Mahler - Symphony No.4, Adagietto (No.5) / Remastered (Century's record.: Paul Kletzki, Emmy Loose)

Рет қаралды 20,549

Classical Music/ /Reference Recording

Күн бұрын

Пікірлер: 37

@classicalmusicreference 2 жыл бұрын

Album available // Mahler: Symphony No. 4 and Adagietto (No. 5) by Paul Kletzki 🎧 Qobuz cutt.ly/Bes6kMV0 Tidal cutt.ly/Des6lhbf 🎧 Apple Music cutt.ly/5es6lHKQ Deezer cutt.ly/2es6zscr 🎧 Amazon Music cutt.ly/les6cTxP Spotify cutt.ly/Ues6xMJ1 🎧 KZbin Music cutt.ly/Mes6caV4 Gustav Mahler (1860-1911) Symphony No.4 & Adagietto (Symphony No.5) Click to activate the English subtitles for the presentation (00:00-04:29) 00:00 Symphony No. 4 in G Major - I. Bedächtig, Nicht Eilen 16:17 Symphony No. 4 in G Major - II. In Gemächlicher Bewegung 25:52 Symphony No. 4 in G Major - III. Adagio, Ruhevoll 46:52 Symphony No. 4 in G Major - IV. Sehr Behaglich (with Emmy Loose) 55:26 Symphony No. 5 in C sharp minor - Adagietto, Sehr Langsam Philharmonia Orchestra Conductor: Paul Kletzki Recorded in 1957, 1959 New mastering in 2022 by AB for CMRR Photo: Alma Mahler (1879-1964) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Alma Maria Schindler, the twenty-three-year-old, "the most beautiful girl in Vienna", intelligent and cultured, daughter of a famous painter, gifted for music herself, and since her early childhood, she has frequented the intellectual elite of the capital... For Mahler it was love at first sight. Wilhelm Mengelberg, the legendary conductor who reigned over the famous Amsterdam Concertgebouw Orchestra from 1895 to 1945, became a personal friend of the Mahler family. His notes in the margin of his score of the Fifth Symphony are most revealing: "Gustav Mahler to Alma! Instead of a letter, he sent her the manuscript without further explanation. She understood and replied that she would come!!! Both of them told me that ! » In the left-hand margin, Mengelberg has written a poem of which we do not know whether he is the author or whether it was entrusted to him by the composer, but which embraces the melody of the first violins: How I love you You my sunshine I cannot with words Telling you. May my torment Can I moan to you and my love O you my joy! Wie ich dich liebe, Du meine SonneIch kann mit Worten, Dir’s nicht sagen, Nur meine Sehnsucht kann ich Dir klagenund meine Liebemeine Wonne ! And, at the end of the movement, at the bottom of the page, Mengelberg adds: "If music is a language, here's the proof. It tells him everything in notes and sounds, in music." The adagietto was one of Mahler's first works to enjoy great popularity, and it has often been taken from the symphony to which it belongs to be played alone. It has also been used more than once as film music and to underline the painful romanticism of particular situations. It was Visconti who drew the most remarkable effects from it, using it to accentuate the contrast between the beauty of the child and the decline of his worshipper, the main theme of his film. The movement, which lasts only a few bars, provides a moment of wonderful peace between the scherzo and the finale. It is based on a poem by Friedrich Rückert, which Mahler set to music in 1904 and which ends with the following verses. Ich bin gestorben dem Weltgetümmel und ruh'in einem stillen Gebiet ! Ich leb’allein in meinem Himmel, in meinem Lieben, in meinem Lied. (I died in the tumult of the world and rest in a quiet place! I live alone in my paradise, in my love, in my singing). This celestial music is entrusted to the harp and the strings, the role of the harp being not so much to provide accompaniment for the strings as to hover over them and make them hear angelic sounds that contrast with their more earthly voice. Listening to him, one thinks of the angels that Fra Angelico depicted playing the harp from the heavens to encourage men to persevere in virtue. It perfectly illustrates the theme of Death in Venice, a work in which Mann wanted to underline the danger that beauty represents for an artist tempted to try, through his contemplation, to reach the spirit through the senses: it is impossible to possess beauty on this earth - it eludes our pursuit and we can only reach it when we are "dead to this world". The beauty of this breathless melody is not made of serenity. Compared to the slow movement of Beethoven's Ninth, it seems hesitant. One has the impression that as soon as it reaches ecstasy it falls back to earth and rises again immediately. The theme on which the adagietto opens is the quietest moment. The music unfolds slowly and, after a radiant passage for which Mahler gave the indication mit Würme (with warmth), it becomes more intense as the flickering voice of the violins rises higher and higher. The harp falls silent during their ascent and then a heavenly chord is heard which causes them to fall. They let themselves fall in a vertiginous glissando so that they no longer reach such heights. Harp and violins continue the hesitant exposition of the theme together, separating for the last bars... Click to activate the English subtitles for the presentation (00:00-04:29) Mahler - The Song of the Earth (Ct.rc.: Kathleen Ferrier, Bruno Walter, Wierner Philharmoniker): kzbin.info/www/bejne/jobCp6iBiLVlkJI Gustav Mahler PLAYLIST (reference recordings): kzbin.info/www/bejne/eInXn56derGJiq8

@Lily-ky8ew 2 жыл бұрын

지금 여기는 자정이 다가오고 있는데 자기 전에 들으니 좋아요. 듣다가 자야겠어요. 공유 해주셔서 감사합니다.

@classicalmusicreference 2 жыл бұрын

Alma Maria Schindler, the twenty-three-year-old, "the most beautiful girl in Vienna", intelligent and cultured, daughter of a famous painter, gifted for music herself, and since her early childhood, she has frequented the intellectual elite of the capital... For Mahler it was love at first sight. Wilhelm Mengelberg, the legendary conductor who reigned over the famous Amsterdam Concertgebouw Orchestra from 1895 to 1945, became a personal friend of the Mahler family. His notes in the margin of his score of the Fifth Symphony are most revealing: "Gustav Mahler to Alma! Instead of a letter, he sent her the manuscript without further explanation. She understood and replied that she would come!!! Both of them told me that ! » In the left-hand margin, Mengelberg has written a poem of which we do not know whether he is the author or whether it was entrusted to him by the composer, but which embraces the melody of the first violins: How I love you You my sunshine I cannot with words Telling you. May my torment Can I moan to you and my love O you my joy! Wie ich dich liebe, Du meine SonneIch kann mit Worten, Dir’s nicht sagen, Nur meine Sehnsucht kann ich Dir klagenund meine Liebemeine Wonne ! And, at the end of the movement, at the bottom of the page, Mengelberg adds: "If music is a language, here's the proof. It tells him everything in notes and sounds, in music." The adagietto was one of Mahler's first works to enjoy great popularity, and it has often been taken from the symphony to which it belongs to be played alone. It has also been used more than once as film music and to underline the painful romanticism of particular situations. It was Visconti who drew the most remarkable effects from it, using it to accentuate the contrast between the beauty of the child and the decline of his worshipper, the main theme of his film. The movement, which lasts only a few bars, provides a moment of wonderful peace between the scherzo and the finale. It is based on a poem by Friedrich Rückert, which Mahler set to music in 1904 and which ends with the following verses. Ich bin gestorben dem Weltgetümmel und ruh'in einem stillen Gebiet ! Ich leb’allein in meinem Himmel, in meinem Lieben, in meinem Lied. (I died in the tumult of the world and rest in a quiet place! I live alone in my paradise, in my love, in my singing). This celestial music is entrusted to the harp and the strings, the role of the harp being not so much to provide accompaniment for the strings as to hover over them and make them hear angelic sounds that contrast with their more earthly voice. Listening to him, one thinks of the angels that Fra Angelico depicted playing the harp from the heavens to encourage men to persevere in virtue. It perfectly illustrates the theme of Death in Venice, a work in which Mann wanted to underline the danger that beauty represents for an artist tempted to try, through his contemplation, to reach the spirit through the senses: it is impossible to possess beauty on this earth - it eludes our pursuit and we can only reach it when we are "dead to this world". The beauty of this breathless melody is not made of serenity. Compared to the slow movement of Beethoven's Ninth, it seems hesitant. One has the impression that as soon as it reaches ecstasy it falls back to earth and rises again immediately. The theme on which the adagietto opens is the quietest moment. The music unfolds slowly and, after a radiant passage for which Mahler gave the indication mit Würme (with warmth), it becomes more intense as the flickering voice of the violins rises higher and higher. The harp falls silent during their ascent and then a heavenly chord is heard which causes them to fall. They let themselves fall in a vertiginous glissando so that they no longer reach such heights. Harp and violins continue the hesitant exposition of the theme together, separating for the last bars... Click to activate the English subtitles for the presentation (00:00-04:29) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

@柳瀬春彦 2 жыл бұрын

華麗で優美なマーラーですね。初めて聴かせていただきました。永いことCD入手できなかったので。

@peterreuter5678 2 жыл бұрын

Good morning from Germany. What great music. Thanks for posting. Greetings to all listeners.

@ГалинаСердолик 2 жыл бұрын

What's the beautiful!!! Thank you from the bottom of my heart!!! BRAVO!!!

@palomapola6716 2 жыл бұрын

Thank you very much!!! It's a wonderful recording.

@jesustovar2549 2 жыл бұрын

I already heard this recording but now is beautifully remastered, this is some of the Best Mahler I've ever heard, wonderful performance, also the voice of Emmy Loose is soothing, I remember when I first heard the complete Adagietto, I said "this is one of the most beautiful things created by a human being", I can listen to it without the rest of the symphony as with Beethoven 7 second movement.

@classicalmusicreference 2 жыл бұрын

Thanks for your comment :)

@dennisschwartzentruber3204 2 ай бұрын

Excellent version !

@melvynmsobel210 2 жыл бұрын

I owned this wonderful Kletzki Mahler 4th on a Seraphim LP back in the 70s, and it has always been my favorite. No other conductor comes close to Kletzki's vision of Mahler, I feel. So, when I found it, by chance, on an imported Canadian Seraphim CD over twenty years ago, I was thrilled. The sound, for the era recorded, was astoundingly good; however, this Reference Recording is warmer and more detailed. Thanks for posting!

@michaelletellier218 2 жыл бұрын

What a gift for Valentine's Day ... wonderful to bring these superb recordings once more to the fore! Thank you as always, Michael.

@honda412000 2 жыл бұрын

As usual, perfection in the playing, the recording and the sound quality. Congratulations and many thanks for your excelent work.

@classicalmusicreference 2 жыл бұрын

Thanks Honda :)

@fe12rrps 2 жыл бұрын

Beautiful! Thanks for posting! I really enjoy the poetry of Friedrich Rückert btw. I didn't know he was a scholar of Oriental languages. His poetry is so beautiful. It's no wonder his poetry inspired so many great composers.

@classicalmusicreference 2 жыл бұрын

A pleasure to read you again :)

@fe12rrps 2 жыл бұрын

@@classicalmusicreference le plaisir est tout à moi!

@c696367 Жыл бұрын

ステレオ初期の録音でこんな素晴らしい演奏があったとは驚きです。名演・名録音だと思います。

@alvarogarciabarbosa3199 2 жыл бұрын

Cuan enamorado de Alma estaba nuestro sufrido Mahler. Razonable por su gran belleza. Estas versiones son excelentes. También admiro y disfruto mucho las de HR Frankfurt Sinfonie con Orozco Estrada. Porque son muchas y muy buenas todas las históricas de máxima referencia, pero hoy día ninguna desmerece. Gracias por estas remasterizadas. Geniales!!!

@classicalmusicreference 2 жыл бұрын

Gracias por tu comentario Álvaro