The era Abbado at the Berlin Philharmonic was clearly not always a picture-perfect marriage, as one might get the impression when reading various superficial short biographies. Especially the way as Abbado rehearsed, not pushed in all the orchestra players on reciprocal love, and with the announcement of the maestro, not to extend his contract beyond 2002, he was probably pre-empted his sacking. But then followed Abbado's serious illness, and it is said that the last few years, the spent Abbado at the Berlin, the most fertile and best goods. So many moving pictures were taken during that time. Finally, there was a parting gift then another small Mahler cycle with unforgettable moments, such as the recording of the 7th Symphony. Two years after Abbado's farewell to the people of Berlin, he now returned as a guest conductor in the Philharmonic back, and the reception of the former chief conductor was euphoric, although expectations were certainly high and full of excitement. And Abbado did not disappoint: you get here in my opinion one of the most exciting, inspiring and beautiful Mahler recordings of recent years commanded. And the 6th symphony is certainly anything but light fare: from perhaps the most classic of all Mahler's first movements through to powerful finale with its famous three hammer blows is demanded by all participating musicians everything here. With the shocking conclusion (I still troubled despite repeated listening, when I hear the CD at full volume), it is also the undoubtedly tragic symphony. In the present recording a pretty much benefit, which I have come to love at the Berlin Philharmonic and so appreciated. Since you would be incomparably more beautiful and sophisticated orchestral sound, ostentatious powerful to the powerful points to just fall into the delicate passages in endless beautiful sound sense (pay attention only to the chorale-like second subject in the first sentence). As would also be their rhythmic, cutting precision and not to forget the sonic transparency and audibility almost like a chamber music concert. And that in spite of all mentioned advantages convincing arc over the entire work is stretched, the symphony from the beginning to the last breath of lives and breathes, perhaps even the live atmosphere at the Philharmonic thanks to and, above all, a conductor who in such moments blossoms to top form and animated, like few others today. The king had returned, and press and the public cheered.
