Описание CD

вернуться        закрыть окно  

 


  Исполнитель(и) :
◄◄◄        ►►►

  Наименование CD :
   Symphony No.5 (Hermann Scherchen)



Год издания : 1996

Компания звукозаписи : MCA

Время звучания : 1:07:25

Код CD : MCD 80081

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

Vienna State Opera Orchestra

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

One of Hermann Scherchen's first encounters with Mahler's music occurred in 1906, when the then fifteen-year-old youth was systematically teaching himself the orchestral repertory: shortly after the publication of the full score of Mahler's Sixth Symphony, Scherchen bought himself a copy of it and spent the weeks that followed studying it 'ONLY on the basis of my inner impression of its sound' - in other words, without the help of an instrument. He worked through the massive symphony bar by bar: M am not 'reading' [. . .] but LISTENING, studying with uncompromising strictness to see how overwhelmingly the notes on the written PAGE are transformed into sound. After 3 to 4 weeks I have worked through the symphony IN THIS WAY, i.e., it is beginning to well forth from inside me WITHOUT THE SCORE, and 1 have discovered that I know the work 'by heart'.'

Scherchen felt that as a result of studying Mahler's music he was now better able to form aesthetic judgements: 'What I had vaguely tried to do in 1903, when I was 12 - playing off BACH against BIZET, and both against WAGNER - has become a conscious act now that, moved by Mahler's expressive force, I think back to MOZART, HAYDN and BEETHOVEN.' He was still unable to come to terms with what he called Mahler's 'indiscriminately direct melodic writing', still unable to 'speak of Mahler's Dostoyevskian humanity in the same breath as Mozart's noble melodies', but this 'first aesthetic judgement' also left him 'suspicious' about himself Not until 1911, when as a young violist he took part in the first Berlin performance of Mahler's Seventh Symphony, did he see himself obliged to revise his opinion: for the first time he was 'fully conscious of Mahler's actuality as a major artistic event around the turn of the century'.

During the years that followed Scherchen proved as ardent a champion of Mahler as of new music, seeing in the former a harbinger of the latter and describing the Austrian composer as 'one of the fathers of the movement'. Wherever he conducted orchestras - often transforming them from modest beginnings into ensembles of considerable stature - he included Mahler's works in his programmes, whether with the Grotrian-Steinweg Orchestra in Leipzig (1920-22), the Frankfurt Museum concerts (1922-24), the Leipzig Konzertverein (1925-28) or, of course, during his many years with the Winterthur Musikkollegium (1923-50). For one of his first concerts with the Berlin Philharmonic Orchestra on 4 February 1914 it was Mahler's Fifth Symphony that he chose to conduct, thereby allowing audiences their first opportunity to hear Mahler's revised orchestration.

Mahler wrote his Fifth Symphony during the summers of 1901 and 1902 at his summer retreat on the Worthersee, where he would recover from his exhausting round at the Vienna Court Opera and find the time and leisure to compose. During the summer of 1901 he was accompanied by Natalie Bauer-Lechner, but by the time that he returned the following summer Mahler was a married man - he had met the young Alma Schindler in November 1901 and married her only a few months later. A reflection of this spontaneous attraction may be found in the Fifth Symphony's famous Adagietto, which, according to a reliable report by Willem Mengelberg, is 'Mahler's declaration of his love for Alma'. For the uninitiated, Mengelberg went on, this movement - scored for strings and harp alone -appears to be a 'song without words', but the following words may be set to the melody heard on the first violins: 'Wie ich Dich liebe / Du meine Sonne / Ich kann mit Worten Dir's nicht sagen / Nur meine Sehnsucht / Kann ich Dir klagen / Und meine Liebe / Meine Wonne!' (How I love you, my sun, I cannot put it into words, only by longing can I lament to you and my love, my joy!)

Mahler's Fifth Symphony falls into three distinct sections, with numerous thematic, motivic and conceptual links between them. The second and fifth movements, for example, rework the same chorale tune, while the Rondofinale (programmatically headed 'Allegro giocoso') forms a radiant counterpart to the opening movement's sombre funeral march, suggesting the musical equivalent of an ascent from darkness into light - Per aspera ad astra. The central panel of this triptych is the Scherzo, the longest such movement in the whole symphonic repertory, leaving the traditional form of the scherzo far behind it and encouraging Adorno to describe it, on the strength of its thematic and motivic writing, as a 'development-section scherzo'. The poetical idea behind the movement was summed up by Mahler himself as 'man in the broad light of day, at the highest point of his life'. Like Mahler's other symphonies, the Fifth encountered initial resistance on the part of its early audiences, causing the composer to complain: The Fifth is an accursed work. No one understands it.' Such lack of understanding is hardly surprising, given the fact that listeners were all too often forced to forgo traditions to which they had grown attached. Conversely, a conductor as committed to musical modernism as Hermann Scherchen approached this music from a different standpoint - one could almost say from the opposite direction. In this way he was able to gain access to Mahler's world and to champion a work that was still far from enjoying the popularity that the Adagietto was to acquire in 1971, when it was used by Luchino Visconti in his film, Death in Venice.

-Eva Reisinger (Stewart Spencer - translation, 1996)


  Соисполнители :

Соисполнители не найдены


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 I. Trauermarsch. In Gemessenem Schritt. Streng Wie Ein Kondukt         0:11:20  
   2 II. Stuermisch Bewegt. Mit Groesster Vehemnz         0:13:34  
   3 III. Scherzo. Kraeftig, Nicht Zu Schnell         0:18:06  
   4 IV. Adagietto. Sehr Langsam         0:09:11  
   5 V. Rondo-Finale. Allegro - Allegro Giocoso. Frisch.         0:15:14  

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

вернуться        закрыть окно

Последние изменения в документе сделаны 20/10/2016 22:06:42

Главная страница коллекции

Collection main page