Описание CD

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  Исполнитель(и) :
   Mahler, Gustav  (Composer) , Karl Anton Rickenbacker (Conductor
◄◄◄        ►►►

  Наименование CD :
   Symphonic Movements



Год издания : 1989

Компания звукозаписи : Virgin

Время звучания : 1:02:37

Код CD : VC 7 90771-2

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

Bamberger Symphoniker - Karl Anton Rickenbacker

========= from the cover ==========

Beside the nine completed Symphonies and The Song of the Earth Mahler wrote three 'independenth symphonic movements: Blumine, which is the original second movement of the First Symphony; Totenfeier (Funeral Rites), the original version of the first movement of the Second Symphony; and the Adagio from the Tenth Symphony. All three movements are on this recording.

Blumine is probably the earliest of Mahler's surviving orchestral movements. Al1 the available evidence suggests that this movement started life as an Intermezzo in the incidental music which Mahler wrote for Scheffel's drama "Der Trompeter von Sackingen", where it served as a "Serenade across the nocturnal Rhein' This version (which was in a different key) no longer exists.

Mahler incorporated this movement in the original version of his First Symphony (initially called 'Symphonic Poem in Two Parts') but dropped it in the final version.

The lyrical movement opens with a trumpet solo in F major, which reappears towards the end. The trumpet theme undergoes several transformations, appearing, for example, as a duet between double bass and oboe.

Having completed his First Symphony in 1888, Mahler embarked immediately on the Second. On completion of the first movement work came to a halt. Mahler's efforts to publish this movement as a Symphonic Poem under the title Totenfeier were unsuccessful.

The Totenfeier movement recorded here is the original version of the first movement of the Second Symphony. Mahler himself described it as the burial of the hero of the First Symphony.

The movement is built with two opposing themes: a stormy, march-like opening with a succession ofderivative motifs and a second, song-like theme. The contrast between these two worlds (one in the minor, the other in the major) determines the whole movement and culminates in powerful climaxes contrasted with passages of great calm.

When Mahler resumed work on the Second Symphony after four years, he changed the instrumentation of the first movement quite fundamentally and also made some changes to the form. With the completion of the Second Symphony Mahler had found his own symphonic form. In the years that followed he composed one work after another with

frenetic creativity.

When Mahler died on 17 May 1911, his Tenth Symphony was left unfinished. The score of the first movement, Adagio, was almost complete, and another movement (Purgatorio) had reached a fairly advanced stage. For the remaining three movements there were extensive melodic sketches (the whole of the available material was published in two facsimile editions).

In 1923 Alma Mahler commissioned the young composer Ernst Krenek to prepare a performing version of the Tenth Symphony. Krenek produced a score of Adagio and Purgatorio, but like other Mahler authorities he refused to complete the other movements.

The score prepared by Krenek was closely examined by Alban Berg, who wrote a detailed commentary. Some of the alterations suggested by Berg have been taken into account in the present recording.

The Adagio is of monumental breadth. It contains new musical ideas which seem to reflect the way in which Mahler was influenced by his disciples, Schoenberg, Berg and Webern. Although he introduces his thematic sections with harmonious tonic chords, the line of tonality dissolves progressively in the course of the development. In some places two keys arc heard simultaneously, a process which culminates in the famous "catastrophy chord' (on the threshold to the coda), its nine-note dissonance made up of two superimposed ninth-chords.

The chorale-like main theme of the Adagio is introduced twice by an Andante played by the violas in unison. The motifs of this lament recur later in the movement but the tempo marking Andante does not.

The extraordinary length of the coda is unusual for a first movement; it seems like a never-ending farewell (Adorno speaks of 'the long look^). As though aware of his approaching death, Mahler seems to want to cling to life through sound, with all his strength, with all his senses...

Karl Anton Rickenbacher, 1989


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№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Totenfeier         0:22:40 Funeral Rites
   2 Blumine         0:07:53  
   3 Adagio From Syphony No.10         0:32:04  

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:06:30

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