Beautiful, great recordings

Beautiful, great recordings

Mahler: Symphonies 2, 4, 7 and 9 - Das Lied von der Erde (CD)

Customer Review

Sure, it seems obvious to note at the height such interpreter. Must still show what perfections are made of a leader so famous, but somewhat helpless before this reissue; how these perfections are present, original and endearing.
First, this apparent "choice" symphonies. There are those he directed but did not want or could record, there are those that never led. Good! It remains surprising for such malherien, especially our multiple full time. But I'd like to see in what definitely takes a bit of studios hazards, determination of more decisive taste.
I got to thinking that the obligation to choose for a holiday or for a desert island Mahler, I find myself very embarrassed. I probably my favorite, though my old passion for the composer has brought me to love all, but not without distinctions! I am thus come to regard the whole work as one of Mahler symphony, as its sole and indivisible symphony. The thread of these holiday compositions Mahler composed a symphony in one or two summers, even overflowing a little, or that it must "spread" its composition over several summers, shows the tense continuity over months of work executive, single voltage from one to the other as a movement to another, if substitute for "related" symphonies - if I may say, when she followed one year away, movements (in fact huge), and through these works, it seems to movements into movements in a kind of suite, signifying constantly in his connections and bypassing the term "playable" of each opus brings us by a kind jet-inspired one piece - which does not mean not varied, the first movement of the first symphony at the last song of "Song of the Earth" or the 4th movement of his 9th ... still ! musical unity, we can if we want to break up into three periods, or three great movements, if you prefer ...
Thus considered, the "choice" of Otto Klemperer me seem to follow a logical completion or synthesis. The 9th encompasses the 8th; 7th synthesizes the 5th and 6th. The second encompasses the first in its override of the sign given by the title of Titan, and inspiration that heritage. It is mysterious and violent as the first, with that touch of wry humor, as a graduate night party in a novel by Arthur Schnitzler: this calm and peasant ländler unless student of the 2nd movement first, joyful, pouring slowly into a squeaky tragic, before relaxing in a big waltz a little languid and melancholy by custom, and come back late in the race joyous celebrations rhythms. And he continues, or rather opens to the strange world of the "Frère Jacques," I hear sound imaging "respond" to the "hanging" of the 2nd: it preaches to the fish, digging a haven of bruegheliennes questions, after cosmic outbursts of the first movement of the "Resurrection", before those of the beginning of his fifth movement; and the 2nd movement begins in the atmosphere of the middle of the Landler first, evolving towards a bright drama in the middle, while the reverse, flipping records .... But a larger unit size and a unique spring from the 2nd which in my opinion justify the choice of cellle which is the most complete in the same line.
Otto Klemperper is surprisingly modern in this second symphony. Analytical, where so melt, spread, put the big giant piano pedals what the orchestra, and confuse, or have charm, where the greatest seriousness is required, at least in appearance. What symhonie Mahler is the most played, beaten and otherwise hackneyed 2nd! And suddenly it appears clear as a whistle, sharp, as with all its parts and reassembled by a genius mechanic, gleaming in all its audible stamps separately and assembled just as well, rather than melted. Independence and selected rally, weighed, measured, determined with extraordinary art of "patch-up" of the melody, a clear rhythm. Where a Bernstein plays and often wins by Fantasy and intuition, where a Bruno Walter made an expressionist painting, a play romantic sound masses, post or neo-romantic, Klememperer ad those "erode" the surface, look for materials abstract. One can find the synthesis of this walterienne expressiveness and analytical and subtle architecture with Klemperer's extraordinary, the "Tremendous" recording the second by Zubin Mehta.
We oppose that the Knaben Wunderhorn Lieder together the first four symphonies. Yes of course, find a line of inspiration in his four works is indisputable. However there are in the two first other thing: Fahrenden Gesellen, even human scale - if I just say - the Promethean nature.
Everything explodes with 3rd symphony. Klemperer did not record. He interprets what can be considered its synthesis and partial reversal, again: the 4th.
What appears again with the third, beyond the huge, the TITANIC, yes, the first movement, two things: firstly a radically new inspiration in music, a kind of music 'indifferent', has sentimental, a course not without emotions, but when they are put away, for much of the movement. I see as an example, a manifestation, I was going to say "manifest" ... No! 2nd and the 3rd movement of the 3rd, and matured in the sense that I find, 1st and 2nd movement of the 4th. Music gestures, movements, waiting, poses in a space quietly but powerfully put up by the orchestration. This sled passes, goes away and comes back in the first mvt of the 4th, this "post horn" in the 3rd 3rd lel, this pace a little slow but steady hence will a welling concern and quickly smothered drama in this extraordinary first movement of the fourth. This ICI is that it all started for me in my passion for Mahler. There and then the violin 2nd movement that seems to play anything or anyone while the rest stirs ... This music pathetic that lets deaf or inaudible incredible stress! what tenderness did I not this 4th!
And if a Bernstein largely misses, that is he is trying to romanticize, to do in the great feelings .., and this only "big" and tormented sentimental fat here.
Yet Klemperer, although we may say here and there in these criticisms, has "got it," is the tone, it is a little cold, and he follows these misidentified sound objects, surprising coming, pass, saw as in a song child '- but so subtle, so délestement orchestrated! it clarifies, it puts the net and this is obvious. We stroll. We watch. We do not know what; it's visual trouble, little impressionistic. This is the new Mahler.
New long as these slow movements, stretched in time, beautiful, sense of generosity there. Sweet surrender .... Déréliction sweet melancholy without bitterness ... ... and always the emergence of an underlying drama and disappears ..
I had known Haitink. Here Klemperer. Royal in the indifference of judgment.
And here is a legacy of the Enchanted Horn, of course, the 4th movement, so coldly wacky, so out of reach. I still pure and childlike voice CHARACTER Elly Hameling perfect. Elisabeth Schwarzkopf, not bad. We forget the "Nazi icicle" that we sometimes offers.
The 9th is slow to perfection, punctuated the 2nd and 3rd movements, and as always, we lose track of time of fast and slow with Klemperer, because everything is in its place, a little weight without heaviness, architected. Beau its mass instrument, without physical psychology.
The Song of the Earth may be e that suits me the least. I mean HIS! Because here it is necessary an absolute lyricism! It takes Bruno Walter! And then this is the most beautiful music in the world!
MAB

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