Симфонии Густава Малера

[usman]

Мануальная техника тоже имеет значение , ибо это и есть язык , с помощью которого дирижер общается с оркестром . . .

Конечно имеет. Но не основополагающее. Определяющим является, наверное, то, что дирижер "говорит" при этом общении, а насколько косноязычно он это делает - конечно, тоже важно, но не первостепенно...

[9999]

На демоноиде есть запись 4-ой Малера - Manfred Honeck с Питтсбургским оркестром, прекрасно оформленная выкладка с рецензиями. Приведу – вдруг кто не видел. Любопытно услышать мнения малеролюбов об этой записи

Remarks on Mahler's Symphony no.4 by Manfred Honeck

Mahler's Symphony No 4 is especially dear to my heart as although this work has a neo-classical structure and, due to the reduced orchestra size, offers a seemingly simple and naive sound world, on closer inspection it seems even more enigmatic and grotesque than Mahler's previous symphonies. The interplay ofthe eerie and the idyllic, that famous Mahleresque ambiguity, leaves its distinctive stamp on this symphony like on none of the others composed earlier.
My starting-point for the understanding of this work is the fourth movement which was originally intended as final movement for the third symphony and hence was written a few years earlier. Originally, Mahler had given it the title "What the child tells me". The description of life in paradise is interrupted by biting, razor-sharp figures. You might possibly perceive these passages as faster than usual but actually Mahler himself explicitly demanded in a footnote a faster tempo than at the beginning of the symphony. Accordingly, the grotesque is supposed to sound even more demonic and the idyllic even more innocent and childlike. For this reason it was also of great importance to me to choose a soloist with a notedly lyrical and childlike voice (it is, after all, "The YOUTH's Magic Horn") in order to corroborate this innocence and purity. I think I found her in soprano Sunhae Im.

The second movement likewise lives on this interplay. Altogether, I did not consider it necessary to have the solo violin (called "fiddle" by Mahler) play even more grotesquely as the instrument is already tuned a whole tone higher than standard, but it was important to me to highlight elements such as the dance parts borrowed from traditional Austrian folk music with their typical offbeats and short standstills. A further challenge for me was the rubato playing which is an essential ingredient of Austrian folk music and which is essential to me for the performance of Mahler's music. This work demands a special measure of rubato playing similar to the music of Johann Strauβ.

For me this symphony, requiring a combination of chamber music discipline and orchestral virtuoslty with the earthiness of folk—music and surprisingly classical form, unites central European traditions stemming directly from spirit of Joseph Haydn.

Review by Mr David Hurwitz:

Another great Mahler Fourth--talk about being spoiled for choice! This is in some ways a heavily inflected performance, but only where Mahler offers the opportunity. At other times it sticks to the letter of the score in a most illuminating fashion. The very opening sleigh bell episode, for example, is swift and bright, at least compared to many other performances. Mahler marks it "moderato" and "don't rush" (which conductor Manfred Honeck doesn't), but then we realize the ensuing principal tempo is marked "very relaxed", and Honeck's choices begin to make sense. Finally, when the same sleigh bell motive returns in the finale, accompanied by one of Mahler's famous footnotes ("Here the tempo must become quicker, as at the corresponding place in the first movement"), we can actually hear in Honeck's hands the fulfillment of Mahler's grand cyclical plan.
Their are other controversial moments as well. The Adagio's principal theme is taken very slowly, the more to highlight the movement's wide range of tempos. The group of abruptly accelerating variations never has sounded so unbuttoned and gleeful, while the hypnotic music at the close has a stillness and shimmering beauty that's truly unforgettable. In general, Honeck goes for maximum tempo contrast wherever possible (the first movement's third subject group), but never to the point of mannerism. His control over the orchestra is absolute.
Speaking of which, there is probably no orchestra in the world better suited to this music than Pittsburgh--including Vienna, Berlin, and all the usual suspects. Always a superb ensemble in German music (consider PentaTone's recent Brahms cycle), and always underrated, the orchestra here shows playing that truly is in a class of its own. The horns are simply amazing; the solo winds give life and color to every bar that features them, turning the scherzo into just the half-folksy, half-spooky tone poem that Mahler intended; the strings sustain the slow tempos in the Adagio with unrivaled intensity.
Previn's recording of this work for EMI has long been a reference version, one of those "sleeper" performances overlooked in most surveys of the piece, but the quality of the orchestra over time is there for comparison and speaks for itself. Soprano Sunhae Im has a couple of moments of odd pronunciation, but an ideal timbre, and she catches the childlike innocence that Mahler intended just about perfectly. Exton's sonics are state of the art, both in normal and SACD stereo. I know, you probably already have 10 or 12 favorite recordings of this symphony, but this will certainly be another.

Review by Mr Gavin Dixon:

I've been listening a lot recently to Philip Herreweghe's Mahler 4 performed on period instruments. His is a lean account, with little vibrato and no more tempo fluctuations than are strictly necessary. Manfred Honeck's interpretation of the work is at the opposite end of the spectrum, and the contrast between the two recordings is astonishing. Herreweghe demonstrates that the music doesn't need much help from the podium in order to produce drama and profound emotion. Honeck, in contrast, shows that continuous intervention by the conductor can also be musically justified. And the results certainly are powerful and immediate. But it can also feel laboured, as if every detail of the score has to be pedantically spelled out with some heightened articulation or localised rubato. Well, the score doesn't need any of that, although some listeners may appreciate the help Honeck offers in getting to grips with what is, in fairness, a radical work.
The first movement gets off to a brisk start. By speeding up the sleigh-bells on the first page, Honeck is able to glide over that awkward tempo transition in the fourth bar. From then on the first movement is a roller-coaster, with every opportunity for dramatic contrast exploited to the full. The orchestra are on top form throughout, with glistening strings, distinctive woodwind solos, and that warm yet penetrating sound from the brass that you only hear from the top American orchestras. The ensemble of the orchestra is also impressive, especially given many radical tempo shifts that Honeck affects.
Contrast is again the key feature of the second movement, with some excellent solos from the leader, the horn and the woodwinds interspersing tuttis that regularly risk going over the top. Of course, Honeck knows how to maintain control of the orchestra, so the dangers are always illusory. There is a wonderful sense of serenity at the start of the third movement, which is taken surprisingly slowly. But this too soon gives way to yet more intense drama. By about half way through the third movement, it becomes apparent that Honeck is presenting the Fourth Symphony as if it was of the same scale as Mahler's other symphonic works. It is hard to say whether that is an arrogant or an insightful approach. It certainly forces the listener to address their preconceived ideas about how the Fourth is different. And most importantly, it all adds up to a coherent and genuinely originally interpretation.
The volume drops in the fourth movement as the orchestra recedes to an accompanying role to the soprano Sunhae Im. In any other context, I'd say that Sunhae's vocal style is far too florid and operatic for this music, but her performance is exactly accordant with the approach that Honeck has been taking in the previous movements, expressive and direct, if not precisely subtle.
The SACD audio quality is up to Exton's usual impressive standards. In fact, the company is fast becoming the market leader in terms of the definition and vibrancy that they can produce from live orchestral recordings. Of course, you need an orchestra that is up to the job to make this sort of recording project worthwhile, and a very significant factor in its success is the fact that every section of the Pittsburgh Symphony plays to an exceptional standard. I've just one grumble, the bass, impressive as it is, doesn't sound very natural. The Exton producers have clearly gone to great lengths to create the soundscape they are looking for, but in other recordings they manage to disguise their post-production balancing behind a veneer of apparently natural sound. The sheer quantity of bass here, and I'm thinking particularly of the bass drum, is spectacular but hardly realistic. Like the performance itself, the only problem with the recording is a lack of subtlety, and of the all the symphonies in Mahler's catalogue, the Fourth is where you are going to feel that the most.

Review by Mr Hank Zauderer:

This new recording of the Fourth Symphony in G Major is the second release by the Pittsburgh Symphony Orchestra and its new conductor, Manfred Honeck in a series of recordings of the symphonies of Gustav Mahler. The singer featured in the last movement is the Korean soprano Sunhae Im.
The Austrian conductor Manfred Honeck began his career as conductor of Vienna’s Jeunesse Orchestra which he co-founded. After several highly successful guest appearances as conductor of the Pittsburgh Symphony Orchestra, he was appointed its ninth Music Director in 2008.
Mahler’s Symphony No. 4 in G Major was written between 1899 and 1901. The last movement incorporates a song for soprano entitled “Das himmlische Leben” which was originally written in 1892, and presents a child’s vision of Heaven.
While this symphony is one of my great favorites, I was somewhat disappointed by this performance. I found the singing in the final movement to be somewhat flawed, and lacking the child-like, innocent view of heaven. And while I heard all the “notes’ in the music, for me the “Mahler thrill” was somehow lacking. This music always connects me with the Austrian countryside around the Austrian lake country close to the Attersee, where Mahler spent his summers. I could not achieve my usual transport to that area when listening to this particular CD.
For what it’s worth: I love the artwork of the CD cover!

[Walter Boot Legge]

Gustav Mahler: Symphony Nr.2 "Resurrection" - Gilbert

Concert around the world Memorial for ten years September 11

Gustav Mahler: Symphony Nr.2 "Resurrection"
New York Philarmonic Orchestra
Alan Gilbert conductor

Nathalia Roschmann sopran
Michelle DeYoung mezzosopran
---------------------------
Alan Gilbert в записи Девятой на BIS (Royal Stockholm Philharmonic Orchestra) "застолбил" интерес к своим малеровским интерпретациям.
А вот эта запись Второй разочаровала деловитыми "тараканьими бегами" и недорогими эффектами в кульминации Allegro maestoso. Жаль.

[9999]

А тут может и не все слышали, а может и вовсе не слышали, что на демоноиде 3-я с Ноттом выложилась. А если вдруг чего, то вот ссылка для торрента:
magnet:?xt=urn:btih:TQYVCULW6QSOJ6LTODYQRXKHARDWVO 34

[Ёрик]

А тут может и не все слышали, а может и вовсе не слышали, что на демоноиде 3-я с Ноттом выложилась. А если вдруг чего, то вот ссылка для торрента:
magnet:?xt=urn:btih:TQYVCULW6QSOJ6LTODYQRXKHARDWVO 34

Вы, наверное, уже успели внимательно послушать, а так же все остальные вышедшие записи Малера с Ноттом ?

Поделитесь пожалуйста, вкратце, своими впечатлениями.

А то вот думаю,стоит ли брать оригиналы или нет.

[9999]

Вы, наверное, уже успели внимательно послушать, а так же все остальные вышедшие записи Малера с Ноттом ?

Поделитесь пожалуйста, вкратце, своими впечатлениями.

А то вот думаю,стоит ли брать оригиналы или нет.

Слушать внимательно для меня значит сравнивать рядом несколько интерпретаций. Внимательно я послушала любимую последнюю часть.
Мне нравится Нотт, хотя и не могу сказать, что его интерпретации глубоко меня трогают. Есть в нем что-то общее с Аббадо (для меня субъективно) : та же прозрачность музыкального полотна, исключительно ясный и точный звук оркестра, эмоциональная «отжатость» - без внешних аффектов и чувственной «грязи». Нет экстатичности, неуверенности, волнения и хрупкости. Пожалуй, не самая интересная интерпретация для меня, но однозначно стоящая прослушивания.
Здесь довольно медленный темп – сквозь всю симфонию. Есть вообще в нем такая широта, неспешный уверенный шаг, даже обстоятельность (без иронии), как и в 9-ой, если слышали. Так широко и неспешно он строит колоссальный мир, живой и полный, мир удивительной красоты и мощи. Его медлительность убедительна, завораживающа. Хотя, может быть, кому-то станет скучно.
Покупать ли? Если есть лишняя денежка , почему нет? Нотт - замечательный малеровский дирижер, что не так часто встречается. Могу переложить куда-нибудь (напишите в ЛС), если есть проблемы с торрентом – послушаете , решите.

[Walter Boot Legge]

На рутрекере доступен фильм In the Footsteps of Mahler (По следам Малера ) в русском переводе канала Культура ( увы, далеким от совершенства)О Малере свидетельствуют прежде всего его внучка (дочка скульптора Анны Малер-Верфель) и посвятивший ему жизнь замечательный Анри-Луи де Ля Гранж! Его признание у могилы Малера невероятно трогательно... Интересен мне было услышать и Даниеля Гатти.Cовершенно неожиданно в конце фильма появляются прекрасные цветные (!) кадры, где Альма в присутствии Анны говорит об отношении Малера к Шенбергу.

[Ёрик]

Большое спасибо за ваши, довольно содержательные, ответы !
Сегодня заказал на американском Амазоне всего "ноттовского" Малера !

Отдельное спасибо, WBL !
"По следам Малера " уже поставил на закачку.
До сих пор нахожусь под впечатлением от фильма Кена Расселла, очень люблю такое кино !

Кстати, сегодня послушал эту запись
http://www.amazon.com/Mahler-Symphony-Minor-Resurrection-incomplete/dp/B00006879J/ref=sr_1_29?s=music&ie=UTF8&qid=1320846368&sr=1-29

Впечатления очень положительные, всё слушалось просто на одном дыхании !
Помимо великолепного качества записи, трактовка Леви показалась очень убедительна, последний раз такое удовольствие от "Воскресения" получил от прослушивания этого диска !
http://www.amazon.com/Gustav-Mahler-...0846934&sr=1-3

[9999]

Большое спасибо за ваши, довольно содержательные, ответы !
Сегодня заказал на американском Амазоне всего "ноттовского" Малера !

Отдельное спасибо, WBL !
"По следам Малера " уже поставил на закачку.
До сих пор нахожусь под впечатлением от фильма Кена Расселла, очень люблю такое кино !

Кстати, сегодня послушал эту запись
http://www.amazon.com/Mahler-Symphony-Minor-Resurrection-incomplete/dp/B00006879J/ref=sr_1_29?s=music&ie=UTF8&qid=1320846368&sr=1-29

Впечатления очень положительные, всё слушалось просто на одном дыхании !
Помимо великолепного качества записи, трактовка Леви показалась очень убедительна, последний раз такое удовольствие от "Воскресения" получил от прослушивания этого диска !
http://www.amazon.com/Gustav-Mahler-...0846934&sr=1-3

Леви мне незнаком. поищу. Янсонс чудный.
Поздравляю с покупкой, не забудьте вернуться с впечатлениями по прослушивании.

[Walter Boot Legge]

Отдельное спасибо, WBL !
"По следам Малера " уже поставил на закачку.  

Уверен, не пожелеете!

 

До сих пор нахожусь под впечатлением от фильма Кена Расселла, очень люблю такое кино !

А где еще такое взять ?  

Кстати, сегодня послушал эту запись
http://www.amazon.com/Mahler-Symphony-Minor-Resurrection-incomplete/dp/B00006879J/ref=sr_1_29?s=music&ie=UTF8&qid=1320846368&sr=1-29

Впечатления очень положительные, всё слушалось просто на одном дыхании !
 Помимо великолепного качества записи, трактовка Леви показалась очень убедительна,

Дорогой Ёрик, у меня копия этой запись. Ей около 2х лет. Здается мне, что я получил ее от одного человека, обладавшего неограниченным чувством юмора... , и два года назад высказавшего свои восторги по поводу этой записи здесь, на форуме
  Чем то Вы его напоминаете   Даже ником. Только путаница с тремя гласными...