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Symphony 1 in D Major

4.9 out of 5 stars 14 ratings

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Audio CD, Hybrid SACD - DSD, 2 August 2019
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Product details

  • Product Dimensions : 12.8 x 13.79 x 0.89 cm; 70.02 Grams
  • Manufacturer : Bis
  • Original Release Date : 2019
  • Label : Bis
  • ASIN : B07T14ZJL9
  • Number of discs : 1
  • Customer Reviews:
    4.9 out of 5 stars 14 ratings

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Product description

The shimmering string harmonics at the opening of Gustav Mahlers First Symphony bring to mind the suspended breath of spring, and will have signaled even to the very first audiences that a new symphonic era was being ushered in. Soon enough the composer introduces some of the elements that would become key components of his musical language: sounds of nature (here cuckoo calls) are combined with quasi-militaristic fanfares and high-art chromatic wanderings in cellos, as if to illustrate Mahlers view of the symphony as an all-embracing art form. The symphony, which the composer originally gave the subtitle Titan, borrows extensively from the song cycle Lieder eines fahrenden Gesellen. But Mahler also incorporates elements of Moravian popular music (in the second movement) and in the slow third movement famously quotes a minor-mode version of the childrens rhyme Bruder Martin (also known as Frere Jacques). The finale transports the listener to a world of Gothic theatricality reminiscent of Grand Opera, before arriving after a number of false starts at the symphonys heroic chorale-like ending. This symphonic world-in-microcosm is here brought to life by the Minnesota Orchestra and Osmo Vanska on the fourth installment in a series which has earned the team the description among the finest exponents of Mahlers music on the website allmusic.com.

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4.9 out of 5 stars
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strappoacusticohiend
5.0 out of 5 stars Una composizione decisamente tormentata da lunghe esitazioni e ripensamenti...
Reviewed in Italy on 13 December 2020
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5.0 out of 5 stars Una composizione decisamente tormentata da lunghe esitazioni e ripensamenti...
Reviewed in Italy on 13 December 2020
Lo schema romantico del "trionfo dopo la lotta" celebra qui una delle sue ultime apparizioni. La vittoria è definitiva? Il dubbio resta, leggendo Adorno: «nel Finale della Prima Sinfonia il dissidio interiore si potenzia, al di là di ogni possibilità di mediazione, in un'integrale disperazione, rispetto alla quale evidentemente la spensierata conclusione trionfale si sbiadisce diventando un semplice accorgimento di regia. Il compatto specchio sonoro si frantuma dando origine a una musica nuova con mezzi antichi».
Siamo al cospetto di un'esecuzione di grande valore che è il risultato di un profondo lavoro di studio e di conoscenza della partitura, suonata in modo esemplare e curata nei dettagli più periferici.Vanska si conferma direttore attento e sensibile al punto giusto da mettere nel giusto rilievo le nuance più nascoste della composizione, affiancato da uno spiccato senso delle proporzioni e dei rapporti tra i vari movimenti della sinfonia. Sa dosare in modo impeccabile i toni dell’orchestra, si noti ad esempio la delicatezza espressa dai violoncelli all'attacco del tema principale nel primo movimento, quasi un sottovoce, oppure come abbia saputo creare il giusto climax con il corretto peso degli ottoni durante i passi bandistici della Marcia funebre.
Questi risultati si sono ancor più resi apprezzabili grazie all’ottimo lavoro del sound engineer Matthias Spitzbarth che si è avvalso di microfoni Neumann, DPA e Schoeps magistralmente posizionati. strappoacusticohiend
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Michael Mccormick
5.0 out of 5 stars A mature but emotional Mahler reading, recorded beautifully
Reviewed in the United States on 7 October 2019
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David T. Anderson
5.0 out of 5 stars Mahler at his best
Reviewed in the United States on 14 September 2019
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