheila Armstrong (soprano) y Janer Baker (mezzo-soprano), interpretando la Sinfonía No. 2 "Resurrección" de Gustav Mahler, en el Festival de Edinburgo 1974. Great presentation (in my personal opinion, one of the greatest recordings of all time) of the legendary conductor Leonard Bernstein with the London Symphony Orchestra, the Edinburgh Festival Chorus, Sheila Armstrong (soprano) and Janet Baker (mezzo-soprano) playing the Symphony No. 2 "Resurrection" of Gustav Mahler, at Edinburgh Festival 1974. 00:01:22 1. Allegro maestoso 00:25:25 2. Andante moderato 00:38:00 3. In ruhig fließender Bewegung 00:49:18 4. Urlicht. Sehr feierlich, aber schlicht; 00:54:51 5. Im Tempo des Scherzos (Thanks to user "Silas Cordeiro" for tempos at symphony ;D ) http://www.amazon.com/Mahler-Symphonies-Bernstein-Armstrong-Philharmoniker/dp/B000AC5BEI (C) AdRev, The Harry Fox Agency, Inc. and ALL their respective owners. No personal work here. If you fell this video violates your rights, please contact me and i'll fix it. PLEASE don't delete it, is a musical and cultural gift to the world!
Gustav Mahler - Symphony No. 1 - Bernstein · Vienna Philharmonic Orchestra
Gustav Mahler - Symphony No. 1 in D major "Titan", 1884-1888 | Vienna Philharmonic, Leonard Bernstein Movements: 00:42 I Langsam. Schieppend. Wie ein Naturlaut.Im Anfang sehr gemachlich 16:22 II Krafting bewet, doch nicht zu schnell - Trio. Recht gemachlich 25:07 III Feier und gemessen, ohne zu schleppen 35:38 IV Sturmisch bewegt Other Recordings: Symphony No. 1 "Titan" http://youtu.be/dP1Ndx2p14Q Symphony No. 5 http://youtu.be/Ipte0gDlSr4 Adagietto http://youtu.be/15WQNKhaCHY Symphony No. 10 "Adagio" http://youtu.be/vHyV8noUXC0 Mahler's First Symphony was originally conceived as a tone poem in two parts. Loosely based on Jean Paul's novel Titan, the structure was this: Part I: "From the Days of Youth," Music of Flowers, Fruit and Thorn - 1. Spring and No End; 2. Flowers; 3. In Full Sail; Part II: "The Human Comedy" - 4. "Stranded!" Funeral March in the Style of Callot; 5. D'all Inferno al'Paradiso (From Hell to Heaven). These titles were accompanied by more extensive programs describing the metaphorical content of each movement. In Jean Paul's Titan we have a youth gifted with a burning artistic desire that the world has no use for, and who, finding no outlet or ability to adapt, gives way to despair and suicide. Mahler apparently saw himself in this figure, as he described this work as autobiographical in a very loose sense. On the other hand the music, some of which Mahler actually accumulated from various earlier works, contradicts this program in so many ways, especially in the triumphant conclusion, that Mahler later withdrew it. He eventually came to scorn the application of specific programs to his symphonies in general. Beyond Mahler's suppression of the program, there were other changes made before the symphony achieved its final form: the orchestra was expanded and the original second movement, entitled "Blumine" (Flowers) was dropped. This movement, the only surviving piece from Mahler's incidental music to Scheffel's Der Trompeter von Säkkingen, although having thematic ties to the rest of the symphony, is stylistically different, being scored for a much smaller orchestra. The primary source material for the remaining movements of the First Symphony is Mahler's Lieder eines Fahrenden Gesellen (Songs of a Wayfarer). The material of these songs, specifically the first and second, is not only quoted but also used as thematic material in the symphony, creating additional programmatic implications. Mahler's First Symphony is a stunning achievement for so young a composer, and despite its convoluted genesis is a fully mature, integrated and highly effective work. The first movement, Langsam Schleppend (Slow and Dragging), opens with an introduction invoking nature, eventually with cuckoo calls and distant fanfares. The principal theme is from the song "Ging heut' morgens übers Feld" (I Went Out This Morning Through the Fields) and is developed in a standard sonata form. The second movement, Kräftig bewegt (Strongly moving), is a lusty and hearty Austrian Ländler replete with yodels and foot stomping. The slower and wistful Trio conjures feelings of nostalgia and longing. Based on a woodcut depicting animals carrying a hunter to his grave, the third-movement funeral march, Feierlich und gemessen (Solemnly and measured), is deeply ironic. Mahler uses the folk song "Frère Jacques" in a lugubrious minor, played by a muted double bass solo. The central Trio is an evocation of tawdry Viennese cabaret music. Mahler's original program for the Stürmisch bewegt (Stormy) finale called the movement's dramatic opening "the sudden outburst of a wounded heart." After a long and violent beginning invoking the torments of hell, including a vehement march derived from the first movement, the music subsides into a yearning theme. After a return to the march, Mahler interrupts the mood with a transformative fanfare that eventually leads to a triumphant conclusion.
FOLLOW US ON SPOTIFY http://open.spotify.com/user/halidon PLAYLIST The Best of Classical Music http://open.spotify.com/user/halidon/playlist/5E4CbUOCiUXw2Fh8Foq51V visit our page on facebook ▶ http://on.fb.me/1bzVvBp Symphony No. 1 Titan - Symphony No. 5 Symphony No. 1 in D major Titan I. Langsam, schleppend (Slowly, dragging) Immer sehr gemächlich (very restrained throughout) II. Kräftig bewegt, doch nicht zu schnell (Moving strongly, but not too quickly), Recht gemächlich (restrained), a Trio 12:31 III. Feierlich und gemessen, ohne zu schleppen (Solemnly and measured, without dragging), Sehr einfach und schlicht wie eine Volksweise (very simple, like a folk-tune), and Wieder etwas bewegter, wie im Anfang (something stronger, as at the start) 19:24 IV. Stürmisch bewegt -- Energisch (Stormily agitated -- Energetic) 29:40 Symphony No. 5 I. Trauermarsch (Funeral March) C# minor 48:18 II. Moving stormily, with the greatest vehemence (Stürmisch bewegt, mit größter Vehemenz) A minor 1:01:20 III. Scherzo. Kräftig, nicht zu schnell D major 1:15:41 IV. Adagietto. Sehr langsam F major 1:34:08 V. Rondo-Finale. Allegro - Allegro giocoso. Frisch D major 1:41:46
Recorded live at the Lucerne Festival, Summer 2009 Concert Hall of the KKL Luzern, August 2009 Lucerne Festival Orchestra Claudio Abbado - conductor 0:30 I. Langsam, schleppend (16:38) 17:16 II. Kräftig bewegt, doch nicht zu schnell (7:32) 24:50 III. Feierlich und gemessen, ohne zu schleppen (11:29) 36:19 IV. Stürmisch bewegt (22:09) Whenever Claudio Abbado conducts the LUCERNE FESTIVAL ORCHESTRA, music lovers are in for a very special event. Such was the case in the summer of 2009, when the charismatic Italian conductor opened Lucerne's tradition-rich Festival with a concert featuring Mahler's First Symphony and Prokofiev's Third Piano Concerto. In 2003 Abbado, together with Artistic and Executive Director Michael Haefliger, founded the orchestra, which consists of internationally renowned soloists and chamber musicians - just as did its model, the elite body of musicians that Arturo Toscanini gathered around hirn at the Festival's founding in 1938. lt was with this first-class ensemble that Abbado offered a vividly inspired interpretation of the Mahler. In truth - as the audience's response demonstrated - it left nothing to be desired. The twenty-two-year-old Chinese Pianist Yuja Wang likewise earned enthusiastic applause for her account of the Prokofiev Concerto, which she played with character and nuanced expression. The theme of nature served es the guiding thread for all the programming choices during the summer of 2009 - a theme with obvious relevance for the LUCERNE FESTIVAL, which is held amid one of the most beautitul landscapes of Europe: its concerts incIude unforgettable views of Lake Lucerne and Alpine panoramas. This theme, es it happens, has eminent musical significance es well: 'Like a sound of nature' is the direction Mahler inscribed at the very beginning of the First Symphony.
Recorded live at the Lucerne Festival, 19 August 2007 KKL Luzern, 19 August 2007 Lucerne Festival Orchestra Women of the Arnold Schönberg Choir, Vienna Tölz Boys Choir Anna Larsson - contralto PART I / 0:50 I. Kräftig, Entschieden (34:06) PART II 34:00 II. Tempi di Menuetto. Sehr mäßig (8:20) 43:26 III. Comodo. Scherzando. Ohne Hast (16:25) 59:44 IV. Sehr langsam. Misterioso. Durchaus ppp (9:19) "O Mensch! Gib Acht!" Text by Nietzsche: Also sprach Zarathustra 1:09:14 V. Lustig im Tempo und keck im Ausdruck (4:24) "Es sungen drei Engel einen süßen Gesang" Text: Des Knaben Wunderhorn 1:13:37 VI. Langsam. Ruhevoll. Empfunden (23:41) *** "Blissful trust" Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the head of his own Lucerne Festival Orchestra, the whole is more than just the sum of its parts thanks to a process that one is tempted to call magical. The present live recording of an acclaimed performance of Mahler's Third Symphony at Lucerne's Culture and Convention Centre on 19 August 2007 provides lasting proof of this and allows us to see that with Abbado ecstasy is never achieved at the expense of musical and rhetorical clarity: a powerful emotional charge is held in check by calm contemplation. Never for a moment does Abbado give undue emphasis to subjective mawkishness or an overtly theatrical sense of worldweariness: Abbado's Mahler is precisely calculated and at the same time intuitively felt. The musicians of the Lucerne Festival Orchestra were meeting for the Orth time when they assembled in Lucerne in the summer of 2007. Among them were not only a number of distinguished soloists but also experienced principals from the world's foremost orchestras: the leaders were Kolja Blacher and Sebastian Breuninger, while the rank-and-file violin sec-tion behind them included players of the eminence of Mirijam Contzen and llya Gringolts. The cellos ware led by Jens Peter Maintz and Natalia Gutman sitting alongside Valentin Erben of the Alban Berg Quartett and Clemens Hagen, whose sister, Veronika, was a member of the viola section under Wolfram Christ and Diemut Poppen. The woodwind section in-cluded the flautist Jacques Zoon and the ciarinettist Sabine Meyer, while prominent among the brass was the trumpeter Reinhold Friedrich. All the plavers are friendly with one another es weil as sharing a special affinity for chamber music, which famously makes the greatest demands in terms ofthe need to listen closely to one's colleagues. And it is here thatthis orchestra is unique, a uniqueness clear from the present performance. The large concert hell seerned literally to vibrate with psychic energy, and the intensity with which the musicians responded to even the tiniest fluctuations in the music reached the point where all the players seemed to surpass themselves. "The goal is clear and is shared by all the participants," wrote the critic ofthe Neue ZürcherZeitung; "it seems that in advancing towards this goal, the players achieve a high degree of individual responsibility, while the conductor encourages each and every one ofthem ... to realize his or her potential in orderto benefitthe collective— an example of successful leadership in a highly specialized context. As such, this is more or less the opposite of what people normally assume to be the job of a conductor. What we saw here was emphatically not self-promotion ata stroke butthe experience that something special arises only when people have space in which to develop." Abbado first recorded Mahler's Third Symphony in 1980, following it up with a second recording in 1999, both of them demonstrating the conductor's particular affinity with the work. His unerring feel tor the narrative structures of this rich and varied score finds expression in an extraordinary sensitivity, aliowing hirn to respond with particular vividnessto a workthat deals with nothing lass than the origins ofthe universe. [...]
Recorded live at the Lucerne Festival, Summer 2003 Culture and Convention Centre Lucerne, 21 August 2003 Eteri Gvazava - soprano Anna Larsson - mezzo-soprano Orfeón Donostiarra José Antonio Sainz Alfaro - chorus master Lucerne Festival Orchestra Claudio Abbado - conductor 1:18 I. Allegro maestoso (21:10) 22:26 II. Andante moderato (9:24) 32:18 III. [Scherzo] In ruhig fließender Bewegung (11:18) 43:48 IV. Urllicht. Sehr feierlich, aber schlicht (5:05) 48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn" (37:25) Resurrection in Lucerne Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nouvel is electric. The event was sold out months ago. Here and there a throat is softly cleared, people settle in their seats, their faces alert and expectant. At last, doors open and the members of the newly founded Lucerne Festival Orchestra come on to the platform. There are many very well-known faces: the clarinettist Sabine Meyer and Emmanuel Pahud, the fleet-fingered first flute from the Berliner Philharmoniker, Natalie Gutman among the cellists, members of the Hagen and Alban Berg Quartets among the rank and file of strings, and other players include Albrecht Mayer (oboe), Kolya Blacher (violin) and Wolfram Christ (viola). Lucerne en fête What kind of orchestra is this, formed of the most famous instrumentalists, the most celebrated chamber-music players, the most experienced soloists from the world's best orchestras? With Claudio Abbado to conduct it, chief conductor of the Berliner Philharmoniker up until the previous year, for whom the Lucerne Festival Orchestra is the realization of a wholly personal dream? One answer, at least, is obvious: lt is an orchestra of superlatives. "After this first appearance", the press agreed, "there can be no argument: orchestral cultivation of this calibre is scarcely to be heard anywhere else." The Lucerne Festival has a long tradition of generating its own orchestras. The best remembered is probably the Swiss Festival Orchestra, which assembled "the best orchestral musicians of Switzerland" (to quote the Original memorandum of association) to give the concerts that formed the festival's backbone every year from 1943 to 1993. But the idea of an elite orchestra goes back further, to the summer of 1938. This was the year in which Arturo Toscanini dissociated himself from the Salzburg Festival for political reasons; a handpicked orchestra was formed for him to conduct in Lucerne (the members of the legendary Busch Quartet, banned frorn playing in Germany, sat at the first desks of the string section) and his "concert de gala" marked the moment when Lucerne was new-born as a festival city.
Great presentarion of the legendary american conductor Leonard Bernstein, the Vienna Philharmonic Orchestra, Christa Ludwig (contralto solo), the Viena State Opera Chorus and the Vienna Boys Choir playing the Symphony No. 3 of Gustav Mahler, at 1973. Gran presentación del legendario maestro norteamericano Leonard Bernstein, la Orquesta Flarmónica de Viena, Christa Ludwig (contralto solo), el Coro de la Ópera Estatal de Vienna y el Coro de Niños de Viena interpretando la Sinfonía No. 3 de Gustav Mahler, en 1973. 0:01:13 - 1. Kräftig entschieden 0:34:03 - 2. Tempo di Menuetto. Sehr mäßig 0:44:54 - 3. Commodo, Scherzando. Ohne Hast 1:02:14 - 4. Sehr langsam. Misterioso 1:12:46 - 5. Lustig im Tempo und keck im Ausdruck 1:16:56 - 6. Langsam, ruhevoll, empfunden (Thanks to user "Glypo3000" for tempos at symphony) (C) ALL their respective owners. No personal work here.
The Symphony No. 9 by Gustav Mahler was written between 1908 and 1909, and was the last symphony that he completed. The symphony is in four movements: 1. Andante comodo (D major); 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major); 3. Rondo-Burleske: Allegro assai. Sehr trotzig (A minor); 4. Adagio. Sehr langsam und noch zurückhaltend (D-flat major). Although the symphony has the traditional number of movements, it is unusual in that the first and last are slow rather than fast. As is often the case with Mahler, one of the middle movements is a ländler. The first movement embraces a loose sonata form; the work opens with a hesitant, syncopated motif which is to return at the height of the movement's development as a sudden intrusion of "death in the midst of life", announced by trombones and marked within the score "with the greatest force". The second movement is a dance, a Ländler, but it has becomes distorted to the point that it no longer resembles a dance. The movement contains shades of the second movement of Mahler's Fourth Symphony, in the distortion of a traditional dance into a dance of death. For example, Mahler alters traditional chord sequences into near-unrecognizable variations, turning the rustic and mostly diatonic C major introductory Ländler into a vicious whole-tone waltz, saturated with accidentals and frantic rhythms. The third movement, in the form of a rondo, displays the final maturation of Mahler's contrapuntal skills. It opens with a dissonant theme in the trumpet which is treated in the form of a double fugue. The following five-note motif introduced by strings in unison recalls the second movement of his Fifth Symphony. The addition of Burleske to the title of the movement refers to the mixture of dissonance with Baroque counterpoint. Although the term "Burlesque" means "humorous", the actual "humor" of the movement is relatively small compared to the overall field of manic violence, considering only two small neo-classical sections that appear more like a flashback than playfulness. The final movement, marked "zurückhaltend", opens for strings only; But most importantly it incorporates a direct quote from the Rondo-Burleske's middle section. Here it becomes an elegy. After several impassioned climaxes the movement becomes increasingly fragmented and the coda ends quietly. On the closing pages, Mahler quotes in the first violins from his own Kindertotenlieder: "The day is fine on yonder heights". Conductor: Leonard Bernstein & Concertgebouw Orchestra.