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SYMPHONIES NO.1-9 & NO.10

Classica

MAHLER, G. (Artista, Collaboratore) Formato: Audio CD
4,8 4,8 su 5 stelle 66 voti
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Tracklist

Disco: 1

1 1. Langsam. Schleppend
2 2. Kräftig bewegt, doch nicht zu schnell
3 3. Feierlich und gemessen, ohne zu schleppen
4 4. Stürmisch bewegt
5 1. Adagio

Disco: 2

1 1. Allegro maestoso
2 2. Andante moderato
3 3. In ruhig fließender Bewegung
4 4. Urlicht: Sehr feierlich, aber schlicht
5 5. Im Tempo des Scherzo

Disco: 3

1 1. Kräftig, entschieden
2 2. Tempo di menuetto: Sehr mäßig
3 3. Comodo - Scherzando: ohne Hast

Disco: 4

1 4. Sehr langsam, misterioso
2 5. Lustig im Tempo und keck im Ausdruck
3 6. Langsam, ruhevoll, empfunden

Disco: 5

1 1. Heiter, bedächtig - Nicht eilen
2 2. In gemächlicher Bewegung
3 3. Ruhevoll
4 4. Sehr behaglich

Disco: 6

1 1. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt
2 2. Stürmisch bewegt, mit grösster Vehemenz
3 3. Scherzo: Kräftig, nicht zu schnell
4 4. Adagietto: Sehr langsam
5 5. Rondo: Allegro

Disco: 7

1 1. Allegro energico, ma non troppo
2 2. Andante moderato
3 3. Scherzo: Wuchtig
4 4. Finale: Allegretto moderato

Disco: 8

1 1. Adagio - Allegro risoluto ma non troppo
2 2. Nachtmusik 1: Allegro moderato - Andante
3 3. Scherzo: Schattenhaft

Disco: 9

1 4. Nachtmusik 2: Andante amoroso
2 5. Rondo-Finale
3 Hymnus: Veni creator spiritus (1. Teil)

Disco: 10

1 Schlußszene aus Faust (2. Teil)

Disco: 11

1 1. Andante comodo
2 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
3 3. Rondo-Burleske: Allegro assai. Sehr trotzig
4 4. Adagio

Descrizione prodotto


Brani
Disco 1
1.Schlußszene aus Faust (2. Teil)
2.2. Kräftig bewegt, doch nicht zu schnell
3.3. Feierlich und gemessen, ohne zu schleppen
4.4. Stürmisch bewegt
5.1. Adagio

Disco 2
1.1. Allegro maestoso
2.2. Andante moderato
3.3. In ruhig fließender Bewegung
4.4. Urlicht: Sehr feierlich, aber schlicht
5.5. Im Tempo des Scherzo

Disco 3
1.1. Kräftig, entschieden
2.2. Tempo di menuetto: Sehr mäßig
3.3. Comodo - Scherzando: ohne Hast

Disco 4
1.4. Sehr langsam, misterioso
2.5. Lustig im Tempo und keck im Ausdruck
3.6. Langsam, ruhevoll, empfunden

Disco 5
1.1. Heiter, bedächtig - Nicht eilen
2.2. In gemächlicher Bewegung
3.3. Ruhevoll
4.4. Sehr behaglich

Disco 6
1.1. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt
2.2. Stürmisch bewegt, mit grösster Vehemenz
3.3. Scherzo: Kräftig, nicht zu schnell
4.4. Adagietto: Sehr langsam
5.5. Rondo: Allegro

Disco 7
1.1. Allegro energico, ma non troppo
2.2. Andante moderato
3.3. Scherzo: Wuchtig
4.4. Finale: Allegretto moderato

Disco 8
1.1. Adagio - Allegro risoluto ma non troppo
2.2. Nachtmusik 1: Allegro moderato - Andante
3.3. Scherzo: Schattenhaft

Disco 9
1.4. Nachtmusik 2: Andante amoroso
2.5. Rondo-Finale
3.Hymnus: Veni creator spiritus (1. Teil)

Disco 10
1.1. Andante comodo
2.2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
3.3. Rondo-Burleske: Allegro assai. Sehr trotzig
4.4. Adagio

Dettagli prodotto

  • Fuori produzione ‏ : ‎ No
  • Dimensioni prodotto ‏ : ‎ 13,31 x 19,1 x 3,2 cm; 282,08 grammi
  • Produttore ‏ : ‎ Supraphon
  • Data di prima pubblicazione ‏ : ‎ 2006
  • Etichetta ‏ : ‎ Supraphon
  • Garanzia e recesso: Se vuoi restituire un prodotto entro 30 giorni dal ricevimento perché hai cambiato idea, consulta la nostra pagina d'aiuto sul Diritto di Recesso. Se hai ricevuto un prodotto difettoso o danneggiato consulta la nostra pagina d'aiuto sulla Garanzia Legale. Per informazioni specifiche sugli acquisti effettuati su Marketplace consulta la nostra pagina d'aiuto su Resi e rimborsi per articoli Marketplace.
  • ASIN ‏ : ‎ B000FIHZPK
  • Numero di dischi ‏ : ‎ 11
  • Recensioni dei clienti:
    4,8 4,8 su 5 stelle 66 voti

Recensioni clienti

4,8 su 5 stelle
4,8 su 5
66 valutazioni globali

Recensioni migliori da Italia

t 4 f
5,0 su 5 stelle Prodotto eccelente.
Recensito in Italia il 10 febbraio 2024
Acquisto verificato
Resgistrazione ottimale.
Utile
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Luigi
5,0 su 5 stelle Mahler al Top
Recensito in Italia il 26 gennaio 2024
Acquisto verificato
Un'interpretazione esemplare sia sotto l'aspetto artistico sia tecnico. Pe run amante del Grande Mahler un cofanetto esemplare !
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AIROLDI PIER ANDREA
5,0 su 5 stelle Eccezionale
Recensito in Italia il 17 gennaio 2023
Acquisto verificato
Una esecuzione assolutamente stupenda. La registrazione, poi, è perfetta. assolutamente da non perdere. E lo dice chi possiede già diverse versioni delle sinfonie di Mahler.
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Johnny 56
5,0 su 5 stelle Un'edizione di riferimento
Recensito in Italia il 22 marzo 2018
Neumann è stato un bravissimo direttore, meno conosciuto di altri per il suo gravitare quasi esclusivamente all'allora est europeo. Ha fatto cose egregie su Dvorak e Mahler. La sua cifra interpretativa si pone lungo la linearità della tradizione ceca, lontana da ridondanze di qualche interprete più "occidentale" tout-court, senza però le modernità essenziali (Mahler) e le visionarietà (Dvorak) di Kubelik. Comunque qui c'è probabilmente la più bella 3a di sempre ("O mensch ... " di Christa Ludwig da brivido), una splendida 8a, belle 2a e 5a, altre sempre di alto livello. Se si parla di integrali va messa, a parer mio, solo un gradino più in basso di quella di Kubelik, quest'ultima incredibile su tutto. Qualcuno mi dirà: e Bernstein? Sorry, no....
3 persone l'hanno trovato utile
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C.C.
5,0 su 5 stelle Non può mancare
Recensito in Italia il 25 marzo 2021
Acquisto verificato
Dopo il blasonato ciclo con Bernstein al comamdo dei NY e all'immancabile ciclo di Tennstedt con i London, questo di Neumann con l'orchestra Ceca è stata una graditissima "chicca" per lettura dello spartito e per qualità delle registrazioni.
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Traduci tutte le recensioni in Italiano
Rodericus
5,0 su 5 stelle Versiones referenciales absolutamente idiomáticas.
Recensito negli Stati Uniti il 9 luglio 2021
Acquisto verificato
Neumann fue un mahleriano en todas las versiones que dejó grabadas. Esta colección con "su orquesta", es de las mejores integrales de Mahler que pueda haber, ya que el sonido es muy bueno, así como la utilización del minutaje en cada uno de los discos. Las solistas mujeres están fuera del planeta, por lo buenas.
A resaltar la segunda, la 3ª, 5ª, 7ª y 9ª.

No se lo pierdan
3 persone l'hanno trovato utile
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STEWART CROWE
5,0 su 5 stelle Musical and Technical Accomplishment of the Highest Order!
Recensito nel Regno Unito il 14 luglio 2023
Acquisto verificato
BR Klassik has had a somewhat erratic approach to releases in the UK. The company previously issued recordings of live performances not contracted for release by another company under the simple “BR” label, almost all of which were not released in the UK, though the majority appeared subsequently over a period of years from 2009 onwards when the newly re-designed and re-packaged BR Klassik label weas launched, coinciding with the end of the distribution contract with Sony.
Some, however, including an outstanding set of the Brahms Symphonies and Overtures under Lorin Maazel and a superb Berg Violin Concerto with Gidon Kremer under Jansons have never made it at all.
So it was that following the initial 2009 release of the 2007 performance Mahler 7 in SACD format conducted by Jansons, the appearance of further Mahler recordings was sporadic and none were in SACD until the retrospective SACD collection was released in 2019 which included 5&9 also in SACD.
Symphonies 2 and 3 were originally released as subscription issues in Germany and Austria only, beautifully packaged and well worth the effort and cost of importing them. It was some years later before they too appeared re-packaged in the standard br-klassik livery.
4 of the works included in this complete set have never been available in the UK, namely symphonies 1,4,6 and 8 though the recording of the First was available in Germany, and for import, in the old orange label br series in a concert dating from 2006-and very fine it is too. There is also a 5th recorded in the same year and equally fine-but the recording of the 5th included in this set is from a later period.
During his long tenure as Music Director, Jansons programmed each symphony only once for a series of concerts, with the exception of symphonies 5 and 7 which he returned to in 2017 and 2018 , with the probability that had fate not intervened we would have been presented with a new cycle.
The recordings here are from the earlier period, beginning in 2006 and ending in 2016.
So, it has taken 14 years to be able to obtain a cycle of symphonies 1-9 with the BRSO under the direction of Mariss Jansons, and this inevitably begs the question -was it worth the wait?
Certainly from a technical point of view there can be no issue-recording is of the highest standard and orchestral and choral contributions have never been bettered, scarcely equalled. All the recordings were produced by the aptly named Wilhelm Meister and the first rate standard is consistent throughout.
However, it is the artistic value that really prompts the question.
The answer is from my perspective is a resounding yes, and indeed I have reviewed separate issues with great enthusiasm-but my taste in Mahler interpretation is very catholic (no pun intended) and if you prefer a” more white heat” or indeed over heated approach to the music then this set should be approached with caution.
If I suggest that the word that comes to mind is “sane” with regard to Jansons’ approach this is not in any way to suggest that these performances are dull, quite the contrary, but simply that Jansons strikes a perfect balance between a more classical approach as exemplified by Karajan and that of injecting more neurosis into the music, which is permeated with a sufficiency already, as exemplified by Bernstein.
Jansons’ Mahler calling card is the Second Symphony-it was his first Mahler recording back in the late 80s with the Oslo Philharmonic and his last major release for Chandos before he was poached by EMI. It is a recording and performance that has stood the test of time, and 3 more recordings are topped by the stunning performance in this set. The soloists in Anja Harteros and Bernarda Fink could scarcely be bettered, and Jansons gives us all the sweep, drama and grandeur that this work demands. I rate it as the finest available bar none.
The 3rd is scarcely less imposing with Jansons more forthright and propulsive than the beautiful but languorous Haitink with the same forces, and Nathalie Stutzman is a characterful soloist displaying a lush contralto tone.
I reviewed the 5th, 7th and 9th individually as they were released and time has if anything bolstered my affection for them and I would award the 7th again a best in catalogue rating, even above other favourites such as Gielen/BPO, Tennstedt LPO, Bernstein NYPO and RCO and the recent superb Kirill Petrenko with the Bavarian State Orchestra.
This leaves the First, 4t, 6th and 8th to be considered as new to the UK catalogue in cd format, though Jansons can be heard with the Oslo Philharmonic in the First on a Simax release and in the earlier BR release from 2006, and with the RCO in all of the works.
Indeed, his RCO recording of the Eighth has hitherto been the outstanding recommendation with a DVD included in the set, and an LSO Live recording of the 6th has been a Gramophone Magazine top choice since its release.
I am happy to advise that all of the newcomers are to the expected standard-beautifully structured, exquisitely played, packed with emotion and drama and yet never losing a sense of overall control.
Mia Persson is a beautiful exponent of her role in the 4th as she was for Ivan Fischer in his very fine rendition. The Jansons most resembles the Karajan BPO recording, with an equally exquisite 3rd movement and only my immutable affection for the Maazel/VPO/Battle prevents my awarding it a top choice status-though lovers of this work should seek out the Honeck/Pittsburgh recording in which this work becomes a terrifying exercise in morbid neuroses relieved by a touching and humorous finale.
Any recording of the 6th labours under the shadow of Bernstein’s inimitable performance with the VPO, though the more classical approach of Karajan finds greater favour with many. The Jansons falls midway between these 2 pillars-not as angst and agony riven as the Bernstein, but more driven and more rhythmically taught than the Karajan. It is played as well as either and better recorded than both! An indication of tempo can be given in that is easily encompassed on a single disc, and is played with the Scherzo played second.
Besides the Bernstein, I regard the Simone Young/Hamburg performance using the Urtext and the Michael Gielen Salzburg performance from 2013 as indispensable.
The First is perhaps the nearest to what might describe as a routine reading-a First “comme il faut” so to speak, satisfying in every respect without being uniquely distinguished. The Nezet-Seguin with the same forces is more arresting, but nonetheless this is a great performance.
Finally-and in terms of recorded cycles it usually is-we come to the Eighth. No technology yet exists to do anything like justice to the impact of a live performance, and in this respect the earlier Amsterdam performance has the advantage of SACD adding more presence to the experience though at the expense of some weight in the bass.
In terms of a CD only comparison the Munich version is superior and the soloists are a star lineup with Christine Brewer and Fujimura repeating their parts but a new lineup in every other case.
Again, at 77 minutes it is accommodated on a single disc but at no point does it sound rushed.
The organ is captured magnificently and detail emerges that is otherwise unfamiliar. Johan Botha starts out a little unsteady but as the role progresses, he quickly sings himself into his best voice, and it is a stirring reading. The female contingent is first rate, Twyla Robinson in particular surpassing even Nylund from the Amsterdam version. It is seemingly mandatory for the mezzo to produce an ugly flat tone in the climax and Fujimura duly obliges unfortunately but it was ever thus.
The climax is suitably spectacular with magnificent brass and the percussionist on the tam-tam heard to be working overtime.
There are 2 bonus tracks of interviews and rehearsal extracts-if your German is not adequate you will not get too much from the spoken parts, but the rehearsal instructions are clear enough and are fascinating if you interested in the process and mechanics of making great music.
Sadly there is no performance of Das Lied von Der Erde, nor any music from the Tenth included and I cannot uncover any record of him ever performing these or the earlier song cycles.
Jansons said in interviews that the music of Mahler was integral to his being, both individual and musical personae, and that he felt it was essential to let it flow naturally. He stated that audiences love his music because it enshrines all the elements of existence: love, beauty, nature, grief, despair, joy, sadness, ecstasy, anger and humour-and they can see themselves reflected in the mirror of Mahler’s genius. This set gives full testament to the conductor’s comments.
This set is competitively priced and buying the hitherto unreleased recordings individually would come to the same amount more or less, and the set has interesting extras. No texts are included for the vocal works which is disappointing but usual for br klassik.
The set is a wonderful tribute to the innate artistry of a great conductor, is a triumph of musical and technical execution, and allows the listener to explore the genius of Mahler in a cogent but nonetheless highly characterful exposition. On that basis-5 Stars.
Stewart Crowe.
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Prunet
5,0 su 5 stelle Une grande intégrale mais une édtion economique
Recensito in Francia il 11 dicembre 2022
Acquisto verificato
Je ne vais rien ajouter à ce qui est déjà écrit sur cette intégrale. Neumann étant un très grand mahlerien. Seulement le livret est très pauvre. L'intérêt d'acheter les cds est justement d'avoir de bons livrets... Le temps des beaux vinyles est bel et bien révolu. On se reportera sinon aux cds séparés par toujours faciles à trouver.
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manfreed
5,0 su 5 stelle Ein unbeachteter Mahler-Dirigent als Referenz
Recensito in Germania il 7 gennaio 2020
Acquisto verificato
Nach Ancerls Weggang 1968 hat Neumann als Chefdirigent die Tschechische Philharmonie (ein Spitzenorchester - hat übrigens schon die 7. mit Mahler 1908 uraufgeführt) übernommen. In den 70'er- und 80'er-Jahren hat er mit ihr u. a. die Dvorak-Sinfonien zweimal (analog und digital) aufgenommen - auf höchstem Niveau, wie dort üblich. Was das mit Mahler zu tun hat? Mehr als man glaubt.
Mahler hat in seiner Wiener Zeit an die tschechische Musiktradition angeknüpft. Seine erste dortige Opernproduktion war Smetanas Dalibor. Mit Dvorak stand er nicht nur in Briefkontakt, er hat sich über zwei seiner sinfonischen Dichtungen begeistert geäußert, die er in Wien aufführte. Er "erwies sich auch später als Freund und Förderer Dvoraks" (Kurt Honolka). Mahler wurde am östlichen Rande Böhmens geboren und wuchs in Mähren (das noch östlicher gelegen ist) auf. Darum ist es kein Wunder, dass der Tscheche Kubelik sich mit Mahler anfreunden konnte und anfangs der 70'er die ausgewogenste der frühen Mahler-Gesamtaufnahmen lieferte. Von 1976-1982 hat dann Neumann - analog und digital (8. + 9.) - seinen Mahlerzyklus aufgenommen. Vielleicht zu spät, um noch richtig wahrgenommen zu werden.
Wenn man schon alle Mahler-Sinfonien (die 8. ausgenommen) mindestens zehnmal gehört hat, wird das Anhören von noch nicht bekannten Aufnahmen von Mahlers Sinfonien oft zu einer Tortur der Langeweile und des Überdrusses, umso mehr das Anhören eines gesamten Sinfonienzyklus. Was Neumann betrifft, so hatte ich aber von Anfang an das Gefühl, dass hier jemand instinktiv erfasst hat, wie diese Sinfonien wiedergegeben werden müssen. Dabei hilft natürlich ein so hervorragendes Orchester wie die Tschechische Philharmonie - zum Glück ist auch die Klangqualität erheblich besser als bei den alten Kubelik-Aufnahmen (und besser als bei den früheren Mahler-Aufnahmen Neumanns mit dem Leipziger Gewandhausorchester). So und nicht anders habe ich mir immer den Klang von Mahler-Sinfonien vorgestellt. Wundervoll ist hier die 3. wiedergegeben, aber auch die schwierige 6. oder 7. gefallen mir hier sehr gut. Dem Extremen ist Neumann nicht zugeneigt; aber der vierte Satz der 7. wird erstaunlich langsam musiziert: 'Andante amoroso' mögen andere Dirigenten auf ihre Weise interpretieren, ich finde Neumanns Sichtweise allerdings passend. - Auch die 8. von Neumann wird als besonders gelungen betrachtet - ich kann das nicht gut beurteilen, da ich weite Teile dieser Sinfonie als wenig inspiriert empfinde. Bei der 9. mag übrigens Neumanns Vorgänger Ancerl noch einen Tick besser klingen.
Ich bin gespannt, wie sich dieser Zyklus bei noch öfterem Hören darstellt. Schon beim zweiten Mal war das nun wieder ein ganz großartiges Hörerlebnis.
Insgesamt ein ganz großer Wurf, der für mich Referenzstatus beanspruchen darf (Grand Prix Charles Cros, Goldmedaille der Gustav-Mahler-Gesellschaft zu Wien). In keiner Weise vorbildlich ist jedoch die Ausstattung des Booklets: 2 Seiten über Neumann, aber kein Wort über Mahler, nicht einmal die Gesangstexte!
P.S.: Wer nun von Neumann auch das 'Lied von der Erde' haben möchte, kann sich das zwar bei 'You tube' in 2 Fassungen anhören, bleibt aber unbefriedigt: Da gibt es eine tschechische Fassung vom Prager Frühling 1971, mit schwachem Klang und des Deutschen unkundigem Sänger; und eine andere mit den Wiener Philharmonikern (1989?), mit starken Hintergrundgeräuschen. Ohnehin beides rar - man halte sich lieber an Fritz Reiners oder Otto Klemperers großartige Einspielungen. Mahler-Lieder gibt es mit Věra Soukupová ('Early Recordings') und 4 sehr schöne Rückert-Lieder mit Karel Berman (Sinf. Nr. 7).
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Frank R.
5,0 su 5 stelle Best of…‼️
Recensito in Germania il 21 dicembre 2022
Acquisto verificato
Mariss Jansons ist DER Mahlerdirigent! Die Art wie er dirigiert entspricht seiner musikalischen Sozialisation!
Auch als Mensch war er eine faszinierende und bescheidene Persönlichkeit
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