yushuay1967
04-27-2017, 03:34 PM
Dear friends, i'm very glad to be back again in this forum.
Last year, i posted this symphony with the same director, but in his first recording, conducting the Birmingham Symphony in 1986.
This recording was very praised in that moment. In fact, won the Gramophone Award of the Year.
Well.....sir Simon recorded again this beautiful symphony now with his orchestra and live in Berlin.
(http://subefotos.com/ver/?e93bcaf432c9b62c4b9c3b2866be9c51o.jpg)
(http://subefotos.com/ver/?953f29e7ea3afc05b377499a025153abo.jpg)
And again, he received very good critics:
From the Gramophone Magazine:
"The pacing, too, feels overly expansive despite Rattle�s meticulous adherence to Mahler�s frequent and often extreme tempo fluctuations. Certainly we�ve come a long way from Otto Klemperer�s celebrated EMI studio recording in which he systematically disregarded all such indications as if he were still conducting Todtenfeier, the first incarnation of the movement where none of these markings exist. One might include in that assessment the unmarked but traditional ritardando into the battering dissonance at the climax of the development. Rattle makes a meal of that. But surely it�s more shocking not to signal the arrival of the molto pesante? Isn�t that the reason Mahler pointedly avoided suggesting any slackening of pace in the moments before this shattering derailment?
Magdalena KoΩen� brings her customary depth of feeling to the still maternal voice of �Urlicht� (though one or two switches of register evidence some discomfort); and notwithstanding moments where I would like the veneer stripped off the brass (especially the first trumpet), the finale � with magical spatial effects � is magnificent. Rattle�s famous piano-pianissimos are deployed to breathtaking effect, the choral passages (radiantly illuminated at the top by Kate Royal) sound pure, mysterious and very Bachian, and the returning resurrection hymn is tremendous.
There is still no completely ideal recording of this inspiring piece: if we could somehow conjure an amalgam of Rattle, Fischer, Bernstein and Tennstedt we�d be getting close. I personally am drawn back to Iv�n Fischer, while the recent live Tennstedt lays bare the whole burning issue of mortality with uncompromising force. If he is the Beast, then Rattle is undoubtedly Beauty. If only we could bring them together."
Well.....you can compare the two versions and take a final conclusion.
Just...enjoy it (https://mega.nz/#!BZ8jnTxS!FseAtXl-fiEcyNwu_1OtGqqxjeGiMu3sAYZbdwmgoCs).
Last year, i posted this symphony with the same director, but in his first recording, conducting the Birmingham Symphony in 1986.
This recording was very praised in that moment. In fact, won the Gramophone Award of the Year.
Well.....sir Simon recorded again this beautiful symphony now with his orchestra and live in Berlin.
(http://subefotos.com/ver/?e93bcaf432c9b62c4b9c3b2866be9c51o.jpg)
(http://subefotos.com/ver/?953f29e7ea3afc05b377499a025153abo.jpg)
And again, he received very good critics:
From the Gramophone Magazine:
"The pacing, too, feels overly expansive despite Rattle�s meticulous adherence to Mahler�s frequent and often extreme tempo fluctuations. Certainly we�ve come a long way from Otto Klemperer�s celebrated EMI studio recording in which he systematically disregarded all such indications as if he were still conducting Todtenfeier, the first incarnation of the movement where none of these markings exist. One might include in that assessment the unmarked but traditional ritardando into the battering dissonance at the climax of the development. Rattle makes a meal of that. But surely it�s more shocking not to signal the arrival of the molto pesante? Isn�t that the reason Mahler pointedly avoided suggesting any slackening of pace in the moments before this shattering derailment?
Magdalena KoΩen� brings her customary depth of feeling to the still maternal voice of �Urlicht� (though one or two switches of register evidence some discomfort); and notwithstanding moments where I would like the veneer stripped off the brass (especially the first trumpet), the finale � with magical spatial effects � is magnificent. Rattle�s famous piano-pianissimos are deployed to breathtaking effect, the choral passages (radiantly illuminated at the top by Kate Royal) sound pure, mysterious and very Bachian, and the returning resurrection hymn is tremendous.
There is still no completely ideal recording of this inspiring piece: if we could somehow conjure an amalgam of Rattle, Fischer, Bernstein and Tennstedt we�d be getting close. I personally am drawn back to Iv�n Fischer, while the recent live Tennstedt lays bare the whole burning issue of mortality with uncompromising force. If he is the Beast, then Rattle is undoubtedly Beauty. If only we could bring them together."
Well.....you can compare the two versions and take a final conclusion.
Just...enjoy it (https://mega.nz/#!BZ8jnTxS!FseAtXl-fiEcyNwu_1OtGqqxjeGiMu3sAYZbdwmgoCs).