- published: 06 Nov 2014
- views: 681305
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The Best of Gustav Mahler (7 July 1860 – 18 May 1911)
Georg Solti
Chicago Symphony Orchestra
As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became a frequently performed and recorded composer, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
Mahler's œuvre is relatively small; for much of his life composing was necessarily a part-time activity while he earned his living as a conductor. Aside from early works such as a movement from a piano quartet composed when he was a student in Vienna, Mahler's works are designed for large orchestral forces, symphonic choruses and operatic soloists. Most of his twelve symphonic scores are very large-scale works, often employing vocal soloists and choruses in addition to augmented orchestral forces. These works were often controversial when first performed, and several were slow to receive critical and popular approval; exceptions included his Symphony No. 2, Symphony No. 3, and the triumphant premiere of his Eighth Symphony in 1910. Some of Mahler's immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955, to honour the composer's life and work.
(0:00) Symphony No.1 in D major - II: Kraftig Bewegt, Doch Nicht Zu Schnell
(6:47) Symphony No.2 in C minor "Resurrection" 5d: Langsam. Misterioso
(13:27) Symphony No.2 in C minor "Resurrection" - 5e. "O glaube, mein Herz, o glaube"
(21:07) Symphony No.3 in D minor - IV: Sehr langsam.
(29:50) Symphony No.3 in D minor - V: Lustig im Tempo und keck im Ausdruck
(33:54) Symphony No.4 in G major - IV: Sehr behaglich "Wir genießen die himmlischen Freuden"
(42:49) Symphony No.5 in C sharp minor - I: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
(57:21) Symphony No.5 in C sharp minor - IV: Adagietto. Sehr langsam
(1:08:34) Symphony No.6 in A minor "Tragic" - II: Andante moderato
(1:22:31) Symphony No.7 in E minor - III: Scherzo. Schattenhaft - Trio
(1:32:24) Symphony No.8 in E flat major "Symphony of a Thousand" - Part 1. Hymnus "Veni creator spiritus" - Veni, creator spiritus
(1:36:14) Symphony No.8 in E flat major - Part 2: Final scene from Goethe's Faust - Alles Vergängliche
(1:42:58) Symphony No.9 in D major - 2a. Im Tempo eines gemächlichen Ländlers
(1:45:46) Symphony No.10 in F sharp minor - II: Scherzo I
Karajan's Mahler is unsurpassed
See also ( very interesting):
Mahler: Adagietto Symphony 5 arranged for Choir :
https://www.youtube.com/watch?v=YA1c9jZmdag
See also the adagio's from symphony 4 & 6 by Karajan on this channel & Part 1 & 4 of symphony 9:
https://www.youtube.com/watch?v=4kTXstgF20E
https://www.youtube.com/watch?v=jvUego50gVg
https://www.youtube.com/watch?v=NwwhZGtcnSM
https://www.youtube.com/watch?v=KnjnwVS53ko
Symphony 5 part 1 :https://www.youtube.com/watch?v=XUGPzud8rJk
Symphony 5 part 2 :https://www.youtube.com/watch?v=4cyGKsfGXoI
- published: 10 Jul 2012
- views: 6658497
Recorded live at the Lucerne Festival, Summer 2003
Culture and Convention Centre Lucerne, 21 August 2003
Eteri Gvazava - soprano
Anna Larsson - mezzo-soprano
Orfeón Donostiarra
José Antonio Sainz Alfaro - chorus master
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 2 "Resurrection"
1:37 I. Allegro maestoso
22:26 II. Andante moderato
32:18 III. [Scherzo] In ruhig fließender Bewegung
43:38 IV. Urllicht. Sehr feierlich, aber schlicht
48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn"
Resurrection in Lucerne
Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nouvel is electric. The event was sold out months ago. Here and there a throat is softly cleared, people settle in their seats, their faces alert and expectant. At last, doors open and the members of the newly founded Lucerne Festival Orchestra come on to the platform. There are many very well-known faces: the clarinettist Sabine Meyer and Emmanuel Pahud, the fleet-fingered first flute from the Berliner Philharmoniker, Natalie Gutman among the cellists, members of the Hagen and Alban Berg Quartets among the rank and file of strings, and other players include Albrecht Mayer (oboe), Kolya Blacher (violin) and Wolfram Christ (viola).
Lucerne en fête
What kind of orchestra is this, formed of the most famous instrumentalists, the most celebrated chamber-music players, the most experienced soloists from the world's best orchestras? With Claudio Abbado to conduct it, chief conductor of the Berliner Philharmoniker up until the previous year, for whom the Lucerne Festival Orchestra is the realization of a wholly personal dream? One answer, at least, is obvious: lt is an orchestra of superlatives. "After this first appearance", the press agreed, "there can be no argument: orchestral cultivation of this calibre is scarcely to be heard anywhere else."
The Lucerne Festival has a long tradition of generating its own orchestras. The best remembered is probably the Swiss Festival Orchestra, which assembled "the best orchestral musicians of Switzerland" (to quote the Original memorandum of association) to give the concerts that formed the festival's backbone every year from 1943 to 1993. But the idea of an elite orchestra goes back further, to the summer of 1938. This was the year in which Arturo Toscanini dissociated himself from the Salzburg Festival for political reasons; a handpicked orchestra was formed for him to conduct in Lucerne (the members of the legendary Busch Quartet, banned frorn playing in Germany, sat at the first desks of the string section) and his "concert de gala" marked the moment when Lucerne was new-born as a festival city.
- published: 02 Feb 2015
- views: 3240698
Recorded live at the Lucerne Festival, Summer 2009
Concert Hall of the KKL Luzern, August 2009
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 1
0:30 I. Langsam, schleppend
17:16 II. Kräftig bewegt, doch nicht zu schnell
24:50 III. Feierlich und gemessen, ohne zu schleppen
36:19 IV. Stürmisch bewegt
Watch this work performed by the Asian Youth Orchestra under the baton of James Judd: https://youtu.be/Kj_iBBmGzsU
Whenever Claudio Abbado conducts the LUCERNE FESTIVAL ORCHESTRA, music lovers are in for a very special event. Such was the case in the summer of 2009 when the charismatic Italian conductor opened Lucerne's tradition-rich Festival with a concert featuring Mahler's First Symphony and Prokofiev's Third Piano Concerto. In 2003 Abbado, together with Artistic and Executive Director Michael Haefliger, founded the orchestra, which consists of internationally renowned soloists and chamber musicians - just as did its model, the elite body of musicians that Arturo Toscanini gathered around hirn at the Festival's founding in 1938. lt was with this first-class ensemble that Abbado offered a vividly inspired interpretation of the Mahler. In truth - as the audience's response demonstrated - it left nothing to be desired. The twenty-two-year-old Chinese Pianist Yuja Wang likewise earned enthusiastic applause for her account of the Prokofiev Concerto, which she played with character and nuanced expression.
The theme of nature served es the guiding thread for all the programming choices during the summer of 2009 - a theme with obvious relevance for the LUCERNE FESTIVAL, which is held amid one of the most beautitul landscapes of Europe: its concerts incIude unforgettable views of Lake Lucerne and Alpine panoramas. This theme, es it happens, has eminent musical significance es well: 'Like a sound of nature' is the direction Mahler inscribed at the very beginning of the First Symphony.
- published: 14 Mar 2015
- views: 1467512
Gustav Mahler's Piano Quartet in A minor
For Piano and Strings Trio.
Hope you Enjoy =]
- published: 21 Mar 2010
- views: 1802085
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director Michael Tilson Thomas journeys to rural Bohemia to rediscover the inspirations of Mahler’s music, and traces Mahler’s life through the premiere of his first symphony in 1888. It shocked the contemporary audience, but as MTT and the San Francisco Symphony reveal, on location and in performance, this ground-breaking symphony contains elements of everything else that Mahler composed. Shot on location in the Czech Republic, Austria, Hungary, and in performance in San Francisco’s Davies Symphony Hall.
Bonus Features:
Full-length concert performance of Mahler's Symphony No. 1 by the San Francisco Symphony originally filmed in high-definition 16:9 widescreen and 5.1 surround sound.
More information about DVD and Blu-Ray discs available here:
https://www.warnerclassics.com/release/keeping-score-mahler-origins-and-legacy
The music will play on. GIVE TODAY
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- published: 29 Mar 2020
- views: 123169
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein.
Movements
00:00 I Adagio
Incomplete movements:
Scherzo (sketches)
Purgatorio (sketches)
Scherzo (sketches)
Finale (sketches)
Other Recordings:
Adagietto https://youtu.be/Bj6KLv7kv2Q
Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentation and harmony, sometimes with less information, sometimes with nothing but the melodic line. He used this sketch to produce a "performing version" in which to Mahler's material he added, where needed, countermelodies, harmonies, and orchestration. Later Cooke redid his completion, using a larger orchestra. The interior of the symphony comprises two scherzos divided by a movement called "Purgatorio," based on the accompaniment to one of his early Wunderhorn songs. The first scherzo is grotesque, the second more dramatic, with a great deal of good humor. The fourth movement ends with a muffled bass drum stroke, an effect Mahler observed at a New York City fireman's funeral procession. The final movement is a struggle movement, faster in tempo, not yielding easy answers, and reprising the screaming chord of the first movement. Is this completed version valid? Many conductors, including arch-Mahlerite Leonard Bernstein, did not think so. This writer accepts it as fascinating listening which is never less than at least a good imitation of Mahler, and frequently coming close to the genuine article.
- published: 01 Dec 2014
- views: 319606
From the Sala Santa Cecilia, Rome
Gustav Mahler Jugendorchester
Claudio Abbado
Chapters:
0:00 Gustav Mahler - Symphony No. 9 in D major
0:40 I. Andante comodo
25:50 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
41:05 III. Rondo-Burlesque. Allegro assai. Sehr trotzig
53:57 IV. Adagio. Sehr langsam und noch zurückhaltend
The Gustav Mahler Jugendorchester (GMJO) was founded in Vienna in 1986, on the initiative of its present musical director, Claudia Abbado. Today it is regarded as the world's leading youth orchestra.
As weil as the encouragement of the next musical generation and working with young musicians, it was of particular importance to him to enable young Austrian musicians to play with their colleagues from the then socialist republics of Czechoslovakia and Hungary. Thus, the GMJO became the first international youth orchestra to hold open auditions in the countries of the former Eastern bloc. In 1992, the GMJO opened up to musicians aged up to 26 from all over Europa. As the youth orchestra for the whole of Europe, it is under the patronage of the European Council.
A jury authorized by Claudio Abbado makes its selection from the many candidates at auditions held in more than twenty-five European cities each year.
- Violin I
Raphael Christ, Germany (Leader/ Konzertmeister) / Emilie Belaud, France / Adriana Coines Escriche, Spain / Elisabeth Eibensteiner, Austria / Gustav Frielinghaus, Germany / Aya Georgieva, Bulgaria / Yury Gorbachev, Russia / Desirée Justo Castilla, Cuba / Alexandra Krivoborodov, Germany / Jana Kuhlmann, Germany / Carolina Kurkowski Perez, Poland / Lorenzo Lucca, Italy / Franziska Mantel, Germany / Lisa Obert, Germany / Anna Maria Paatz, Germany / Marie-Stephanie Radauer-Plank, Austria / Carmel Raz, Israel / Isabelle Reinisch, Austria / Janka Ryf, Switzerland / Mariella Schorn, Austria / Yunna Shevchenko, Russia / Alexandra Shipilo, Russia / Dessislava Tcholakova, Bulgaria
- Violin II
Angelo Bard, Germany / Thomas Bilowitzki, Germany / Indulis Cintins, Latvia / Beate Dorina, Latvia / Helena Druwé, Belgium / Katarzyna Dul, Poland / Michal Durib, Slovakia / Sergio Guadagno, Italy / Piotr Kaniuga, Poland / Maartje Kraan, Netherlands / Ewoud Mahler, Netherlands / Andrea Mascetti, Switzerland / Martina Mazzon, Italy
Mara Mikelsone, Latvia / Danilo Pia, Switzerland / Franz-Markus Siegert, Germany / Diet Tilanus, Netherlands / Dimiter Velitchkov, Bulgaria / Anna Wirdefeldt, Sweden
- Viola
Maite Abaloso Candamino, Spanien / Aubrun Ermengarde, Frankreich
Federica Cucignatto, Italien / Marie-Louise De Jong, Niederlande / Anežka Ferencová, Tschechien / Abel Gonzalez Rodriguez, Spanien / Leonardo Jelveh, Italien / Lydia Kappesser, Deutschland / Tomasz Karwan, Polen / Mirabelle Le Thomas, Frankreich / Fabian Lindner, Deutschland / Marcos Lopez Martinez, Spanien / María Rallo Muguruza, Spanien / Paula Romero Rodrigo, Spanien / Marie Walter, Frankreich / Miryam Veggi, Italien
- Violoncello
Maartje-Maria den Herder, Netherlands / Georg Dettweiler, Germany / Benoît Grenet, France / Inge Grevink, Netherlands / Maria Grün, Austria / Christian Hacker, Germany / Gabriel Hopfmüller, Austria / Katarzyna Horbowicz, Poland / Evgeniya Hristova, Bulgaria / Maria Pstrokonska-Nawratil, Poland / Laie Puig Torné, Spain / Jean-Baptiste Schwebel, France / Martin Sikur, Slovenia / Uli Wittalar, Germany
- Double Bass
Sándor Budai, Hungary / Albert Chudzik, Poland / Pierra-Emmanuel da Maîstre, France / Johanee Gonzalez Seijas, Venezuela / Apostol Kossev, Bulgaria / Roman Mosler, Poland / Stanislaw Pajak, Poland / Stefan Rauh, Germany / Christian Todorov, Germany / Tibor Tóth, Romania / Omry Weinberger, Israel / Emilio Yepes Martínez, Spain
- Flute / Flöte
Matthieu Gauci-Ancelin, France / Alvaro Octavio Diaz, Spain / Frauke Oesmann, Germany / Birgit Ramal, Austria / Thomas Saulet, Frence
- Oboe
Nicolas Cock-Vassiliou, France / Lucas Macías Navarro, Spain / Konrad Mika, Poland / Céline Moinet, France /
- Clarinet / Klarinette
Massimo di Trolio, Great Britain / Darío Marinio Varela, Spain / Marcos Pérez Miranda, Spain / Pavel Püspöky, Slovakia / Sandrine Vasseur, France
- Bassoon
Pieter Nuytten, Belgium / Guilhaume Santana, France / Matthias Schottstädt, Germany / Philipp Tutzer, Italy
- French Horn
Fabian Gabriel Borchers, Germany / José Vicente Castelló Vicedo, Spain / Gustavo Castro Barreiro, Spain / Christian Loferer, Germany
lonut Podgoreanu, Romania
- Trumpet
Thomas Hammerschmidt, Austria / Gábor Richter, Hungary / Christian Syperek, Germany / Herbert Zimmermann, Austria
- Trombone
Ruth Davies, Great Britain / Martin Lueger, Austria / Bernhard Stangl, Germany
- Tuba
Ramiro Tejero Morte, Spain
- Percussion
Jakob Weber Egholm, Denmark / Ines Fehr, Germany / Stephan Kostenbader, Germany / Ignacio Molins Bosch, Spain / Heikki Parviainen, Finland
- Harp
Manon Louis, France / Ekaterina Semion, Russia
- published: 06 Feb 2015
- views: 758002
Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Schleppen
Mahler's inspiration for this movement was a children's woodcut (above) by the artist, Moritz von Schwind. The illustration depicts a torch-lit funeral procession of animals carrying a fallen huntsman.To describe this ironic and amusing scene, Mahler juxtaposes various musical themes in the movement to recreate the sense of irony the scene represents. The huntsman's funeral is firstly evoked by a minor mode version of the children's round 'Frère Jacques', then the oboes and trumpets offer a mock sentimental accompaniment in a Jewish Klezmer dance. A dreamlike melody from Mahler's 'Songs of a Wayfarer' is an interlude in the movement, and finally, the march returns back with a sudden rush of pace with the animals of the forest rushing the huntsman towards his grave. The irony of the movement? How unhappy are these animals with the huntsman's death?
Performed by Leonard Bernstein; Royal Concertgebouw Orchestra
- published: 19 Sep 2011
- views: 203634
Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne Festival Orchestra
Women of the Arnold Schönberg Choir, Vienna
Tölz Boys Choir
Anna Larsson - contralto
Chapters:
0:00 PART I
0:50 I. Kräftig, Entschieden
33:55 PART II
34:10 II. Tempi di Menuetto. Sehr mäßig
43:26 III. Comodo. Scherzando. Ohne Hast
59:44 IV. Sehr langsam. Misterioso. Durchaus ppp "O Mensch! Gib Acht!"*
1:09:14 V. Lustig im Tempo und keck im Ausdruck "Es sungen drei Engel einen süßen Gesang"**
1:13:37 VI. Langsam. Ruhevoll. Empfunden
*Text by Nietzsche: Also sprach Zarathustra
**Text: Des Knaben Wunderhorn
***
"Blissful trust"
Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the head of his own Lucerne Festival Orchestra, the whole is more than just the sum of its parts thanks to a process that one is tempted to call magical. The present live recording of an acclaimed performance of Mahler's Third Symphony at Lucerne's Culture and Convention Centre on 19 August 2007 provides lasting proof of this and allows us to see that with Abbado ecstasy is never achieved at the expense of musical and rhetorical clarity: a powerful emotional charge is held in check by calm contemplation. Never for a moment does Abbado give undue emphasis to subjective mawkishness or an overtly theatrical sense of worldweariness: Abbado's Mahler is precisely calculated and at the same time intuitively felt.
The musicians of the Lucerne Festival Orchestra were meeting for the Orth time when they assembled in Lucerne in the summer of 2007. Among them were not only a number of distinguished soloists but also experienced principals from the world's foremost orchestras: the leaders were Kolja Blacher and Sebastian Breuninger, while the rank-and-file violin sec-tion behind them included players of the eminence of Mirijam Contzen and llya Gringolts. The cellos ware led by Jens Peter Maintz and Natalia Gutman sitting alongside Valentin Erben of the Alban Berg Quartett and Clemens Hagen, whose sister, Veronika, was a member of the viola section under Wolfram Christ and Diemut Poppen. The woodwind section in-cluded the flautist Jacques Zoon and the ciarinettist Sabine Meyer, while prominent among the brass was the trumpeter Reinhold Friedrich.
All the plavers are friendly with one another es weil as sharing a special affinity for chamber music, which famously makes the greatest demands in terms ofthe need to listen closely to one's colleagues. And it is here thatthis orchestra is unique, a uniqueness clear from the present performance. The large concert hell seerned literally to vibrate with psychic energy, and the intensity with which the musicians responded to even the tiniest fluctuations in the music reached the point where all the players seemed to surpass themselves. "The goal is clear and is shared by all the participants," wrote the critic ofthe Neue ZürcherZeitung; "it seems that in advancing towards this goal, the players achieve a high degree of individual responsibility, while the conductor encourages each and every one ofthem ... to realize his or her potential in orderto benefitthe collective— an example of successful leadership in a highly specialized context. As such, this is more or less the opposite of what people normally assume to be the job of a conductor. What we saw here was emphatically not self-promotion ata stroke butthe experience that something special arises only when people have space in which to develop."
Abbado first recorded Mahler's Third Symphony in 1980, following it up with a second recording in 1999, both of them demonstrating the conductor's particular affinity with the work. His unerring feel tor the narrative structures of this rich and varied score finds expression in an extraordinary sensitivity, aliowing hirn to respond with particular vividnessto a workthat deals with nothing lass than the origins ofthe universe. [...]
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- published: 10 Feb 2015
- views: 1288054
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Gustav Mahler
Gustav Mahler (7 July 1860 – 18 May 1911) was an Austrian late-Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky . Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Gustav_Mahler
Gustav Mahler
ALBUMS
- Symphonie Nr.6 released: 2014
- Coleção Folha Mestres da música clássica, volume 22: Gustav Mahler released: 2014
- Symphony No. 2 released: 2013
- Symphony no. 1 Including "Blumine" released: 2013
- Big Mahler Box released: 2012
- Kindertotenlieder / Lieder eines fahrenden Gesellen (contralto: Sara Mingardo; cello and conductor: Luigi Piovano; Musici Aurei) released: 2012
- Symphony no. 8 released: 2011
- Symphony no. 9 released: 2011
- Das Lied von der Erde (Münchener Bach-Orchester feat. conductor: Hansjörg Albrecht) released: 2011
- Symphony no. 10 (Tonhalle Orchestra Zurich feat. conductor David Zinman) released: 2011
- BBC Music, Volume 19, Number 7: Symphony No. 8 (BBC Scottish Symphony Orchestra feat. conductor: Donald Runnicles) released: 2011
- Symphony No. 5 released: 2011
- Songs With Orchestra released: 2010
- Symphony No. 8 released: 2010
- The Complete Symphonies released: 2010
- Symphony no. 2 "Resurrection" released: 2010
- Delta Music & Entertainment released: 2010
- Symphony No. 4 in G Major (Royal Liverpool Philharmonic) released: 2010
- Mahler: The People’s Edition released: 2010
- Symphony No. 7 (Tonhalle Orchestra Zurich feat. conductor David Zinman) released: 2010
- Symphony no. 9 (Tonhalle Orchestra Zurich feat. conductor David Zinman) released: 2010
- Symphony no. 7 released: 2010
- Symphony no. 4 released: 2010
- Symphony No. 4 in G major (Gürzenich-Orchester Köln feat. conductor: Markus Stenz, soprano: Christiane Oelze) released: 2010
- The Complete Works released: 2010
- Gustav Mahler: Complete Edition released: 2010
- Symphonic Poem in Two Parts "Titan" (Netherlands Symphony Orchestra feat. conductor: Jan Willem de Vriend) released: 2010
- 9. Symphonie released: 2010
- Mahler - Lieder (baritone: Christian Gerhaher, piano: Gerold Huber) released: 2010
- The Complete Mahler Symphonies released: 2009
- Das Lied von der Erde released: 2009
- Symphony No. 5 (Tonhalle Orchestra Zurich feat. conductor David Zinman) released: 2009
- Symphony no. 8 in E-flat major / Adagio from Symphony no. 10 released: 2009
- Symphonie No. 9 (Bamberger Symphoniker feat. conductor: Jonathan Nott) released: 2009
- The Complete Symphonies released: 2009
- 4 Movements released: 2009
- Das Lied von der Erde released: 2008
- Symphony no. 7 released: 2008
- Symphony No. 2 in C minor "Resurrection" (University of Chicago Symphony Orchestra, Chorus and Motet Choir; conductor: Barbara Schubert; soprano: Kimberly Jones; mezzo-soprano: Stacy Eckert) released: 2008
- Symphony No. 6 in A Minor "The Tragic Symphony" (Tonhalle Orchestra Zurich feat. Conductor David Zinman) released: 2008
- Symphony No. 1 in D major / Symphony No. 9 in D major (Royal Liverpool Philharmonic Orchestra) released: 2008
- Symphony No. 6 in A minor, "Tragic" (Brown University Orchestra feat. conductor: Paul Phillips) released: 2008
- Symphonie No. 1 (Bamberger Symphoniker feat. conductor: Jonathan Nott) released: 2008
- Invitation au Voyage released: 2006
- Symphony No. 7 (Staatskapelle Berlin feat. conductor: Daniel Barenboim) released: 2006
- Symphony No. 9 (BBC Symphony Orchestra feat. conductor: Bruno Maderna) released: 2006
- Symphony No. 6 "Tragic" (Israel Philharmonic Orchestra feat. conductor: Zubin Mehta) released: 2006
- Symphony No. 1 / Blumine released: 2006
- Symphony No. 2 released: 2006
- Complete Recordings on Deutsche Grammophon, Volume III: Symphonies 8-10 / Das Lied von der Erde released: 2005
- Complete Recordings on Deutsche Grammophon, Volume II: Symphonies 5-7 / Ruckert-Lieder / Kindertotenlieder released: 2005
- Complete Recordings on Deutsche Grammophon, Volume I: Symphonies 1-4 / Lieder eines fahrenden Gesellen / Des Knaben Wunderhorn released: 2005
- Symphony No. 2 in C minor released: 2004
- Symphony no. 1 released: 2004
- Symphony No. 4 in G major (arr. Erwin Stein) / Lieder eines fahrenden Gesellen (arr. Arnold Schönberg) (Smithsonian Chamber Players feat. conductor: Kenneth Slowik) released: 2003
- Symphony no. 3 in D minor / Kindertotenlieder released: 2003
- Kindertotenlieder / Lieder nach Texten von Friedrich Rückert / Lieder eines fahrenden Gesellen (Wiener Symphoniker feat. conductor: Eliahu Inbal, mezzo soprano: Doris Soffel) released: 2002
- Symphony No. 10 (Wheeler, 1966 version) (Polish National Radio Symphony Orchestra feat. conductor: Robert Olson) released: 2002
- Das Lied von der Erde (Bavarian Radio Symphony Orchestra feat. conductor: Rafael Kubelík, 1970) released: 2002
- The Symphonies: Symphony No. 8 in E flat major ''Symphony of a Thousand'' (Wiener Philharmoniker feat. conductor: Lorin Maazel) released: 2002
- Symphony No. 4 released: 2001
- Symphony No. 3 (Bavarian Radio Symphony Orchestra feat. conductor: Rafael Kubelík, 1967) released: 2001
- Mahler: Symphony no. 4 / Berlioz: Overture Le Corsaire released: 1999
- Symphony no. 3 released: 1999
- Lieder eines fahrenden Gesellen / Kindertotenlieder / Ruckert-Lieder released: 1999
- The Klemperer Legacy released: 1999
- Kindertotenlieder / Rückert Lieder / Das Lied von der Erde released: 1997
- Mahler: Kindertotenlieder / Lieder eines fahrenden Gesellen / Strauss: Notturno released: 1997
- Mahler/Sinopoli: The Complete Recordings released: 1997
- Das Lied von der Erde (Staatskapelle Dresden feat. conductor: Giuseppe Sinopoli, alto: Iris Vermillion, tenor: Keith Lewis) released: 1997
- Symphonies 1 & 2 released: 1996
- Lieder aus Des Knaben Wunderhorn / Lieder eines fahrenden Gesellen (Wiener Symphoniker feat. conductor: Eliahu Inbal) released: 1996
- Symphony no. 8 released: 1995
- Symphony no. 3 / Symphony no. 10 (Adagio) released: 1995
- Symphony No. 2 "Resurrection" (Israel Philharmonic Orchestra feat. conductor: Zubin Mehta) released: 1994
- Mahler Symphony No. 4, 8 Songs (Desi Halban, New York Philharmonic cond. Bruno Walter) released: 1994
- Symphony no. 2 in C minor "Resurrection" released: 1993
- Symphony no. 5 released: 1992
- Symphony No. 1 / Blumine released: 1992
- Symphony No. 4 (Los Angeles Philharmonic feat. conductor: Esa-Pekka Salonen, Soprano: Barbara Hendricks) released: 1992
- Symphonien 5, 9 & 10: Adagio released: 1992
- Symphonie No. 5 released: 1991
- Symphony No. 5 in C-sharp minor (New York Philharmonic feat. conductor: Zubin Mehta) released: 1991
- Symphonie No. 1 (Chicago Symphony Orchestra feat. conductor: Klaus Tennstedt) released: 1991
- Symphony No. 1 in D major (Philharmonia Orchestra feat. conductor: Giuseppe Sinopoli) released: 1990
- Des Knaben Wunderhorn released: 1989
- Symphony No. 4 released: 1989
- Symphony No. 2 in C Minor, "Resurrection" released: 1987
- Symphony No. 2 in C minor released: 1987
- Symphonie no. 9 released: 1986
- Quartet no. 14 in D minor / Der Tod und das Mädchen (Lied) released: 1986
- Symphony No. 1 released: 1985
- Symphony No. 5 & 10 released: 1985
- Symphony No. 2 in C minor "Resurrection" released: 1982
- Bernstein Century: Symphony no.1 "Titan" / Symphony no.10 (Adagio) released:
- Symphony no. 7 released:
- Symphony no. 1 "Titan" / Symphony no. 5 released:
- Symphony no. 9 in D major released:
- Symphony No. 3 (Chicago Symphony Orchestra, conductor: Bernard Haitink, mezzo-soprano: Michelle DeYoung) released:
- Symphony No. 5 (Radio Symphony Orchestra, Glasgow) released:
Coleção Folha Mestres da música clássica, volume 22: Gustav Mahler
Released 2014- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": a. "Veni creator spiritus"
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": b. "Imple superna gratia"
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": c. "Infirma nostri corporis"
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": d. Tempo I. (Allegro, etwas hastig)
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": e. "Infirma nostri corporis"
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": f. "Accende lumen sensibus"
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": g. "Qui Paraclitus diceris"
- Sinfonia no. 8 "Sinfonia dos mil": I. "Vem, Espírito criador": h. "Gloria sit Patri Domino"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": a. Poco adagio
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": b. Piu mosso (Allegro moderato)
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": c. "Waldung, sie schwankt heran"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": d. "Ewiger Wonnebrand"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": e. "Wie Felsenabgrund mir zu Füßen"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": f. "Gerettet ist das edle Glied"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": g. "Jene Rosen aus den Händen"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": h. "Uns bleibt ein Erdenrest"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": i. "Ich spür' soeben nebelnd um Felsenhöh"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": j. "Dir, der Unberührbaren"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": k. "Bei der Liebe, die den Füßen"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": l. "Er überwächst uns schon"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": m. "Blicket auf zum Retterblick"
- Sinfonia no. 8 "Sinfonia dos mil": II. "Cena final do Fausto, de Goethe": n. "Alles Vergängliche ist nur ein Gleichnis"
Symphony no. 1 Including "Blumine"
Released 2013- Symphony no. 1 in D major: Langsam - Immer sehr gemächlich
- Symphony no. 1 in D major: "Blumine": Andante allegretto
- Symphony no. 1 in D major: Kräftig bewegt, doch nicht zu schnell - Trio: Recht gemächlich
- Symphony no. 1 in D major: Feierlich und gemessen, ohne zu schleppen - Sehr einfach und schlicht wie eine Volksweise
- Symphony no. 1 in D major: Stürmich bewegt - Sehr gesangvoll
Big Mahler Box
Released 2012- Symphony No. 1 in D Major ('Titan'): i. Langsam. Schleppend
- Symphony No. 1 in D Major ('Titan'): ii. Kräftig bewegt, doch nicht zu schnell
- Symphony No. 1 in D Major ('Titan'): iii. Feierlich und gemessen, ohne zu schleppen
- Symphony No. 1 in D Major ('Titan'): iv. Stürmisch bewegt
- Symphony No. 2 in C Minor ('Resurrection'): i. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
- Symphony No. 2 in C Minor ('Resurrection'): ii. Andante moderato. Sehr gemächlich. Nie Eilen
- Symphony No. 2 in C Minor ('Resurrection'): iii. Scherzo. In ruhig fliessender Bewegung
- Symphony No. 2 in C Minor ('Resurrection'): iv. Urlicht: Sehr feierlich, aber schlicht
- Symphony No. 2 in C Minor ('Resurrection'): v. Im Tempo des Scherzos. Wild herausfahrend
- Symphony No. 3 in D Minor: i. Kraftig Entschieden
- Symphony No. 3 in D Minor: ii. Tempo di Menuetto. Sehr mässig
- Symphony No. 3 in D Minor: iii. Comodo. Scherzando. Ohne Hast Symphony No. 3 in D Minor: iv. Sehr langsam. Misterioso. Durchaus ppp
- Symphony No. 3 in D Minor: iv.Sehr langsam. Misterioso. Durchaus ppp
- Symphony No. 3 in D Minor: v. Lustig im Tempo und keck im Ausdruck
- Symphony No. 3 in D Minor: vi. Langsam. Ruhevoll. Empfunden
- Symphony No. 4 in G Major: i. Bedächtig. Nicht eilen
- Symphony No. 4 in G Major: ii. In gemächlicher Bewegung. Ohne Hast
- Symphony No. 4 in G Major: iii. Ruhevoll
- Symphony No. 4 in G Major: vi. Sehr behaglich: Wir genießen die himmlischen Freuden
- Symphony No. 5 in C-sharp Minor: i. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
- Symphony No. 5 in C-sharp Minor: ii. Stürmisch bewegt. Mit größter Vehemenz
- Symphony No. 5 in C-sharp Minor: iii. Scherzo. Kräftig, nicht zu schnell
- Symphony No. 5 in C-sharp Minor: iv. Adagietto. Sehr langsam
- Symphony No. 5 in C-sharp Minor: v. Rondo-Finale: Allegro
- Symphony No. 6 in A Minor ('Tragic'): i. Allegro energico, ma non troppo
- Symphony No. 6 in A Minor ('Tragic'): ii. Scherzo: Wuchtig
- Symphony No. 6 in A Minor ('Tragic'): iii. Andante moderato
- Symphony No. 6 in A Minor ('Tragic'): iv. Finale: Allegro moderato. Allegro energico
- Symphony No. 7 in E Minor ('Song of the Night'): i. Langsam (Adagio). Allegro con fuoco
- Symphony No. 7 in E Minor ('Song of the Night'): ii. Nachtmusik. Allegro moderato
- Symphony No. 7 in E Minor ('Song of the Night'): iii. Scherzo: Schattenhaft, fließend, aber nicht schnell
- Symphony No. 7 in E Minor ('Song of the Night'): iv. Nachtmusik. Andante amoroso
- Symphony No. 7 in E Minor ('Song of the Night'): v. Rondo-Finale: Allegro ordinario
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): i. Veni, Creator Spiritus
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): ii. Imple superna gratia
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): iii. Infirma nostri corporis
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): iv. Accende lumen sensibus
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): v. Veni, Creator Spiritus 2
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): vi. Gloria Patri Domino
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): vii. Poco adagio: Waldung, sie schwankt heran
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): viii. Ewiger Wonnebrand
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): ix.. Wie Felsenabgrund mir zu Füßen
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): x. Gerettet ist das edle Glied
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): xi. Uns bleibt ein Erdenrest. Hier ist die Aussicht
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): xii. Höchste Herrscherin der Welt. Dir, der Unberührbar
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): xiii.. Bei der Liebe, die den Füßen
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): xiv. Neige, neige, Du Ohnegleiche
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): xv. Blicket auf zum Retterblick
- Symphony No. 8 in E-flat Major ('Symphony of a Thousand'): xvi. Alles Vergängliche
- Symphony No. 9 in D Major: i. Andante comodo
- Symphony No. 9 in D Major: ii. Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb
- Symphony No. 9 in D Major: iii. Rondo-Burleske. Allegro Assai. Sehr Trotzig
- Symphony No. 9 in D Major: iv. Adagio. Sehr Langsam Und Noch Zuruckhaltend
- Symphony No. 10 in F-sharp Minor (unfinished): i. Adagio
- Ruckert Lieder: i. Blicke mir nicht in die Lieder!
- Ruckert Lieder: 56 ii. Ich atmet' einen linden Duft
- Ruckert Lieder: iii. Ich bin der Welt abhanden gekommen
- Ruckert Lieder: iv. Um Mitternacht
- Ruckert Lieder: v. Liebst du um Schönheit
- Aus der Jugendzeit, No. 12 - Scheiden und Meiden
- Aus der Jugendzeit, No. 3 - Hans und Grethe
- Aus der Jugendzeit, No. 7 - Ich ging mit Lust durch einen grünen Wald
- Aus der Jugendzeit, No. 1 - Frühlingsmorgen
- Des knaben Wunderhorn, No. 11 - Es Sungen drei Engle
- Aus der Jugendzeit, No. 10 - Zu Straßburg auf der Schanz'
- Aus der Jugendzeit, No. 11 - Ablösung im Sommer
- Aus der Jugendzeit, No. 4 - Serenade aus Don Juan
- Aus der Jugendzeit, No. 5 - Phantasie aus Don Juan
- Aus der Jugendzeit, No. 1 - Frühlingsmorgen
- Aus der Jugendzeit, No. 12 - Scheiden und Meiden
- Des knaben Wunderhorn, No. 7 Rheinlegendchen
- Aus der Jugendzeit, No. 8 - Aus! Aus!
- Aus der Jugendzeit, No. 6 - Um schlimme Kinder artig zu machen
- Aus der Jugendzeit, No. 14 - Selbstgefühl
- Aus der Jugendzeit, No. 2 - Erinnerung
- Aus der Jugendzeit, No. 13 - Nicht wiedersehen!
- Des knaben Wunderhorn, No. 4 - Wed hat dies Liedlein Erdacht
- Aus der Jugendzeit, No. 7 - Ich ging mit Lust durch einen grünen Wald
- Aus der Jugendzeit, No. 9 - Starke Einbildungskraft
- Des Knaben Wunderhorn: Revelge
- Des Knaben Wunderhorn: Das irdische Leben
- Des Knaben Wunderhorn: Lob des hohen Verstandes
- Des Knaben Wunderhorn: Rheinlegendchen
- Des Knaben Wunderhorn: Der schildwache Nachtlied
- Des Knaben Wunderhorn: Wer hat dies Liedlein erdacht?
- Des Knaben Wunderhorn: Verlorne Müh'
- Des Knaben Wunderhorn: Der Tamboursg'sell
- Des Knaben Wunderhorn: Trost im Unglück
- Des Knaben Wunderhorn: Wo die schönen Trompeten blasen
- Des Knaben Wunderhorn: Des Antonius von Padua Fischpredigt
- Des Knaben Wunderhorn: Lied des Verfolgten im Turm
- Des Knaben Wunderhorn: Urlicht
Kindertotenlieder / Lieder eines fahrenden Gesellen (contralto: Sara Mingardo; cello and conductor: Luigi Piovano; Musici Aurei)
Released 2012- Kindertotenlieder: I. "Nun will die Sonn' so hell aufgeh'n"
- Kindertotenlieder: II. "Nun seh' ich wohl, warum so dunkle Flammen"
- Kindertotenlieder: III. "Wenn dein Mütterlein"
- Kindertotenlieder: IV. "Oft denk' ich, sie sind nur ausgegangen"
- Kindertotenlieder: V. "In diesem Wetter"
- Quartettsatz
- Lieder eines fahrenden Gesellen: I. "Wenn mein Schatz Hochzeit macht"
- Lieder eines fahrenden Gesellen: II. "Ging heut morgen übers Feld"
- Lieder eines fahrenden Gesellen: III. "Ich hab' ein glühend Messer"
- Lieder eines fahrenden Gesellen: IV. "Die zwei blauen Augen von meinem Schatz"
- Berceuse élégiaque
Symphony no. 8
Released 2011- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Poco adagio
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Piu mosso: Allegro moderato
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Waldung, sie schwankt heran
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Ewiger Wonnebrand
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Wie Felsenabgrund mir zu Füßen
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Gerettet ist das edle Glied - Hände verschlinget euch
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Jene Rosen, aus den Händen
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Uns bleibt ein Erdenrest
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Ich spür' soeben nebelnd um Felsenhöh' - Hier ist die Aussicht frei - Freudig empfangen wir
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Höchste Herrscherin der Welt!
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Dir, der Unberührbaren - Du schwebst zu Höhen der ewigen Reiche
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Bei der Liebe, die den Füßen
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Bei dem Bronn, zu dem schon weiland
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Bei dem hochgeweihten Orte
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Neige, neige, du Ohnegleiche
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Er überwächst uns schon - Vom edlen Geisterchor umgeben
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Komm! Hebe dich zu höhern Sphären! - Blicket auf zum Retterblick, alle reuig Zarten
- Symphony no. 8: Part II. Final Scene from Goethe's Faust: Alles Vergängliche ist nur ein Gleichnis
Symphony no. 10 (Tonhalle Orchestra Zurich feat. conductor David Zinman)
Released 2011- Symphony No. 10 in F-sharp Major; I. Adagio: Andante - Adagio
- Symphony No. 10 in F-sharp Major; II. Scherzo I: In gemächlicher Bewegung. Ohne Hast
- Symphony No. 10 in F-sharp Major; III. Purgatorio: Unheimlich bewegt
- Symphony No. 10 in F-sharp Major; IV. Scherzo II: Kräftig, nicht zu schnell
- Symphony No. 10 in F-sharp Major; V. Finale. Langsam - Allegro moderato - Andante comodo, aber nicht schleppend
BBC Music, Volume 19, Number 7: Symphony No. 8 (BBC Scottish Symphony Orchestra feat. conductor: Donald Runnicles)
Released 2011- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part I. “Veni, Creator Spiritus”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part I. “Imple superna gratia”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part I. “Infirma nostri corporis”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part I. “Accende lumen sensibus”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part I. “Veni, Creator Spiritus”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part I. “Gloria Patri Domino”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. Poco adagio “Waldung, sie schwankt heran”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Ewiger Wonnebrand”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Wie Felsenabgrund mir zu Füssen”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Gerettet ist das edle Glied”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Uns bleibt ein Erdenrest”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Hier ist die Aussicht frei”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Höchste Herrscherin der Welt”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Dir, der Unberürbaren”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Bei der Liebe, die den Füssen”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Neige, neige, du Ohnegleiche”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Blicket auf zem Retterblick”
- Symphony No. 8 in E-flat major “Symphony of a Thousand”: Part II. “Alles Vergängliche”
Symphony No. 5
Released 2011- Symphony no. 5: I. Trauermarsch, In gemessenem Schritt, Streng, Wie ein Kondukt (Cis-Moll)
- Symphony no. 5: II. Stürmisch bewegt, Mit größter Vehemenz (A-Moll)
- Symphony no. 5: III. Scherzo, Kräftig, nicht zu schnell (D-Dur)
- Symphony no. 5: IV. Adagietto, Sehr langsam (F-Dur)
- Symphony no. 5: V. Rondo-Finale, Allegro - Allegro giocoso, Frisch (D-Dur)
Songs With Orchestra
Released 2010- Lieder eines fahrenden Gesellen; Wenn mein Schatz Hochseit macht
- Lieder eines fahrenden Gesellen; Ging heut Morgen übers Feld
- Lieder eines fahrenden Gesellen; Ich hab ein glühend Messer
- Lieder eines fahrenden Gesellen; Die zwei blauen Augen von meinem Schatz
- Rückert Lieder; Ich atmet einen linden Duft
- Rückert Lieder; Blicke mir nicht in die Lieder
- Rückert Lieder; Liebst du um Schönheit
- Rückert Lieder; Um Mitternacht
- Rückert Lieder; Ich bin ger Welt abhanden gekommen
- Selections from Des Knaben Wunderhorn; Lied des Verfolgten im Turm
- Selections from Des Knaben Wunderhorn; Der Tamboursgsell
- Selections from Des Knaben Wunderhorn; Wo die schönen Trompeten blasen
- Selections from Des Knaben Wunderhorn; Revelge
- Selections from Des Knaben Wunderhorn; Urlicht
Symphony No. 8
Released 2010- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Veni, creator spiritus
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Imple, superna gratia
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Infirma nostri corporis
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Tempo I (Allegro, etwas hastig)
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Sehr fließend
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Accende lumen sensibus
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Veni, creator spiritus
- Symphony No. 8 in E-flat major: Teil Hymnus: Veni, creator spiritus. Gloria sit Patri Domino
The Complete Symphonies
Released 2010- Symphony no. 1 in D major "Titan": I. Langsam, schleppend
- Symphony no. 1 in D major "Titan": II. Kräftig bewegt, doch nicht zu schnell
- Symphony no. 1 in D major "Titan": III. Feierlich und gemessen, ohne zu schleppen
- Symphony no. 1 in D major "Titan": IV. Stürmisch bewegt
- Symphony no. 1 in D major "Titan": II. Blumine (original 2nd movement)
Delta Music & Entertainment
Released 2010- Adagietto - Sehr langsam (aus "Symphonie Nr. 5 cis-Moll")
- Misterioso - Sehr langsam (aus "Symphonie Nr. 3 d-Moll" - Text: Friedrich Nietsche)
- Feierlich und gemessen (aus "Symphonie Nr. 1 D-Dur" - "Der Titan")
- "Urlicht" - Sehr feierlich aber schlicht (aus "Symphonie Nr. 2 c-Moll" - "Auferstehung" - Worte aus "Des Knaben Wunderhorn")
- Nachtmusik - Andante amoroso (aus "Symphonie Nr. 7")
- Adagio - Langsam - Ruhevoll - Empfunden (Schlußsatz aus "Symphonie Nr. 3 d-Moll")
Mahler: The People’s Edition
Released 2010- Symphony No. 3 in D minor: Part 1, I (a). Kräftig. Entschieden
- Symphony No. 3 in D minor: Part 1, I (b). Kräftig. Entschieden: Immer das gleiche Tempo
- Symphony No. 3 in D minor: Part 1, I (c). Kräftig. Entschieden: Tempo I
- Symphony No. 3 in D minor: Part 1, I (d). Kräftig. Entschieden: Zeit lassen
- Symphony No. 3 in D minor: Part 1, I (e). Kräftig. Entschieden: Zeit lassen
- Symphony No. 3 in D minor: Part 1, I (f). Kräftig. Entschieden: Immer dasselbe Tempo. (Marsch.) Nicht eilen
- Symphony No. 3 in D minor: Part 1, I (g). Kräftig. Entschieden: Im alten Marschtempo (Allegro moderato)
- Symphony No. 3 in D minor: Part 1, I (h). Kräftig. Entschieden: Tempo I
Symphony no. 4
Released 2010- Symphony no. 4 in G major: I. Bedächtig. Nicht eilen
- Symphony no. 4 in G major: II. In gemächlicher Bewegung. Ohne Hast
- Symphony no. 4 in G major: III. Ruhevoll (Poco adagio - Allegretto subito - Allegretto subito)
- Symphony no. 4 in G major: IV. Sehr behaglich ('Wir genießen die himmlischen Freuden')
Symphony No. 4 in G major (Gürzenich-Orchester Köln feat. conductor: Markus Stenz, soprano: Christiane Oelze)
Released 2010The Complete Works
Released 2010- Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
- Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen
- Kindertotenlieder - Wenn dein Mütterlein tritt zur Tür herein
- Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen
- Kindertotenlieder: In diesem Wetter, in diesem Braus
- Rückert-Lieder: Blicke mir nicht in die Lieder!
- Rückert-Lieder: Ich atmet' einen linden Duft!
- Rückert-Lieder: Um Mitternacht
- Rückert-Lieder: Liebst du um Schönheit
- Rückert-Lieder: Ich bin der Welt abhanden gekommen
- Symphony No. 6 in A minor: I. Allegro energico, ma non troppo. Heftig aber Markig
Gustav Mahler: Complete Edition
Released 2010- Lieder und Gesänge aus der Jugendzeit: I. Frülingsmorgen
- Lieder und Gesänge aus der Jugendzeit: II. Erinnerung
- Lieder und Gesänge aus der Jugendzeit: III. Hans und Grete
- Lieder und Gesänge aus der Jugendzeit: IV. Serenade aus Don Juan
- Lieder und Gesänge aus der Jugendzeit: V. Phantasie aus Don Juan
- Lieder und Gesänge aus der Jugendzeit: VI. Um schlimme Kinder artig zu machen
- Lieder und Gesänge aus der Jugendzeit: VII. Ich ging mit Lust durch einen grünen Wald
- Lieder und Gesänge aus der Jugendzeit: VIII. Aus! Aus!
- Lieder und Gesänge aus der Jugendzeit: IX. Starke Einbildungskraft
- Lieder und Gesänge aus der Jugendzeit: X. Zu Straßburg auf der Schanz
- Lieder und Gesänge aus der Jugendzeit: XI. Ablösung im Sommer
- Lieder und Gesänge aus der Jugendzeit: XII. Scheiden und Meiden
- Lieder und Gesänge aus der Jugendzeit: XIII. Nicht wiedersehen
- Lieder und Gesänge aus der Jugendzeit: XIV. Selbstgefühl
- Lieder und Gesänge aus der Jugendzeit: XV. Im Lenz
- Lieder und Gesänge aus der Jugendzeit: XVI. Winterlied
- Lieder und Gesänge aus der Jugendzeit: XVII. Maitanz im Grünen
- Klavierquartettsatz: Nicht zu schnell. Entschlossen
- Die drei Pintos: Entr'acte
Symphonic Poem in Two Parts "Titan" (Netherlands Symphony Orchestra feat. conductor: Jan Willem de Vriend)
Released 2010- Symphonic Poem in Two Parts "Titan", Part I "Aus den Tagen der Jugend / Blumen-, Frucht- und Dornstücke": I. Frühling und kein Ende "Langsam, schleppend - Immer sehr gemächlich"
- Symphonic Poem in Two Parts "Titan", Part I "Aus den Tagen der Jugend / Blumen-, Frucht- und Dornstücke": II. Blumine (Andante - allegretto)
- Symphonic Poem in Two Parts "Titan", Part I "Aus den Tagen der Jugend / Blumen-, Frucht- und Dornstücke": III. Mit vollen Segeln "Kräftig bewegt - Langsames Walzertempo"
- Symphonic Poem in Two Parts "Titan", Part II "Commedia umana": IV. Gestrandet! (ein Todtenmarsch in Callots Manier) "Feierlich und gemessen, ohne zu schleppen sehr einfach und schlicht wie eine Volksweise"
- Symphonic Poem in Two Parts "Titan", Part II "Commedia umana": V. Dall' Inferno al Paradiso - "Stürmisch bewegt - Energisch"
Mahler - Lieder (baritone: Christian Gerhaher, piano: Gerold Huber)
Released 2010- Rheinlegendchen
- Ich ging mit Lust
- Frühlingsmorgen
- Ablösung im Sommer
- Wer hat dies Liedlein erdacht?
- Lieder eines fahrenden Gesellen: I. Wenn mein Schatz Hochzeit macht
- Lieder eines fahrenden Gesellen: II. Ging heut Morgen über's Feld
- Lieder eines fahrenden Gesellen: III. Ich hab' ein glühend Messer
- Lieder eines fahrenden Gesellen: IV. Die zwei blauen Augen
- Zu Straßburg auf der Schanz
- Das irdische Leben
- Nicht wiedersehen
- Phantasie
- Wo die schönen Trompeten blasen
- Fünf Lieder nach Texten von Friedrich Rückert: I. Blicke mir nicht in die Lieder
- Fünf Lieder nach Texten von Friedrich Rückert: II. Ich atmet' einen Lindenduft
- Fünf Lieder nach Texten von Friedrich Rückert: III. Um Mitternacht
- Fünf Lieder nach Texten von Friedrich Rückert: IV. Liebst Du um Schönheit
- Fünf Lieder nach Texten von Friedrich Rückert: V. Ich bin der Welt abhanden gekommen
- Urlicht
The Complete Mahler Symphonies
Released 2009- Symphony no. 1 in D major "Titan": I. Langsam. Schleppend. Wie ein Naturlaut. Im Anfang sehr gemächlich
- Symphony no. 1 in D major "Titan": II. Kräftig bewegt, doch nicht zu schnell
- Symphony no. 1 in D major "Titan": III. Feierlich und gemessen, ohne zu schleppen
- Symphony no. 1 in D major "Titan": IV. Stürmisch bewegt - Energisch
- Symphony No. 10: Adagio
Symphony no. 8 in E-flat major / Adagio from Symphony no. 10
Released 2009- Symphony no. 8 in E-flat major: Part II: I. Poco Adagio
- Symphony no. 8 in E-flat major: Part II: II. Waldung, sie schwankt heran
- Symphony no. 8 in E-flat major: Part II: III. Ewiger Wonnebrand
- Symphony no. 8 in E-flat major; Part II: IV. Wie Felsenabgrund mir zu Füßen
- Symphony no. 8 in E-flat major: Part II: V. Gerettet ist das edle Glied
- Symphony no. 8 in E-flat major: Part II: VI. Hier ist die Aussicht frei
- Symphony no. 8 in E-flat major: Part II: VII. Dir, der Unberührbaren
- Symphony no. 8 in E-flat major: Part II: VIII. Du schwebst zu Höhen
- Symphony no. 8 in E-flat major: Part II: IX. Bei dem Bronn, zu dem schon weiland
- Symphony no. 8 in E-flat major: Part II: X. Komm! Hebe dich zu höhern Sphären!
- Symphony no. 8 in E-flat major: Part II: XI. Blicket auf
- Symphony no. 8 in E-flat major: Part II: XII. Alles Vergängliche
The Complete Symphonies
Released 2009- Symphony no. 1 in D major "Titan": I. Langsam. Schleppend. Wie ein Naturlaut. Im Anfang sehr gemächlich
- Symphony no. 1 in D major "Titan": II. Kräftig bewegt, doch nicht zu schnell
- Symphony no. 1 in D major "Titan": III. Feierlich und gemessen, ohne zu schleppen
- Symphony no. 1 in D major "Titan": IV. Stürmisch bewegt - Energisch
- Adagio from Symphony no. 10
Symphony no. 7
Released 2008- Symphony no. 7 in E minor: I. Langsam (Adagio) - Allegro con fuoco
- Symphony no. 7 in E minor: II. Nachtmusik: Allegro moderato
- Symphony no. 7 in E minor: III. Scherzo: Schattenahft
- Symphony no. 7 in E minor: IV. Nachtmusik: Andante amoroso
- Symphony no. 7 in E minor: V. Rondo-Finale: Allegro ordinario - Allegro moderato ma energico
Symphony No. 2 in C minor "Resurrection" (University of Chicago Symphony Orchestra, Chorus and Motet Choir; conductor: Barbara Schubert; soprano: Kimberly Jones; mezzo-soprano: Stacy Eckert)
Released 2008- Symphony No. 2 in C minor "Resurrection": I. Allegro maestoso
- Symphony No. 2 in C minor "Resurrection": II. Andante moderato
- Symphony No. 2 in C minor "Resurrection": III. In ruhig fließender Bewegung
- Symphony No. 2 in C minor "Resurrection": IV. Urlicht. Sehr feierlich, aber schlicht
- Symphony No. 2 in C minor "Resurrection": V. Im Tempo des Scherzos. Wild herausfahrend
Symphony No. 6 in A Minor "The Tragic Symphony" (Tonhalle Orchestra Zurich feat. Conductor David Zinman)
Released 2008Symphony No. 1 in D major / Symphony No. 9 in D major (Royal Liverpool Philharmonic Orchestra)
Released 2008Symphony No. 6 in A minor, "Tragic" (Brown University Orchestra feat. conductor: Paul Phillips)
Released 2008Invitation au Voyage
Released 2006- Songs of Travel: The Vagabond
- Songs of Travel: Let Beauty Awake
- Songs of Travel: The Roadside Fire
- Songs of Travel: Youth and Love
- Songs of Travel: In Dreams
- Songs of Travel: The Infinite Shining Heavens
- Songs of Travel: Whither must I wander?
- Songs of Travel: Bright is the ring of words
- Songs of Travel: I have trod the upward and the downward slope
- Lieder eines fahrenden Gesellen: 1. Wenn mein Schatz Hochzeit macht
- Lieder eines fahrenden Gesellen: 2. Ging heut' morgen über's Feld
- Lieder eines fahrenden Gesellen: 3. Ich hab' ein glühend Messer
- Lieder eines fahrenden Gesellen: 4. Die zwei blauen Augen
- La vita fugge e non s'arresta un'ora
- Quel rosigniuol che sì soave piagne
- Levommi il moi pensier in parte ov'era
- L'invitation au voyage
- La vague et la cloche
- Extase
- Phidylé
- Le manoir de Rosemonde
- Soupir
Symphony No. 1 / Blumine
Released 2006- Symphony No. 1 in D major: I. Langsam. Schleppend. Wie ein Naturlaut.-Immer sehr gemählich
- Symphony No. 1 in D major: II. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich
- Symphony No. 1 in D major: III. Feierlich und gemessen, ohne zu schleppen
- Symphony No. 1 in D major: IV. Stürmisch bewegt
- Blumine (Andante allegretto)
Complete Recordings on Deutsche Grammophon, Volume III: Symphonies 8-10 / Das Lied von der Erde
Released 2005- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, I. Poco adagio
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, II. Più mosso. (Allegro moderato)
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, III. Wieder langsam "Waldung, sie schwankt heran"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, IV. Moderato "Ewiger Wonnebrand"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, V. Allegro - (Allegro appassionato) "Wie Felsenabgrund mir zu füßen"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, VI. Allegro deciso. (Im Anfang noch nicht eilen) "Gerettet ist das edle Glied der Geisterwelt vom Bösen"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, VII. Molto leggiero "Jene Rosen aus den Händen"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, VIII. Schon etwas langsamer und immer noch mäßiger "Uns bleibt ein Erdenrest"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, IX. Im Anfang (die ersten vier Takte) noch etwas gehalten "Ich spür' soeben, nebelnd um Felsenhöh"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, X. Sempre l'istesso tempo "Höchste Herrscherin der Welt"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XI. "Äußerst langsam. Adagissimo "Dir, der Unberührbaren"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XII. Fließend "Bei der Liebe, die den Füßen"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XIII. Una poenitentium "Neige, neige, du Ohnegleiche"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XIV. Unmerklich frischer "Er überwächst uns schon"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XV. Sehr langsam. "Komm! hebe dich zu höhern Sphären"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XVI. Hymnenartig (Ungefähr im selben Zeitmaß weiter) "Blicket auf zum Retterblick, alle reuig Zarten"
- Symphony No. 8 in E-flat major "Symphony of a Thousand": Part II, XVII. Sehr langsam beginnend "Alles Vergängliche ist nur Gleichnis"
Complete Recordings on Deutsche Grammophon, Volume II: Symphonies 5-7 / Ruckert-Lieder / Kindertotenlieder
Released 2005- Symphony No. 7 E-moll: V. Rondo-Finale: Tempo I (Allegro ordinario)
- Rückert Lieder No. 1: Liebst du um Schönheit
- Rückert Lieder No. 3: Blicke mir nicht in die Lieder
- Rückert Lieder No. 2: Ich atmet' ein linden Duft
- Rückert Lieder No. 4: Um Mitternacht
- Rückert Lieder No. 5: Ich bin der Welt abhanden gekommen
Complete Recordings on Deutsche Grammophon, Volume I: Symphonies 1-4 / Lieder eines fahrenden Gesellen / Des Knaben Wunderhorn
Released 2005- Symphony, No. 1 in, D major "Titan": I. Langsam. Schleppend
- Symphony, No. 1 in, D major "Titan": II. Kräftig bewegt
- Symphony, No. 1 in, D major "Titan": III. Feierlich und gemessen, ohne zu schleppen
- Symphony, No. 1 in, D major "Titan": IV. Stürmisch bewegt
- Lieder eines fahrenden gesellen: I. "Wenn mein schatz hochzeit macht"
- Lieder eines fahrenden gesellen: II. "Ging heut morgen übers feld"
- Lieder eines fahrenden gesellen: III. "Ich hab' ein glühend messer"
- Lieder eines fahrenden gesellen: IV. "Die zwei blauen augen von meinem schatz"
Symphony No. 4 in G major (arr. Erwin Stein) / Lieder eines fahrenden Gesellen (arr. Arnold Schönberg) (Smithsonian Chamber Players feat. conductor: Kenneth Slowik)
Released 2003- Symphony No. 4 in G major: I. Bedächtig. Nicht eilen
- Symphony No. 4 in G major: II. In gemächlicher Bewegung. Ohne Hast
- Symphony No. 4 in G major: III. Ruhevoll
- Symphony No. 4 in G major: IV. Sehr behaglich
- Lieder eines fahrenden Gesellen: I. "Wenn mein Schatz Hochzeit macht"
- Lieder eines fahrenden Gesellen: II. "Ging heut' Morgen übers Feld"
- Lieder eines fahrenden Gesellen: III. "Ich hab' ein glühend Messer in meiner Brust"
- Lieder eines fahrenden Gesellen: IV. "Die zwei blauen Augen von meinem Schatz"
Kindertotenlieder / Lieder nach Texten von Friedrich Rückert / Lieder eines fahrenden Gesellen (Wiener Symphoniker feat. conductor: Eliahu Inbal, mezzo soprano: Doris Soffel)
Released 2002- Kindertotenlieder: "Nun will die Sonn' so hell aufgeh'n"
- Kindertotenlieder: "Nun seh' ich wohl, warum so dunkle Flammen"
- Kindertotenlieder: "Wenn dein Mütterlein"
- Kindertotenlieder: "Oft denk' ich, sie sind nur ausgegangen"
- Kindertotenlieder: "In diesem Wetter"
- Lieder eines fahrenden Gesellen: "Wenn mein Schatz Hochzeit macht"
- Lieder eines fahrenden Gesellen: "Ging heut' morgen übers Feld"
- Lieder eines fahrenden Gesellen: "Ich hab' ein glühend Messer"
- Lieder eines fahrenden Gesellen: "Die zwei blauen Augen von meinem Schatz"
- Wesendonk Lieder (Five Poems for Female Voice): "Der Engel"
- Wesendonk Lieder (Five Poems for Female Voice): "Stehe still"
- Wesendonk Lieder (Five Poems for Female Voice): "Im Treibhaus"
- Wesendonk Lieder (Five Poems for Female Voice): "Schmerzen"
- Wesendonk Lieder (Five Poems for Female Voice): "Träume"
- Lohengrin: Act I. "Einsam in trüben Tagen"
- Parsifal: Act II. "Ich sah das Kind an seiner Mutter Brust"
- Die Walküre: "Erster Aufzug" - "Du bist der Lenz"
Symphony No. 10 (Wheeler, 1966 version) (Polish National Radio Symphony Orchestra feat. conductor: Robert Olson)
Released 2002- Symphony No. 10 in F-sharp minor (Wheeler, 1966 version): I. Adagio
- Symphony No. 10 in F-sharp minor (Wheeler, 1966 version): II. First Scherzo
- Symphony No. 10 in F-sharp minor (Wheeler, 1966 version): III. Purgatorio oder Inferno
- Symphony No. 10 in F-sharp minor (Wheeler, 1966 version): IV. Second Scherzo
- Symphony No. 10 in F-sharp minor (Wheeler, 1966 version): V. Finale
Das Lied von der Erde (Bavarian Radio Symphony Orchestra feat. conductor: Rafael Kubelík, 1970)
Released 2002- Das Lied von der Erde: I. Allegro pesante "Das Trinklied vom jammer der Erde"
- Das Lied von der Erde: II. Etwas scheichend. Ermüdet "Der Einsame im Herbst"
- Das Lied von der Erde: III. Behaglich heiter "Von der Jugend"
- Das Lied von der Erde: IV. Comodo. Dolcissimo "Von der Schönheit"
- Das Lied von der Erde: V. Allegro. Keck, aber nicht zu schnell "Der Trunkene im Frühung"
- Das Lied von der Erde: VI. Schwer "Der Abschied"
The Symphonies: Symphony No. 8 in E flat major ''Symphony of a Thousand'' (Wiener Philharmoniker feat. conductor: Lorin Maazel)
Released 2002- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: I. Veni Creatur Spiritus!
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: II. Imple superna gratia
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: III. Infirma nostri corporis
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: IV. Tempo I. (Allegra, etwas hastig)
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: V. Infirma nostri corporis
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: VI. Accende lumen sensibus
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: VII. Qui Paraclitus diceris
- Symphony No. 8 in E-flat major, "Symphony of a Thousand" Part I: VIII. Gloria Patri Domino
Symphony No. 3 (Bavarian Radio Symphony Orchestra feat. conductor: Rafael Kubelík, 1967)
Released 2001Symphony no. 3
Released 1999- Symphony no. 3 in D minor: Part I. I. Kräftig. Entschieden
- Symphony no. 3 in D minor: Part I. I. Tempo
- Symphony no. 3 in D minor: Part I. I. Zeit lassen - a tempo
- Symphony no. 3 in D minor: Part I. I. Immer dasselbe Tempo (Marsch). Nicht eilen
- Symphony no. 3 in D minor: Part I. I. Tempo primo. Wie zu anfang
- Symphony no. 3 in D minor: Part I. I. Tempo
- Symphony no. 3 in D minor: Part II. II. Tempo di Menuetto. Sehr mäßig
- Symphony no. 3 in D minor: Part II. III. Comodo. Scherzando. Ohne Hast
- Symphony no. 3 in D minor: Part II. III. Sehr gemächlich. Frei vorgetragen. (Wie die Weise eines Posthorns)
- Symphony no. 3 in D minor: Part II. III. Schnell und schmetternd wie eine Fanfare - Tempo I. Mit geheimnisvoller Hast
Lieder eines fahrenden Gesellen / Kindertotenlieder / Ruckert-Lieder
Released 1999- Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
- Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen
- Kindertotenlieder: Wenn dein Mutterlein
- Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen!
- Kindertotenlieder: In diesem Wetter
- Lieder eines fahrenden Gesellen: Wenn mein Schatz Hochzeit macht
- Lieder eines fahrenden Gesellen: Ging heut' morgens ubers Feld
- Lieder eines fahrenden Gesellen: Ich hab' ein gluhend Messer
- Lieder eines fahrenden Gesellen: Die zwei blauen Augen
- Ruckert-Lieder (excerpts): No. 1. Blicke mir nicht in die Lieder!
- Ruckert-Lieder (excerpts): No. 2. Ich atmet' einen linden Duft
- Ruckert-Lieder (excerpts): No. 3. Ich bin der Welt abhanden gekommen
- Ruckert-Lieder (excerpts): No. 4. Um Mitternacht
Kindertotenlieder / Rückert Lieder / Das Lied von der Erde
Released 1997- Kindertotenlieder: I. Nun will die Sonn’ so hell aufgeh’n
- Kindertotenlieder: II. Nun seh’ ich wohl, warum so dunkle Flammen
- Kindertotenlieder: III. Wenn dein Mütterlein
- Kindertotenlieder: IV. Oft denk’ ich, sie sind nur ausgegangen
- Kindertotenlieder: V. In diesem Wetter
- Lieder nach Texten von Friedrich Rückert: Blicke mir nicht in die Lieder
- Lieder nach Texten von Friedrich Rückert: Ich atmet’ einen linden Duft
- Lieder nach Texten von Friedrich Rückert: Liebst du um Schönheit
- Lieder nach Texten von Friedrich Rückert: Um Mitternacht
- Lieder nach Texten von Friedrich Rückert: Ich bin der Welt abhanden gekommen
- Das Lied von der Erde: II. Der Einsame im Herbst
Mahler: Kindertotenlieder / Lieder eines fahrenden Gesellen / Strauss: Notturno
Released 1997- Kindertotenlieder: I. Nun will die Sonn’ so hell aufgeh’n…
- Kindertotenlieder: II. Nun seh’ ich wohl, warum so dunkle Flammen…
- Kindertotenlieder: III. Wenn dein Mütterlein…
- Kindertotenlieder: IV. Oft denk’ ich, sie sind nur ausgegangen!
- Kindertotenlieder: V. In diesem Wetter, in diesem Braus…
- Lieder eines fahrenden Gesellen: I. Wenn mein Schatz Hochzeit macht…
- Lieder eines fahrenden Gesellen: II. Ging heut’ Morgen über’s Feld…
- Lieder eines fahrenden Gesellen: III. Ich hab’ ein glühend Messer…
- Lieder eines fahrenden Gesellen: IV. Die zwei blauen Augen von meinem Schatz…
- Notturno, op. 44 no. 1
Mahler/Sinopoli: The Complete Recordings
Released 1997- Symphony No. 2 in C minor "Resurrection": II. Andante moderato. Sehr gemächlich
- Symphony No. 2 in C minor "Resurrection": III. Scherzo. In ruhig fliessender Bewegung
- Symphony No. 2 in C minor "Resurrection": IV. Urlicht. Sehr feierlich, aber schlicht "O Röschen rot!"
- Symphony No. 2 in C minor "Resurrection": Va. Im Tempo des Scherzos. Wild herausfahrend
- Symphony No. 2 in C minor "Resurrection": Vb. Wieder zurückhaltend. Langsam. Misterioso
Das Lied von der Erde (Staatskapelle Dresden feat. conductor: Giuseppe Sinopoli, alto: Iris Vermillion, tenor: Keith Lewis)
Released 1997Symphonies 1 & 2
Released 1996- Symphony no. 1 in D major: I. Langsam, Schleppend
- Symphony no. 1 in D major: II. II Kraftig Bewegt, Doch Nich Zu Schnell
- Symphony no. 1 in D major: III. Feierlich Und Gemessen, Ohne Zu Schleppen - Sehr Einfach Und Schlicht Wie Eine Volksweise
- Symphony no. 1 in D major: IV. Sturmisch Bewegt
- Symphony no. 2 in C minor: I. Allegro Maestoso. Mit Durchaus Ernstem Und Feierlichem Ausdruck
Lieder aus Des Knaben Wunderhorn / Lieder eines fahrenden Gesellen (Wiener Symphoniker feat. conductor: Eliahu Inbal)
Released 1996- Des Knaben Wunderhorn: Des Schilwache Nachtlied
- Des Knaben Wunderhorn: Wer hat dies Liedlein erdacht
- Des Knaben Wunderhorn: Trost im Unglück
- Des Knaben Wunderhorn: Revelge
- Des Knaben Wunderhorn: Wo die schönen Trompeten blasen
- Des Knaben Wunderhorn: Das irdische Leben
- Des Knaben Wunderhorn: Lied des Verfolgten im Turm
- Des Knaben Wunderhorn: Der Tamboursg'sell
- Des Knaben Wunderhorn: Urlicht
- Des Knaben Wunderhorn: Des Antonius von Padua Fischpredigt
- Des Knaben Wunderhorn: Rheinlegendchen
- Des Knaben Wunderhorn: Verolene Muh
- Des Knaben Wunderhorn: Lob des hohen Verstandes.
- Lieder eines Fahrenden Gesellen: I. Wenn mein Schtz Hochzeit macht
- Lieder eines Fahrenden Gesellen: II. Ging heut'morgen über's Feld
- Lieder eines Fahrenden Gesellen: III. Ich hab'ein glühend Messer
- Lieder eines Fahrenden Gesellen: IV. Die zwei blauen Augen
Symphony no. 8
Released 1995- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 1. "Veni, creator spiritus"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 46. "Imple superna gratia"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 122. "Infirma nostri corporis"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 169. Tempo I. Allegro impetuoso
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 211. "Infirma nostri corporis"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 258. "Accende lumen sensibus"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 408. "Veni, creator spiritus"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil I, Bar 488. "Gloria sit Patri Domino"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 1. Poco adagio
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 97. Pìu mosso
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 167. Chor und Echo: "Waldung, sie schwankt heran"
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 219. "Ewiger Wonnenbrand" (Pater scstaticus)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 261. "Wie Felsenabgrund mir zu Füssen" (Pater profundus)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar Bar 384/385. "Gerettet ist das edle Glied" (Chor der Engel) - "Hände verschlinget euch" (Chor seliger Knaben)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 436. "Jene Rosen aus den Händen" (Chor der jüngeren Engel)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 540. "Uns bleibt ein Erdenrest" (Chor vollendeteren Engel)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 580. "Ich spür' soeben, nebelnd um Felsenhöhe'" (Die jüngeren Engel) - "Freudig empfangen frei" (Chor seliger Knaben) - "Hier ist die Aussicht frei" (Doctor Marianus)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 639. "Höchste Herrscherin in der Welt" (Doctor Marianus)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 780. "Dir, der Unberührbaren" (Chor I/II) - "Du schwebst zu Höhen" (Chor der Büsserinnen und Una poenitentium)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 868. "Bei der Liebe, die den Füssen" (Magna Peccatrix) - "Bei dem Bronn, zu dem schon weiland" (Mulier Samaritana) - "Bei dem hochgeweihten Orte" (Maria Aegyptiaca)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 1093. "Neige, neige" (Una poenitentium)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 1138. "Er überwächst uns schon" (Selige Knaben) - "Vom edlen Geisterchor umgeben" (Una poenitentium)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 1249. "Komm! hebe dich zu höhern Sphären" (Mater gloriosa) - "Blicket auf zum Retterblick alle reuig Zarten" (Doctor Marianus)
- Symphony no. 8 in E-flat major "Symphony of a Thousand": Teil II, Bar 1449. Chorus mysticus: Alles Vergängliche ist nur ein Gleichnis
- [applause]
Symphony No. 2 "Resurrection" (Israel Philharmonic Orchestra feat. conductor: Zubin Mehta)
Released 1994Mahler Symphony No. 4, 8 Songs (Desi Halban, New York Philharmonic cond. Bruno Walter)
Released 1994- Symphony no. 4: I. Bedachtig. Nicht eilen
- Symphony no. 4: II. In gemachlicher Bewegung. Ohne Hast
- Symphony no. 4: III. Ruhevoll
- Symphony no. 4: IV. Sehr behaglich - Soprano Solo: »Wir genießen die himmlischen Freuden«
- Lieder und Gesänge aus der Jugendzeit: Erinnerung
- Lieder und Gesänge aus der Jugendzeit: Scheiden und Meiden
- Lieder und Gesänge aus der Jugendzeit: Nicht wiedersehen!
- Lieder und Gesänge aus der Jugendzeit: Ich ging mit Lust durch einen grünen Wald
- Lieder und Gesänge aus der Jugendzeit: Ablösung im Sommer
- Lieder und Gesänge aus der Jugendzeit: Hans und Grete
- Lieder und Gesänge aus der Jugendzeit: Frühlingsmorgen
- Lieder und Gesänge aus der Jugendzeit: Starke Einbildungskraft
Symphony no. 5
Released 1992- Symphony no. 5 in C-sharp minor: I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt, plötzlich schneller. Leidenschaftlich. Wild, a tempo
- Symphony no. 5 in C-sharp minor: II. Stürmisch bewegt. Mit größter Vehemenz
- Symphony no. 5 in C-sharp minor: III. Scherzo. Kräftig, nicht zu schnell
- Symphony no. 5 in C-sharp minor: IV. Adagietto. Sehr langsam
- Symphony no. 5 in C-sharp minor: V. Rondo-Finale. Allegro
Symphony No. 4 (Los Angeles Philharmonic feat. conductor: Esa-Pekka Salonen, Soprano: Barbara Hendricks)
Released 1992Symphonien 5, 9 & 10: Adagio
Released 1992- Symphony No. 5 in C-sharp minor: I. Trauermarsch
- Symphony No. 5 in C-sharp minor: II. Stürmisch bewegt, mit grösster Vehemenz
- Symphony No. 5 in C-sharp minor: III. Scherzo: Kräftig, nicht zu schnell
- Symphony No. 5 in C-sharp minor: IV. Adagietto: Sehr langsam
- Symphony No. 5 in C-sharp minor: V. Rondo-Finale: Allegro
Symphony No. 5 in C-sharp minor (New York Philharmonic feat. conductor: Zubin Mehta)
Released 1991- Symphony No. 5 in C-sharp minor: I. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt)
- Symphony No. 5 in C-sharp minor: II. Stürmisch bewegt, mit größter Vehemenz
- Symphony No. 5 in C-sharp minor: III. Scherzo (Kräftig, nicht zu schnell)
- Symphony No. 5 in C-sharp minor: IV. Adagietto (Sehr langsam)
- Symphony No. 5 in C-sharp minor: V. Rondo-Finale (Allegro)
Des Knaben Wunderhorn
Released 1989- Des Knaben Wunderhorn: I. Der Schildwache Nachtlied
- Des Knaben Wunderhorn: II. Wer hat dies Liedlein erdacht?
- Des Knaben Wunderhorn: III. Der Tamboursg'sell
- Des Knaben Wunderhorn: IV. Das irdische Leben
- Des Knaben Wunderhorn: V. Verlor'ne Müh'
- Des Knaben Wunderhorn: VI. Des Antonius von Padua Fischpredigt
- Des Knaben Wunderhorn: VII. Revelge
- Des Knaben Wunderhorn: VIII. Rheinlegendchen
- Des Knaben Wunderhorn: IX. Lob des hohen Verstandes
- Des Knaben Wunderhorn: X. Wo die schönen Trompeten blasen
- Des Knaben Wunderhorn: XI. Lied des Verfolgten im Turm
- Des Knaben Wunderhorn: XII. Trost im Unglück
- Des Knaben Wunderhorn: XIII. Urlicht
Symphonie no. 9
Released 1986- Symphonie No. 9 D-dur: Ia. Andante comodo
- Symphonie No. 9 D-dur: Ib. (Horneinsatz)
- Symphonie No. 9 D-dur: Ic. Bewegter
- Symphonie No. 9 D-dur: Id.
- Symphonie No. 9 D-dur: Ie. Wie von Anfang
- Symphonie No. 9 D-dur: If. Plötzlich bedeutend langsamer (Lento) und leise
- Symphonie No. 9 D-dur: IIa. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
- Symphonie No. 9 D-dur: IIb. Poco più mosso subito (Tempo II.)
- Symphonie No. 9 D-dur: IIc. Tempo III.
- Symphonie No. 9 D-dur: IId. Tempo II.
- Symphonie No. 9 D-dur: IIe. Tempo I.
- Symphonie No. 9 D-dur: IIf. Tempo II.
- Symphonie No. 9 D-dur: IIg. Tempo I. subito
Quartet no. 14 in D minor / Der Tod und das Mädchen (Lied)
Released 1986- Der Tod und das Mädchen, D. 531
- Quartet in D minor, D. 810 "Der Tod und das Mädchen" : I. Allegro
- Quartet in D minor, D. 810 "Der Tod und das Mädchen" : II. Andante con moto
- Quartet in D minor, D. 810 "Der Tod und das Mädchen" : III. Scherzo (allegro molto)
- Quartet in D minor, D. 810 "Der Tod und das Mädchen" : IV. Presto
Bernstein Century: Symphony no.1 "Titan" / Symphony no.10 (Adagio)
- Symphony No. 1 in D major "Titan": Ia. Langsam. Schleppend. Wie ein Naturlaut -
- Symphony No. 1 in D major "Titan": Ib. Immer sehr gemächlich -
- Symphony No. 1 in D major "Titan": Ic. Sehr Gemächlich -
- Symphony No. 1 in D major "Titan": Id. Vorwarts drängend
- Symphony No. 1 in D major "Titan": IIa. Kräftig bewegt -
- Symphony No. 1 in D major "Titan": IIb. Trio. Recht gemächlich -
- Symphony No. 1 in D major "Titan": IIc. Tempo primo
- Symphony No. 1 in D major "Titan": IIIa. Feierlich und gemessen, ohne zu schleppen -
- Symphony No. 1 in D major "Titan": IIIb. A tempo. Ziemlich langsam -
- Symphony No. 1 in D major "Titan": IIIc. Sehr einfach und schlicht wie eine Volksweise -
- Symphony No. 1 in D major "Titan": IIId. Wieder etwas bewegter, wie im Anfang
- Symphony No. 1 in D major "Titan": IVa. Stürmisch bewegt -
- Symphony No. 1 in D major "Titan": IVb. Sehr gesangvoll -
- Symphony No. 1 in D major "Titan": IVc. Wieder wie zu Anfang. Stürmisch bewegt -
- Symphony No. 1 in D major "Titan": IVd. Sehr langsam -
- Symphony No. 1 in D major "Titan": IVe. Wieder vorwärts drängend
- Adagio from Symphony No. 10: a. Andante -
- Adagio from Symphony No. 10: b. Andante come prima -
- Adagio from Symphony No. 10: c. A tempo (fließend) -
- Adagio from Symphony No. 10: d. Measure 104 -
- Adagio from Symphony No. 10: e. Measure 194 -
- Adagio from Symphony No. 10: f. A tempo
Symphony no. 7
- Symphony no. 7 in E minor: Ia. Langsam (Adagio)
- Symphony no. 7 in E minor: Ib. Nicht schleppen
- Symphony no. 7 in E minor: Ic. Allegro risoluto, ma non troppo
- Symphony no. 7 in E minor: Id. A tempo (sempre läistesso)
- Symphony no. 7 in E minor: Ie. Subito Allegro I. Ziemlich ruhig
- Symphony no. 7 in E minor: If. Adagio (Tempo der Einleitung)
- Symphony no. 7 in E minor: Ig. Maestoso. Allegro come prima
- Symphony no. 7 in E minor: IIa. Nachtmusik I. Allegro moderato
- Symphony no. 7 in E minor: IIb. Sempre l'istesso tempo. Nicht eilen, sehr gemächlich
- Symphony no. 7 in E minor: IIc. Tempo
- Symphony no. 7 in E minor: IIIa. Scherzo. Schattenhaft, fließend, aber nicht zu schnell
- Symphony no. 7 in E minor: IIIb. Trio
- Symphony no. 7 in E minor: IIIc. Wieder wie zu Anfang (nicht eilen)
- Symphony no. 7 in E minor: IVa. Nachtmusik II. Andante amoroso
- Symphony no. 7 in E minor: IVb. [Figure 197]
- Symphony no. 7 in E minor: Va. Rondo-Final. Tempo I (Allegro ordinario)
- Symphony no. 7 in E minor: Vb. Gemessen! Nicht schnell! Tempo II (Allegro moderato ma energico)
- Symphony no. 7 in E minor: Vc. Tempo I (Halbe wie die Viertel des Tempo I)
- Symphony no. 7 in E minor: Vd. Sempre l'istesso tempo
Symphony No. 3 (Chicago Symphony Orchestra, conductor: Bernard Haitink, mezzo-soprano: Michelle DeYoung)
Symphony No. 5 (Radio Symphony Orchestra, Glasgow)
- Symphony No. 5 in C-sharp minor: I. Trauermarsch (In gemessenem Schritt, streng)
- Symphony No. 5 in C-sharp minor: II. Stürmisch bewegt, mit größter Vehemenz
- Symphony No. 5 in C-sharp minor: III. Scherzo (Kräftig, nicht zu schnell)
- Symphony No. 5 in C-sharp minor: IV. Adagietto (Sehr langsam)
- Symphony No. 5 in C-sharp minor: V. Rondo-Finale. Allegro
Born: 1860-07-07
Died: 1911-05-18
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The Best of Mahler
The Best of Gustav Mahler (7 July 1860 – 18 May 1911) Georg Solti Chicago Symphony Orchestra As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became a frequently performed and recorded composer, a position he has sustained into the 21st century. Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in ...
published: 06 Nov 2014 -
Mahler: Adagietto Symphony 5 - Karajan*
Karajan's Mahler is unsurpassed See also ( very interesting): Mahler: Adagietto Symphony 5 arranged for Choir : https://www.youtube.com/watch?v=YA1c9jZmdag See also the adagio's from symphony 4 & 6 by Karajan on this channel & Part 1 & 4 of symphony 9: https://www.youtube.com/watch?v=4kTXstgF20E https://www.youtube.com/watch?v=jvUego50gVg https://www.youtube.com/watch?v=NwwhZGtcnSM https://www.youtube.com/watch?v=KnjnwVS53ko Symphony 5 part 1 :https://www.youtube.com/watch?v=XUGPzud8rJk Symphony 5 part 2 :https://www.youtube.com/watch?v=4cyGKsfGXoI
published: 10 Jul 2012 -
Gustav Mahler: Symphony No. 2 "Resurrection" (Lucerne Festival Orchestra, Claudio Abbado)
Recorded live at the Lucerne Festival, Summer 2003 Culture and Convention Centre Lucerne, 21 August 2003 Eteri Gvazava - soprano Anna Larsson - mezzo-soprano Orfeón Donostiarra José Antonio Sainz Alfaro - chorus master Lucerne Festival Orchestra Claudio Abbado - conductor Chapters: 0:00 Gustav Mahler: Symphony No. 2 "Resurrection" 1:37 I. Allegro maestoso 22:26 II. Andante moderato 32:18 III. [Scherzo] In ruhig fließender Bewegung 43:38 IV. Urllicht. Sehr feierlich, aber schlicht 48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn" Resurrection in Lucerne Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nou...
published: 02 Feb 2015 -
Gustav Mahler: Symphony No. 1 (Lucerne Festival Orchestra, Abbado)
Recorded live at the Lucerne Festival, Summer 2009 Concert Hall of the KKL Luzern, August 2009 Lucerne Festival Orchestra Claudio Abbado - conductor Chapters: 0:00 Gustav Mahler: Symphony No. 1 0:30 I. Langsam, schleppend 17:16 II. Kräftig bewegt, doch nicht zu schnell 24:50 III. Feierlich und gemessen, ohne zu schleppen 36:19 IV. Stürmisch bewegt Watch this work performed by the Asian Youth Orchestra under the baton of James Judd: https://youtu.be/Kj_iBBmGzsU Whenever Claudio Abbado conducts the LUCERNE FESTIVAL ORCHESTRA, music lovers are in for a very special event. Such was the case in the summer of 2009 when the charismatic Italian conductor opened Lucerne's tradition-rich Festival with a concert featuring Mahler's First Symphony and Prokofiev's Third Piano Concerto. In 2003 Abbad...
published: 14 Mar 2015 -
Gustav Mahler-Piano Quartet in A minor
Gustav Mahler's Piano Quartet in A minor For Piano and Strings Trio. Hope you Enjoy =]
published: 21 Mar 2010 -
Keeping Score | Gustav Mahler: Origins (FULL DOCUMENTARY AND CONCERT)
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director Michael Tilson Thomas journeys to rural Bohemia to rediscover the inspirations of Mahler’s music, and traces Mahler’s life through the premiere of his first symphony in 1888. It shocked the contemporary audience, but as MTT and the San Francisco Symphony reveal, on location and in performance, this ground-breaking symphony contains elements of everything else that Mahler composed. Shot on location in the Czech Republic, Austria, Hungary, and in performance in San Francisco’s Davies Symphony Hall. Bonus Features: Full-length concert performance of Mahler's Symphony No. 1 by the San Francisco Symphony originally filmed in high-definition 16:9 widescreen and 5.1 surround sound. More information about ...
published: 29 Mar 2020 -
Gustav Mahler - Symphony No. 10 "Adagio" | Vienna Philharmonic, Leonard Bernstein [HD]
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein. Movements 00:00 I Adagio Incomplete movements: Scherzo (sketches) Purgatorio (sketches) Scherzo (sketches) Finale (sketches) Other Recordings: Adagietto https://youtu.be/Bj6KLv7kv2Q Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentati...
published: 01 Dec 2014 -
Gustav Mahler - Symphony No. 9 (Gustav Mahler Jugendorchester, Claudio Abbado)
From the Sala Santa Cecilia, Rome Gustav Mahler Jugendorchester Claudio Abbado Chapters: 0:00 Gustav Mahler - Symphony No. 9 in D major 0:40 I. Andante comodo 25:50 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb 41:05 III. Rondo-Burlesque. Allegro assai. Sehr trotzig 53:57 IV. Adagio. Sehr langsam und noch zurückhaltend The Gustav Mahler Jugendorchester (GMJO) was founded in Vienna in 1986, on the initiative of its present musical director, Claudia Abbado. Today it is regarded as the world's leading youth orchestra. As weil as the encouragement of the next musical generation and working with young musicians, it was of particular importance to him to enable young Austrian musicians to play with their colleagues from the then socialist republics of Czechoslovakia an...
published: 06 Feb 2015 -
Gustav Mahler: Symphony No. 1 ~ Funeral March
Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Schleppen Mahler's inspiration for this movement was a children's woodcut (above) by the artist, Moritz von Schwind. The illustration depicts a torch-lit funeral procession of animals carrying a fallen huntsman.To describe this ironic and amusing scene, Mahler juxtaposes various musical themes in the movement to recreate the sense of irony the scene represents. The huntsman's funeral is firstly evoked by a minor mode version of the children's round 'Frère Jacques', then the oboes and trumpets offer a mock sentimental accompaniment in a Jewish Klezmer dance. A dreamlike melody from Mahler's 'Songs of a Wayfarer' is an interlude in the movement, and finally, the march returns back with a sudden rush of p...
published: 19 Sep 2011 -
Gustav Mahler - Symphony No. 3 (Lucerne Festival Orcherstra, Claudio Abbado)
Recorded live at the Lucerne Festival, 19 August 2007 KKL Luzern, 19 August 2007 Lucerne Festival Orchestra Women of the Arnold Schönberg Choir, Vienna Tölz Boys Choir Anna Larsson - contralto Chapters: 0:00 PART I 0:50 I. Kräftig, Entschieden 33:55 PART II 34:10 II. Tempi di Menuetto. Sehr mäßig 43:26 III. Comodo. Scherzando. Ohne Hast 59:44 IV. Sehr langsam. Misterioso. Durchaus ppp "O Mensch! Gib Acht!"* 1:09:14 V. Lustig im Tempo und keck im Ausdruck "Es sungen drei Engel einen süßen Gesang"** 1:13:37 VI. Langsam. Ruhevoll. Empfunden *Text by Nietzsche: Also sprach Zarathustra **Text: Des Knaben Wunderhorn *** "Blissful trust" Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the he...
published: 10 Feb 2015
developed with YouTube
1:57:46
The Best of Mahler
- Order: Reorder
- Duration: 1:57:46
- Uploaded Date: 06 Nov 2014
- views: 681305
The Best of Gustav Mahler (7 July 1860 – 18 May 1911)
Georg Solti
Chicago Symphony Orchestra
As a composer, Mahler acted as a bridge between the 19th-centur...
The Best of Gustav Mahler (7 July 1860 – 18 May 1911)
Georg Solti
Chicago Symphony Orchestra
As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became a frequently performed and recorded composer, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
Mahler's œuvre is relatively small; for much of his life composing was necessarily a part-time activity while he earned his living as a conductor. Aside from early works such as a movement from a piano quartet composed when he was a student in Vienna, Mahler's works are designed for large orchestral forces, symphonic choruses and operatic soloists. Most of his twelve symphonic scores are very large-scale works, often employing vocal soloists and choruses in addition to augmented orchestral forces. These works were often controversial when first performed, and several were slow to receive critical and popular approval; exceptions included his Symphony No. 2, Symphony No. 3, and the triumphant premiere of his Eighth Symphony in 1910. Some of Mahler's immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955, to honour the composer's life and work.
(0:00) Symphony No.1 in D major - II: Kraftig Bewegt, Doch Nicht Zu Schnell
(6:47) Symphony No.2 in C minor "Resurrection" 5d: Langsam. Misterioso
(13:27) Symphony No.2 in C minor "Resurrection" - 5e. "O glaube, mein Herz, o glaube"
(21:07) Symphony No.3 in D minor - IV: Sehr langsam.
(29:50) Symphony No.3 in D minor - V: Lustig im Tempo und keck im Ausdruck
(33:54) Symphony No.4 in G major - IV: Sehr behaglich "Wir genießen die himmlischen Freuden"
(42:49) Symphony No.5 in C sharp minor - I: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
(57:21) Symphony No.5 in C sharp minor - IV: Adagietto. Sehr langsam
(1:08:34) Symphony No.6 in A minor "Tragic" - II: Andante moderato
(1:22:31) Symphony No.7 in E minor - III: Scherzo. Schattenhaft - Trio
(1:32:24) Symphony No.8 in E flat major "Symphony of a Thousand" - Part 1. Hymnus "Veni creator spiritus" - Veni, creator spiritus
(1:36:14) Symphony No.8 in E flat major - Part 2: Final scene from Goethe's Faust - Alles Vergängliche
(1:42:58) Symphony No.9 in D major - 2a. Im Tempo eines gemächlichen Ländlers
(1:45:46) Symphony No.10 in F sharp minor - II: Scherzo I
https://wn.com/The_Best_Of_Mahler
The Best of Gustav Mahler (7 July 1860 – 18 May 1911)
Georg Solti
Chicago Symphony Orchestra
As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became a frequently performed and recorded composer, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
Mahler's œuvre is relatively small; for much of his life composing was necessarily a part-time activity while he earned his living as a conductor. Aside from early works such as a movement from a piano quartet composed when he was a student in Vienna, Mahler's works are designed for large orchestral forces, symphonic choruses and operatic soloists. Most of his twelve symphonic scores are very large-scale works, often employing vocal soloists and choruses in addition to augmented orchestral forces. These works were often controversial when first performed, and several were slow to receive critical and popular approval; exceptions included his Symphony No. 2, Symphony No. 3, and the triumphant premiere of his Eighth Symphony in 1910. Some of Mahler's immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955, to honour the composer's life and work.
(0:00) Symphony No.1 in D major - II: Kraftig Bewegt, Doch Nicht Zu Schnell
(6:47) Symphony No.2 in C minor "Resurrection" 5d: Langsam. Misterioso
(13:27) Symphony No.2 in C minor "Resurrection" - 5e. "O glaube, mein Herz, o glaube"
(21:07) Symphony No.3 in D minor - IV: Sehr langsam.
(29:50) Symphony No.3 in D minor - V: Lustig im Tempo und keck im Ausdruck
(33:54) Symphony No.4 in G major - IV: Sehr behaglich "Wir genießen die himmlischen Freuden"
(42:49) Symphony No.5 in C sharp minor - I: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
(57:21) Symphony No.5 in C sharp minor - IV: Adagietto. Sehr langsam
(1:08:34) Symphony No.6 in A minor "Tragic" - II: Andante moderato
(1:22:31) Symphony No.7 in E minor - III: Scherzo. Schattenhaft - Trio
(1:32:24) Symphony No.8 in E flat major "Symphony of a Thousand" - Part 1. Hymnus "Veni creator spiritus" - Veni, creator spiritus
(1:36:14) Symphony No.8 in E flat major - Part 2: Final scene from Goethe's Faust - Alles Vergängliche
(1:42:58) Symphony No.9 in D major - 2a. Im Tempo eines gemächlichen Ländlers
(1:45:46) Symphony No.10 in F sharp minor - II: Scherzo I
- published: 06 Nov 2014
- views: 681305
11:54
Mahler: Adagietto Symphony 5 - Karajan*
- Order: Reorder
- Duration: 11:54
- Uploaded Date: 10 Jul 2012
- views: 6658497
Karajan's Mahler is unsurpassed
See also ( very interesting):
Mahler: Adagietto Symphony 5 arranged for Choir :
https://www.youtube.com/watch?v=YA1c9jZmdag
...
Karajan's Mahler is unsurpassed
See also ( very interesting):
Mahler: Adagietto Symphony 5 arranged for Choir :
https://www.youtube.com/watch?v=YA1c9jZmdag
See also the adagio's from symphony 4 & 6 by Karajan on this channel & Part 1 & 4 of symphony 9:
https://www.youtube.com/watch?v=4kTXstgF20E
https://www.youtube.com/watch?v=jvUego50gVg
https://www.youtube.com/watch?v=NwwhZGtcnSM
https://www.youtube.com/watch?v=KnjnwVS53ko
Symphony 5 part 1 :https://www.youtube.com/watch?v=XUGPzud8rJk
Symphony 5 part 2 :https://www.youtube.com/watch?v=4cyGKsfGXoI
https://wn.com/Mahler_Adagietto_Symphony_5_Karajan
Karajan's Mahler is unsurpassed
See also ( very interesting):
Mahler: Adagietto Symphony 5 arranged for Choir :
https://www.youtube.com/watch?v=YA1c9jZmdag
See also the adagio's from symphony 4 & 6 by Karajan on this channel & Part 1 & 4 of symphony 9:
https://www.youtube.com/watch?v=4kTXstgF20E
https://www.youtube.com/watch?v=jvUego50gVg
https://www.youtube.com/watch?v=NwwhZGtcnSM
https://www.youtube.com/watch?v=KnjnwVS53ko
Symphony 5 part 1 :https://www.youtube.com/watch?v=XUGPzud8rJk
Symphony 5 part 2 :https://www.youtube.com/watch?v=4cyGKsfGXoI
- published: 10 Jul 2012
- views: 6658497
1:26:28
Gustav Mahler: Symphony No. 2 "Resurrection" (Lucerne Festival Orchestra, Claudio Abbado)
- Order: Reorder
- Duration: 1:26:28
- Uploaded Date: 02 Feb 2015
- views: 3240698
Recorded live at the Lucerne Festival, Summer 2003
Culture and Convention Centre Lucerne, 21 August 2003
Eteri Gvazava - soprano
Anna Larsson - mezzo-soprano
O...
Recorded live at the Lucerne Festival, Summer 2003
Culture and Convention Centre Lucerne, 21 August 2003
Eteri Gvazava - soprano
Anna Larsson - mezzo-soprano
Orfeón Donostiarra
José Antonio Sainz Alfaro - chorus master
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 2 "Resurrection"
1:37 I. Allegro maestoso
22:26 II. Andante moderato
32:18 III. [Scherzo] In ruhig fließender Bewegung
43:38 IV. Urllicht. Sehr feierlich, aber schlicht
48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn"
Resurrection in Lucerne
Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nouvel is electric. The event was sold out months ago. Here and there a throat is softly cleared, people settle in their seats, their faces alert and expectant. At last, doors open and the members of the newly founded Lucerne Festival Orchestra come on to the platform. There are many very well-known faces: the clarinettist Sabine Meyer and Emmanuel Pahud, the fleet-fingered first flute from the Berliner Philharmoniker, Natalie Gutman among the cellists, members of the Hagen and Alban Berg Quartets among the rank and file of strings, and other players include Albrecht Mayer (oboe), Kolya Blacher (violin) and Wolfram Christ (viola).
Lucerne en fête
What kind of orchestra is this, formed of the most famous instrumentalists, the most celebrated chamber-music players, the most experienced soloists from the world's best orchestras? With Claudio Abbado to conduct it, chief conductor of the Berliner Philharmoniker up until the previous year, for whom the Lucerne Festival Orchestra is the realization of a wholly personal dream? One answer, at least, is obvious: lt is an orchestra of superlatives. "After this first appearance", the press agreed, "there can be no argument: orchestral cultivation of this calibre is scarcely to be heard anywhere else."
The Lucerne Festival has a long tradition of generating its own orchestras. The best remembered is probably the Swiss Festival Orchestra, which assembled "the best orchestral musicians of Switzerland" (to quote the Original memorandum of association) to give the concerts that formed the festival's backbone every year from 1943 to 1993. But the idea of an elite orchestra goes back further, to the summer of 1938. This was the year in which Arturo Toscanini dissociated himself from the Salzburg Festival for political reasons; a handpicked orchestra was formed for him to conduct in Lucerne (the members of the legendary Busch Quartet, banned frorn playing in Germany, sat at the first desks of the string section) and his "concert de gala" marked the moment when Lucerne was new-born as a festival city.
https://wn.com/Gustav_Mahler_Symphony_No._2_Resurrection_(Lucerne_Festival_Orchestra,_Claudio_Abbado)
Recorded live at the Lucerne Festival, Summer 2003
Culture and Convention Centre Lucerne, 21 August 2003
Eteri Gvazava - soprano
Anna Larsson - mezzo-soprano
Orfeón Donostiarra
José Antonio Sainz Alfaro - chorus master
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 2 "Resurrection"
1:37 I. Allegro maestoso
22:26 II. Andante moderato
32:18 III. [Scherzo] In ruhig fließender Bewegung
43:38 IV. Urllicht. Sehr feierlich, aber schlicht
48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn"
Resurrection in Lucerne
Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nouvel is electric. The event was sold out months ago. Here and there a throat is softly cleared, people settle in their seats, their faces alert and expectant. At last, doors open and the members of the newly founded Lucerne Festival Orchestra come on to the platform. There are many very well-known faces: the clarinettist Sabine Meyer and Emmanuel Pahud, the fleet-fingered first flute from the Berliner Philharmoniker, Natalie Gutman among the cellists, members of the Hagen and Alban Berg Quartets among the rank and file of strings, and other players include Albrecht Mayer (oboe), Kolya Blacher (violin) and Wolfram Christ (viola).
Lucerne en fête
What kind of orchestra is this, formed of the most famous instrumentalists, the most celebrated chamber-music players, the most experienced soloists from the world's best orchestras? With Claudio Abbado to conduct it, chief conductor of the Berliner Philharmoniker up until the previous year, for whom the Lucerne Festival Orchestra is the realization of a wholly personal dream? One answer, at least, is obvious: lt is an orchestra of superlatives. "After this first appearance", the press agreed, "there can be no argument: orchestral cultivation of this calibre is scarcely to be heard anywhere else."
The Lucerne Festival has a long tradition of generating its own orchestras. The best remembered is probably the Swiss Festival Orchestra, which assembled "the best orchestral musicians of Switzerland" (to quote the Original memorandum of association) to give the concerts that formed the festival's backbone every year from 1943 to 1993. But the idea of an elite orchestra goes back further, to the summer of 1938. This was the year in which Arturo Toscanini dissociated himself from the Salzburg Festival for political reasons; a handpicked orchestra was formed for him to conduct in Lucerne (the members of the legendary Busch Quartet, banned frorn playing in Germany, sat at the first desks of the string section) and his "concert de gala" marked the moment when Lucerne was new-born as a festival city.
- published: 02 Feb 2015
- views: 3240698
1:02:14
Gustav Mahler: Symphony No. 1 (Lucerne Festival Orchestra, Abbado)
- Order: Reorder
- Duration: 1:02:14
- Uploaded Date: 14 Mar 2015
- views: 1467512
Recorded live at the Lucerne Festival, Summer 2009
Concert Hall of the KKL Luzern, August 2009
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:...
Recorded live at the Lucerne Festival, Summer 2009
Concert Hall of the KKL Luzern, August 2009
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 1
0:30 I. Langsam, schleppend
17:16 II. Kräftig bewegt, doch nicht zu schnell
24:50 III. Feierlich und gemessen, ohne zu schleppen
36:19 IV. Stürmisch bewegt
Watch this work performed by the Asian Youth Orchestra under the baton of James Judd: https://youtu.be/Kj_iBBmGzsU
Whenever Claudio Abbado conducts the LUCERNE FESTIVAL ORCHESTRA, music lovers are in for a very special event. Such was the case in the summer of 2009 when the charismatic Italian conductor opened Lucerne's tradition-rich Festival with a concert featuring Mahler's First Symphony and Prokofiev's Third Piano Concerto. In 2003 Abbado, together with Artistic and Executive Director Michael Haefliger, founded the orchestra, which consists of internationally renowned soloists and chamber musicians - just as did its model, the elite body of musicians that Arturo Toscanini gathered around hirn at the Festival's founding in 1938. lt was with this first-class ensemble that Abbado offered a vividly inspired interpretation of the Mahler. In truth - as the audience's response demonstrated - it left nothing to be desired. The twenty-two-year-old Chinese Pianist Yuja Wang likewise earned enthusiastic applause for her account of the Prokofiev Concerto, which she played with character and nuanced expression.
The theme of nature served es the guiding thread for all the programming choices during the summer of 2009 - a theme with obvious relevance for the LUCERNE FESTIVAL, which is held amid one of the most beautitul landscapes of Europe: its concerts incIude unforgettable views of Lake Lucerne and Alpine panoramas. This theme, es it happens, has eminent musical significance es well: 'Like a sound of nature' is the direction Mahler inscribed at the very beginning of the First Symphony.
https://wn.com/Gustav_Mahler_Symphony_No._1_(Lucerne_Festival_Orchestra,_Abbado)
Recorded live at the Lucerne Festival, Summer 2009
Concert Hall of the KKL Luzern, August 2009
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 1
0:30 I. Langsam, schleppend
17:16 II. Kräftig bewegt, doch nicht zu schnell
24:50 III. Feierlich und gemessen, ohne zu schleppen
36:19 IV. Stürmisch bewegt
Watch this work performed by the Asian Youth Orchestra under the baton of James Judd: https://youtu.be/Kj_iBBmGzsU
Whenever Claudio Abbado conducts the LUCERNE FESTIVAL ORCHESTRA, music lovers are in for a very special event. Such was the case in the summer of 2009 when the charismatic Italian conductor opened Lucerne's tradition-rich Festival with a concert featuring Mahler's First Symphony and Prokofiev's Third Piano Concerto. In 2003 Abbado, together with Artistic and Executive Director Michael Haefliger, founded the orchestra, which consists of internationally renowned soloists and chamber musicians - just as did its model, the elite body of musicians that Arturo Toscanini gathered around hirn at the Festival's founding in 1938. lt was with this first-class ensemble that Abbado offered a vividly inspired interpretation of the Mahler. In truth - as the audience's response demonstrated - it left nothing to be desired. The twenty-two-year-old Chinese Pianist Yuja Wang likewise earned enthusiastic applause for her account of the Prokofiev Concerto, which she played with character and nuanced expression.
The theme of nature served es the guiding thread for all the programming choices during the summer of 2009 - a theme with obvious relevance for the LUCERNE FESTIVAL, which is held amid one of the most beautitul landscapes of Europe: its concerts incIude unforgettable views of Lake Lucerne and Alpine panoramas. This theme, es it happens, has eminent musical significance es well: 'Like a sound of nature' is the direction Mahler inscribed at the very beginning of the First Symphony.
- published: 14 Mar 2015
- views: 1467512
9:54
Gustav Mahler-Piano Quartet in A minor
- Order: Reorder
- Duration: 9:54
- Uploaded Date: 21 Mar 2010
- views: 1802085
Gustav Mahler's Piano Quartet in A minor
For Piano and Strings Trio.
Hope you Enjoy =]
Gustav Mahler's Piano Quartet in A minor
For Piano and Strings Trio.
Hope you Enjoy =]
https://wn.com/Gustav_Mahler_Piano_Quartet_In_A_Minor
Gustav Mahler's Piano Quartet in A minor
For Piano and Strings Trio.
Hope you Enjoy =]
- published: 21 Mar 2010
- views: 1802085
1:49:56
Keeping Score | Gustav Mahler: Origins (FULL DOCUMENTARY AND CONCERT)
- Order: Reorder
- Duration: 1:49:56
- Uploaded Date: 29 Mar 2020
- views: 123169
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director Michael Tilson Thomas journeys to rural Bohemia to rediscover the insp...
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director Michael Tilson Thomas journeys to rural Bohemia to rediscover the inspirations of Mahler’s music, and traces Mahler’s life through the premiere of his first symphony in 1888. It shocked the contemporary audience, but as MTT and the San Francisco Symphony reveal, on location and in performance, this ground-breaking symphony contains elements of everything else that Mahler composed. Shot on location in the Czech Republic, Austria, Hungary, and in performance in San Francisco’s Davies Symphony Hall.
Bonus Features:
Full-length concert performance of Mahler's Symphony No. 1 by the San Francisco Symphony originally filmed in high-definition 16:9 widescreen and 5.1 surround sound.
More information about DVD and Blu-Ray discs available here:
https://www.warnerclassics.com/release/keeping-score-mahler-origins-and-legacy
The music will play on. GIVE TODAY
SFSYMPHONY.org/give
Stay connected with us:
Facebook: http://facebook.com/sfsymphony
Twitter: http://twitter.com/sfsymphony
Instagram: http://instagram.com/sfsymphony
Tumblr: http://sfsymphony.tumblr.com/
https://wn.com/Keeping_Score_|_Gustav_Mahler_Origins_(Full_Documentary_And_Concert)
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director Michael Tilson Thomas journeys to rural Bohemia to rediscover the inspirations of Mahler’s music, and traces Mahler’s life through the premiere of his first symphony in 1888. It shocked the contemporary audience, but as MTT and the San Francisco Symphony reveal, on location and in performance, this ground-breaking symphony contains elements of everything else that Mahler composed. Shot on location in the Czech Republic, Austria, Hungary, and in performance in San Francisco’s Davies Symphony Hall.
Bonus Features:
Full-length concert performance of Mahler's Symphony No. 1 by the San Francisco Symphony originally filmed in high-definition 16:9 widescreen and 5.1 surround sound.
More information about DVD and Blu-Ray discs available here:
https://www.warnerclassics.com/release/keeping-score-mahler-origins-and-legacy
The music will play on. GIVE TODAY
SFSYMPHONY.org/give
Stay connected with us:
Facebook: http://facebook.com/sfsymphony
Twitter: http://twitter.com/sfsymphony
Instagram: http://instagram.com/sfsymphony
Tumblr: http://sfsymphony.tumblr.com/
- published: 29 Mar 2020
- views: 123169
27:20
Gustav Mahler - Symphony No. 10 "Adagio" | Vienna Philharmonic, Leonard Bernstein [HD]
- Order: Reorder
- Duration: 27:20
- Uploaded Date: 01 Dec 2014
- views: 319606
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein.
Movements
00:00 I Adagio
Incomplete ...
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein.
Movements
00:00 I Adagio
Incomplete movements:
Scherzo (sketches)
Purgatorio (sketches)
Scherzo (sketches)
Finale (sketches)
Other Recordings:
Adagietto https://youtu.be/Bj6KLv7kv2Q
Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentation and harmony, sometimes with less information, sometimes with nothing but the melodic line. He used this sketch to produce a "performing version" in which to Mahler's material he added, where needed, countermelodies, harmonies, and orchestration. Later Cooke redid his completion, using a larger orchestra. The interior of the symphony comprises two scherzos divided by a movement called "Purgatorio," based on the accompaniment to one of his early Wunderhorn songs. The first scherzo is grotesque, the second more dramatic, with a great deal of good humor. The fourth movement ends with a muffled bass drum stroke, an effect Mahler observed at a New York City fireman's funeral procession. The final movement is a struggle movement, faster in tempo, not yielding easy answers, and reprising the screaming chord of the first movement. Is this completed version valid? Many conductors, including arch-Mahlerite Leonard Bernstein, did not think so. This writer accepts it as fascinating listening which is never less than at least a good imitation of Mahler, and frequently coming close to the genuine article.
https://wn.com/Gustav_Mahler_Symphony_No._10_Adagio_|_Vienna_Philharmonic,_Leonard_Bernstein_Hd
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein.
Movements
00:00 I Adagio
Incomplete movements:
Scherzo (sketches)
Purgatorio (sketches)
Scherzo (sketches)
Finale (sketches)
Other Recordings:
Adagietto https://youtu.be/Bj6KLv7kv2Q
Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentation and harmony, sometimes with less information, sometimes with nothing but the melodic line. He used this sketch to produce a "performing version" in which to Mahler's material he added, where needed, countermelodies, harmonies, and orchestration. Later Cooke redid his completion, using a larger orchestra. The interior of the symphony comprises two scherzos divided by a movement called "Purgatorio," based on the accompaniment to one of his early Wunderhorn songs. The first scherzo is grotesque, the second more dramatic, with a great deal of good humor. The fourth movement ends with a muffled bass drum stroke, an effect Mahler observed at a New York City fireman's funeral procession. The final movement is a struggle movement, faster in tempo, not yielding easy answers, and reprising the screaming chord of the first movement. Is this completed version valid? Many conductors, including arch-Mahlerite Leonard Bernstein, did not think so. This writer accepts it as fascinating listening which is never less than at least a good imitation of Mahler, and frequently coming close to the genuine article.
- published: 01 Dec 2014
- views: 319606
1:24:08
Gustav Mahler - Symphony No. 9 (Gustav Mahler Jugendorchester, Claudio Abbado)
- Order: Reorder
- Duration: 1:24:08
- Uploaded Date: 06 Feb 2015
- views: 758002
From the Sala Santa Cecilia, Rome
Gustav Mahler Jugendorchester
Claudio Abbado
Chapters:
0:00 Gustav Mahler - Symphony No. 9 in D major
0:40 I. Andante comodo
...
From the Sala Santa Cecilia, Rome
Gustav Mahler Jugendorchester
Claudio Abbado
Chapters:
0:00 Gustav Mahler - Symphony No. 9 in D major
0:40 I. Andante comodo
25:50 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
41:05 III. Rondo-Burlesque. Allegro assai. Sehr trotzig
53:57 IV. Adagio. Sehr langsam und noch zurückhaltend
The Gustav Mahler Jugendorchester (GMJO) was founded in Vienna in 1986, on the initiative of its present musical director, Claudia Abbado. Today it is regarded as the world's leading youth orchestra.
As weil as the encouragement of the next musical generation and working with young musicians, it was of particular importance to him to enable young Austrian musicians to play with their colleagues from the then socialist republics of Czechoslovakia and Hungary. Thus, the GMJO became the first international youth orchestra to hold open auditions in the countries of the former Eastern bloc. In 1992, the GMJO opened up to musicians aged up to 26 from all over Europa. As the youth orchestra for the whole of Europe, it is under the patronage of the European Council.
A jury authorized by Claudio Abbado makes its selection from the many candidates at auditions held in more than twenty-five European cities each year.
- Violin I
Raphael Christ, Germany (Leader/ Konzertmeister) / Emilie Belaud, France / Adriana Coines Escriche, Spain / Elisabeth Eibensteiner, Austria / Gustav Frielinghaus, Germany / Aya Georgieva, Bulgaria / Yury Gorbachev, Russia / Desirée Justo Castilla, Cuba / Alexandra Krivoborodov, Germany / Jana Kuhlmann, Germany / Carolina Kurkowski Perez, Poland / Lorenzo Lucca, Italy / Franziska Mantel, Germany / Lisa Obert, Germany / Anna Maria Paatz, Germany / Marie-Stephanie Radauer-Plank, Austria / Carmel Raz, Israel / Isabelle Reinisch, Austria / Janka Ryf, Switzerland / Mariella Schorn, Austria / Yunna Shevchenko, Russia / Alexandra Shipilo, Russia / Dessislava Tcholakova, Bulgaria
- Violin II
Angelo Bard, Germany / Thomas Bilowitzki, Germany / Indulis Cintins, Latvia / Beate Dorina, Latvia / Helena Druwé, Belgium / Katarzyna Dul, Poland / Michal Durib, Slovakia / Sergio Guadagno, Italy / Piotr Kaniuga, Poland / Maartje Kraan, Netherlands / Ewoud Mahler, Netherlands / Andrea Mascetti, Switzerland / Martina Mazzon, Italy
Mara Mikelsone, Latvia / Danilo Pia, Switzerland / Franz-Markus Siegert, Germany / Diet Tilanus, Netherlands / Dimiter Velitchkov, Bulgaria / Anna Wirdefeldt, Sweden
- Viola
Maite Abaloso Candamino, Spanien / Aubrun Ermengarde, Frankreich
Federica Cucignatto, Italien / Marie-Louise De Jong, Niederlande / Anežka Ferencová, Tschechien / Abel Gonzalez Rodriguez, Spanien / Leonardo Jelveh, Italien / Lydia Kappesser, Deutschland / Tomasz Karwan, Polen / Mirabelle Le Thomas, Frankreich / Fabian Lindner, Deutschland / Marcos Lopez Martinez, Spanien / María Rallo Muguruza, Spanien / Paula Romero Rodrigo, Spanien / Marie Walter, Frankreich / Miryam Veggi, Italien
- Violoncello
Maartje-Maria den Herder, Netherlands / Georg Dettweiler, Germany / Benoît Grenet, France / Inge Grevink, Netherlands / Maria Grün, Austria / Christian Hacker, Germany / Gabriel Hopfmüller, Austria / Katarzyna Horbowicz, Poland / Evgeniya Hristova, Bulgaria / Maria Pstrokonska-Nawratil, Poland / Laie Puig Torné, Spain / Jean-Baptiste Schwebel, France / Martin Sikur, Slovenia / Uli Wittalar, Germany
- Double Bass
Sándor Budai, Hungary / Albert Chudzik, Poland / Pierra-Emmanuel da Maîstre, France / Johanee Gonzalez Seijas, Venezuela / Apostol Kossev, Bulgaria / Roman Mosler, Poland / Stanislaw Pajak, Poland / Stefan Rauh, Germany / Christian Todorov, Germany / Tibor Tóth, Romania / Omry Weinberger, Israel / Emilio Yepes Martínez, Spain
- Flute / Flöte
Matthieu Gauci-Ancelin, France / Alvaro Octavio Diaz, Spain / Frauke Oesmann, Germany / Birgit Ramal, Austria / Thomas Saulet, Frence
- Oboe
Nicolas Cock-Vassiliou, France / Lucas Macías Navarro, Spain / Konrad Mika, Poland / Céline Moinet, France /
- Clarinet / Klarinette
Massimo di Trolio, Great Britain / Darío Marinio Varela, Spain / Marcos Pérez Miranda, Spain / Pavel Püspöky, Slovakia / Sandrine Vasseur, France
- Bassoon
Pieter Nuytten, Belgium / Guilhaume Santana, France / Matthias Schottstädt, Germany / Philipp Tutzer, Italy
- French Horn
Fabian Gabriel Borchers, Germany / José Vicente Castelló Vicedo, Spain / Gustavo Castro Barreiro, Spain / Christian Loferer, Germany
lonut Podgoreanu, Romania
- Trumpet
Thomas Hammerschmidt, Austria / Gábor Richter, Hungary / Christian Syperek, Germany / Herbert Zimmermann, Austria
- Trombone
Ruth Davies, Great Britain / Martin Lueger, Austria / Bernhard Stangl, Germany
- Tuba
Ramiro Tejero Morte, Spain
- Percussion
Jakob Weber Egholm, Denmark / Ines Fehr, Germany / Stephan Kostenbader, Germany / Ignacio Molins Bosch, Spain / Heikki Parviainen, Finland
- Harp
Manon Louis, France / Ekaterina Semion, Russia
https://wn.com/Gustav_Mahler_Symphony_No._9_(Gustav_Mahler_Jugendorchester,_Claudio_Abbado)
From the Sala Santa Cecilia, Rome
Gustav Mahler Jugendorchester
Claudio Abbado
Chapters:
0:00 Gustav Mahler - Symphony No. 9 in D major
0:40 I. Andante comodo
25:50 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
41:05 III. Rondo-Burlesque. Allegro assai. Sehr trotzig
53:57 IV. Adagio. Sehr langsam und noch zurückhaltend
The Gustav Mahler Jugendorchester (GMJO) was founded in Vienna in 1986, on the initiative of its present musical director, Claudia Abbado. Today it is regarded as the world's leading youth orchestra.
As weil as the encouragement of the next musical generation and working with young musicians, it was of particular importance to him to enable young Austrian musicians to play with their colleagues from the then socialist republics of Czechoslovakia and Hungary. Thus, the GMJO became the first international youth orchestra to hold open auditions in the countries of the former Eastern bloc. In 1992, the GMJO opened up to musicians aged up to 26 from all over Europa. As the youth orchestra for the whole of Europe, it is under the patronage of the European Council.
A jury authorized by Claudio Abbado makes its selection from the many candidates at auditions held in more than twenty-five European cities each year.
- Violin I
Raphael Christ, Germany (Leader/ Konzertmeister) / Emilie Belaud, France / Adriana Coines Escriche, Spain / Elisabeth Eibensteiner, Austria / Gustav Frielinghaus, Germany / Aya Georgieva, Bulgaria / Yury Gorbachev, Russia / Desirée Justo Castilla, Cuba / Alexandra Krivoborodov, Germany / Jana Kuhlmann, Germany / Carolina Kurkowski Perez, Poland / Lorenzo Lucca, Italy / Franziska Mantel, Germany / Lisa Obert, Germany / Anna Maria Paatz, Germany / Marie-Stephanie Radauer-Plank, Austria / Carmel Raz, Israel / Isabelle Reinisch, Austria / Janka Ryf, Switzerland / Mariella Schorn, Austria / Yunna Shevchenko, Russia / Alexandra Shipilo, Russia / Dessislava Tcholakova, Bulgaria
- Violin II
Angelo Bard, Germany / Thomas Bilowitzki, Germany / Indulis Cintins, Latvia / Beate Dorina, Latvia / Helena Druwé, Belgium / Katarzyna Dul, Poland / Michal Durib, Slovakia / Sergio Guadagno, Italy / Piotr Kaniuga, Poland / Maartje Kraan, Netherlands / Ewoud Mahler, Netherlands / Andrea Mascetti, Switzerland / Martina Mazzon, Italy
Mara Mikelsone, Latvia / Danilo Pia, Switzerland / Franz-Markus Siegert, Germany / Diet Tilanus, Netherlands / Dimiter Velitchkov, Bulgaria / Anna Wirdefeldt, Sweden
- Viola
Maite Abaloso Candamino, Spanien / Aubrun Ermengarde, Frankreich
Federica Cucignatto, Italien / Marie-Louise De Jong, Niederlande / Anežka Ferencová, Tschechien / Abel Gonzalez Rodriguez, Spanien / Leonardo Jelveh, Italien / Lydia Kappesser, Deutschland / Tomasz Karwan, Polen / Mirabelle Le Thomas, Frankreich / Fabian Lindner, Deutschland / Marcos Lopez Martinez, Spanien / María Rallo Muguruza, Spanien / Paula Romero Rodrigo, Spanien / Marie Walter, Frankreich / Miryam Veggi, Italien
- Violoncello
Maartje-Maria den Herder, Netherlands / Georg Dettweiler, Germany / Benoît Grenet, France / Inge Grevink, Netherlands / Maria Grün, Austria / Christian Hacker, Germany / Gabriel Hopfmüller, Austria / Katarzyna Horbowicz, Poland / Evgeniya Hristova, Bulgaria / Maria Pstrokonska-Nawratil, Poland / Laie Puig Torné, Spain / Jean-Baptiste Schwebel, France / Martin Sikur, Slovenia / Uli Wittalar, Germany
- Double Bass
Sándor Budai, Hungary / Albert Chudzik, Poland / Pierra-Emmanuel da Maîstre, France / Johanee Gonzalez Seijas, Venezuela / Apostol Kossev, Bulgaria / Roman Mosler, Poland / Stanislaw Pajak, Poland / Stefan Rauh, Germany / Christian Todorov, Germany / Tibor Tóth, Romania / Omry Weinberger, Israel / Emilio Yepes Martínez, Spain
- Flute / Flöte
Matthieu Gauci-Ancelin, France / Alvaro Octavio Diaz, Spain / Frauke Oesmann, Germany / Birgit Ramal, Austria / Thomas Saulet, Frence
- Oboe
Nicolas Cock-Vassiliou, France / Lucas Macías Navarro, Spain / Konrad Mika, Poland / Céline Moinet, France /
- Clarinet / Klarinette
Massimo di Trolio, Great Britain / Darío Marinio Varela, Spain / Marcos Pérez Miranda, Spain / Pavel Püspöky, Slovakia / Sandrine Vasseur, France
- Bassoon
Pieter Nuytten, Belgium / Guilhaume Santana, France / Matthias Schottstädt, Germany / Philipp Tutzer, Italy
- French Horn
Fabian Gabriel Borchers, Germany / José Vicente Castelló Vicedo, Spain / Gustavo Castro Barreiro, Spain / Christian Loferer, Germany
lonut Podgoreanu, Romania
- Trumpet
Thomas Hammerschmidt, Austria / Gábor Richter, Hungary / Christian Syperek, Germany / Herbert Zimmermann, Austria
- Trombone
Ruth Davies, Great Britain / Martin Lueger, Austria / Bernhard Stangl, Germany
- Tuba
Ramiro Tejero Morte, Spain
- Percussion
Jakob Weber Egholm, Denmark / Ines Fehr, Germany / Stephan Kostenbader, Germany / Ignacio Molins Bosch, Spain / Heikki Parviainen, Finland
- Harp
Manon Louis, France / Ekaterina Semion, Russia
- published: 06 Feb 2015
- views: 758002
10:21
Gustav Mahler: Symphony No. 1 ~ Funeral March
- Order: Reorder
- Duration: 10:21
- Uploaded Date: 19 Sep 2011
- views: 203634
Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Schleppen
Mahler's inspiration for this movement was a children's woodc...
Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Schleppen
Mahler's inspiration for this movement was a children's woodcut (above) by the artist, Moritz von Schwind. The illustration depicts a torch-lit funeral procession of animals carrying a fallen huntsman.To describe this ironic and amusing scene, Mahler juxtaposes various musical themes in the movement to recreate the sense of irony the scene represents. The huntsman's funeral is firstly evoked by a minor mode version of the children's round 'Frère Jacques', then the oboes and trumpets offer a mock sentimental accompaniment in a Jewish Klezmer dance. A dreamlike melody from Mahler's 'Songs of a Wayfarer' is an interlude in the movement, and finally, the march returns back with a sudden rush of pace with the animals of the forest rushing the huntsman towards his grave. The irony of the movement? How unhappy are these animals with the huntsman's death?
Performed by Leonard Bernstein; Royal Concertgebouw Orchestra
https://wn.com/Gustav_Mahler_Symphony_No._1_~_Funeral_March
Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Schleppen
Mahler's inspiration for this movement was a children's woodcut (above) by the artist, Moritz von Schwind. The illustration depicts a torch-lit funeral procession of animals carrying a fallen huntsman.To describe this ironic and amusing scene, Mahler juxtaposes various musical themes in the movement to recreate the sense of irony the scene represents. The huntsman's funeral is firstly evoked by a minor mode version of the children's round 'Frère Jacques', then the oboes and trumpets offer a mock sentimental accompaniment in a Jewish Klezmer dance. A dreamlike melody from Mahler's 'Songs of a Wayfarer' is an interlude in the movement, and finally, the march returns back with a sudden rush of pace with the animals of the forest rushing the huntsman towards his grave. The irony of the movement? How unhappy are these animals with the huntsman's death?
Performed by Leonard Bernstein; Royal Concertgebouw Orchestra
- published: 19 Sep 2011
- views: 203634
1:41:41
Gustav Mahler - Symphony No. 3 (Lucerne Festival Orcherstra, Claudio Abbado)
- Order: Reorder
- Duration: 1:41:41
- Uploaded Date: 10 Feb 2015
- views: 1288054
Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne Festival Orchestra
Women of the Arnold Schönberg Choir, Vienna
Tölz Bo...
Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne Festival Orchestra
Women of the Arnold Schönberg Choir, Vienna
Tölz Boys Choir
Anna Larsson - contralto
Chapters:
0:00 PART I
0:50 I. Kräftig, Entschieden
33:55 PART II
34:10 II. Tempi di Menuetto. Sehr mäßig
43:26 III. Comodo. Scherzando. Ohne Hast
59:44 IV. Sehr langsam. Misterioso. Durchaus ppp "O Mensch! Gib Acht!"*
1:09:14 V. Lustig im Tempo und keck im Ausdruck "Es sungen drei Engel einen süßen Gesang"**
1:13:37 VI. Langsam. Ruhevoll. Empfunden
*Text by Nietzsche: Also sprach Zarathustra
**Text: Des Knaben Wunderhorn
***
"Blissful trust"
Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the head of his own Lucerne Festival Orchestra, the whole is more than just the sum of its parts thanks to a process that one is tempted to call magical. The present live recording of an acclaimed performance of Mahler's Third Symphony at Lucerne's Culture and Convention Centre on 19 August 2007 provides lasting proof of this and allows us to see that with Abbado ecstasy is never achieved at the expense of musical and rhetorical clarity: a powerful emotional charge is held in check by calm contemplation. Never for a moment does Abbado give undue emphasis to subjective mawkishness or an overtly theatrical sense of worldweariness: Abbado's Mahler is precisely calculated and at the same time intuitively felt.
The musicians of the Lucerne Festival Orchestra were meeting for the Orth time when they assembled in Lucerne in the summer of 2007. Among them were not only a number of distinguished soloists but also experienced principals from the world's foremost orchestras: the leaders were Kolja Blacher and Sebastian Breuninger, while the rank-and-file violin sec-tion behind them included players of the eminence of Mirijam Contzen and llya Gringolts. The cellos ware led by Jens Peter Maintz and Natalia Gutman sitting alongside Valentin Erben of the Alban Berg Quartett and Clemens Hagen, whose sister, Veronika, was a member of the viola section under Wolfram Christ and Diemut Poppen. The woodwind section in-cluded the flautist Jacques Zoon and the ciarinettist Sabine Meyer, while prominent among the brass was the trumpeter Reinhold Friedrich.
All the plavers are friendly with one another es weil as sharing a special affinity for chamber music, which famously makes the greatest demands in terms ofthe need to listen closely to one's colleagues. And it is here thatthis orchestra is unique, a uniqueness clear from the present performance. The large concert hell seerned literally to vibrate with psychic energy, and the intensity with which the musicians responded to even the tiniest fluctuations in the music reached the point where all the players seemed to surpass themselves. "The goal is clear and is shared by all the participants," wrote the critic ofthe Neue ZürcherZeitung; "it seems that in advancing towards this goal, the players achieve a high degree of individual responsibility, while the conductor encourages each and every one ofthem ... to realize his or her potential in orderto benefitthe collective— an example of successful leadership in a highly specialized context. As such, this is more or less the opposite of what people normally assume to be the job of a conductor. What we saw here was emphatically not self-promotion ata stroke butthe experience that something special arises only when people have space in which to develop."
Abbado first recorded Mahler's Third Symphony in 1980, following it up with a second recording in 1999, both of them demonstrating the conductor's particular affinity with the work. His unerring feel tor the narrative structures of this rich and varied score finds expression in an extraordinary sensitivity, aliowing hirn to respond with particular vividnessto a workthat deals with nothing lass than the origins ofthe universe. [...]
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https://wn.com/Gustav_Mahler_Symphony_No._3_(Lucerne_Festival_Orcherstra,_Claudio_Abbado)
Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne Festival Orchestra
Women of the Arnold Schönberg Choir, Vienna
Tölz Boys Choir
Anna Larsson - contralto
Chapters:
0:00 PART I
0:50 I. Kräftig, Entschieden
33:55 PART II
34:10 II. Tempi di Menuetto. Sehr mäßig
43:26 III. Comodo. Scherzando. Ohne Hast
59:44 IV. Sehr langsam. Misterioso. Durchaus ppp "O Mensch! Gib Acht!"*
1:09:14 V. Lustig im Tempo und keck im Ausdruck "Es sungen drei Engel einen süßen Gesang"**
1:13:37 VI. Langsam. Ruhevoll. Empfunden
*Text by Nietzsche: Also sprach Zarathustra
**Text: Des Knaben Wunderhorn
***
"Blissful trust"
Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the head of his own Lucerne Festival Orchestra, the whole is more than just the sum of its parts thanks to a process that one is tempted to call magical. The present live recording of an acclaimed performance of Mahler's Third Symphony at Lucerne's Culture and Convention Centre on 19 August 2007 provides lasting proof of this and allows us to see that with Abbado ecstasy is never achieved at the expense of musical and rhetorical clarity: a powerful emotional charge is held in check by calm contemplation. Never for a moment does Abbado give undue emphasis to subjective mawkishness or an overtly theatrical sense of worldweariness: Abbado's Mahler is precisely calculated and at the same time intuitively felt.
The musicians of the Lucerne Festival Orchestra were meeting for the Orth time when they assembled in Lucerne in the summer of 2007. Among them were not only a number of distinguished soloists but also experienced principals from the world's foremost orchestras: the leaders were Kolja Blacher and Sebastian Breuninger, while the rank-and-file violin sec-tion behind them included players of the eminence of Mirijam Contzen and llya Gringolts. The cellos ware led by Jens Peter Maintz and Natalia Gutman sitting alongside Valentin Erben of the Alban Berg Quartett and Clemens Hagen, whose sister, Veronika, was a member of the viola section under Wolfram Christ and Diemut Poppen. The woodwind section in-cluded the flautist Jacques Zoon and the ciarinettist Sabine Meyer, while prominent among the brass was the trumpeter Reinhold Friedrich.
All the plavers are friendly with one another es weil as sharing a special affinity for chamber music, which famously makes the greatest demands in terms ofthe need to listen closely to one's colleagues. And it is here thatthis orchestra is unique, a uniqueness clear from the present performance. The large concert hell seerned literally to vibrate with psychic energy, and the intensity with which the musicians responded to even the tiniest fluctuations in the music reached the point where all the players seemed to surpass themselves. "The goal is clear and is shared by all the participants," wrote the critic ofthe Neue ZürcherZeitung; "it seems that in advancing towards this goal, the players achieve a high degree of individual responsibility, while the conductor encourages each and every one ofthem ... to realize his or her potential in orderto benefitthe collective— an example of successful leadership in a highly specialized context. As such, this is more or less the opposite of what people normally assume to be the job of a conductor. What we saw here was emphatically not self-promotion ata stroke butthe experience that something special arises only when people have space in which to develop."
Abbado first recorded Mahler's Third Symphony in 1980, following it up with a second recording in 1999, both of them demonstrating the conductor's particular affinity with the work. His unerring feel tor the narrative structures of this rich and varied score finds expression in an extraordinary sensitivity, aliowing hirn to respond with particular vividnessto a workthat deals with nothing lass than the origins ofthe universe. [...]
Subscribe to EuroArts: https://goo.gl/jrui3M
- published: 10 Feb 2015
- views: 1288054
1:57:46
The Best of Mahler
The Best of Gustav Mahler (7 July 1860 – 18 May 1911)
Georg Solti
Chicago Symphony Orche...
published: 06 Nov 2014
The Best of Mahler
The Best of Mahler
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- published: 06 Nov 2014
- views: 681305
The Best of Gustav Mahler (7 July 1860 – 18 May 1911)
Georg Solti
Chicago Symphony Orchestra
As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became a frequently performed and recorded composer, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
Mahler's œuvre is relatively small; for much of his life composing was necessarily a part-time activity while he earned his living as a conductor. Aside from early works such as a movement from a piano quartet composed when he was a student in Vienna, Mahler's works are designed for large orchestral forces, symphonic choruses and operatic soloists. Most of his twelve symphonic scores are very large-scale works, often employing vocal soloists and choruses in addition to augmented orchestral forces. These works were often controversial when first performed, and several were slow to receive critical and popular approval; exceptions included his Symphony No. 2, Symphony No. 3, and the triumphant premiere of his Eighth Symphony in 1910. Some of Mahler's immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955, to honour the composer's life and work.
(0:00) Symphony No.1 in D major - II: Kraftig Bewegt, Doch Nicht Zu Schnell
(6:47) Symphony No.2 in C minor "Resurrection" 5d: Langsam. Misterioso
(13:27) Symphony No.2 in C minor "Resurrection" - 5e. "O glaube, mein Herz, o glaube"
(21:07) Symphony No.3 in D minor - IV: Sehr langsam.
(29:50) Symphony No.3 in D minor - V: Lustig im Tempo und keck im Ausdruck
(33:54) Symphony No.4 in G major - IV: Sehr behaglich "Wir genießen die himmlischen Freuden"
(42:49) Symphony No.5 in C sharp minor - I: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
(57:21) Symphony No.5 in C sharp minor - IV: Adagietto. Sehr langsam
(1:08:34) Symphony No.6 in A minor "Tragic" - II: Andante moderato
(1:22:31) Symphony No.7 in E minor - III: Scherzo. Schattenhaft - Trio
(1:32:24) Symphony No.8 in E flat major "Symphony of a Thousand" - Part 1. Hymnus "Veni creator spiritus" - Veni, creator spiritus
(1:36:14) Symphony No.8 in E flat major - Part 2: Final scene from Goethe's Faust - Alles Vergängliche
(1:42:58) Symphony No.9 in D major - 2a. Im Tempo eines gemächlichen Ländlers
(1:45:46) Symphony No.10 in F sharp minor - II: Scherzo I
11:54
Mahler: Adagietto Symphony 5 - Karajan*
Karajan's Mahler is unsurpassed
See also ( very interesting):
Mahler: Adagietto Symphony...
published: 10 Jul 2012
Mahler: Adagietto Symphony 5 - Karajan*
Mahler: Adagietto Symphony 5 - Karajan*
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- published: 10 Jul 2012
- views: 6658497
Karajan's Mahler is unsurpassed
See also ( very interesting):
Mahler: Adagietto Symphony 5 arranged for Choir :
https://www.youtube.com/watch?v=YA1c9jZmdag
See also the adagio's from symphony 4 & 6 by Karajan on this channel & Part 1 & 4 of symphony 9:
https://www.youtube.com/watch?v=4kTXstgF20E
https://www.youtube.com/watch?v=jvUego50gVg
https://www.youtube.com/watch?v=NwwhZGtcnSM
https://www.youtube.com/watch?v=KnjnwVS53ko
Symphony 5 part 1 :https://www.youtube.com/watch?v=XUGPzud8rJk
Symphony 5 part 2 :https://www.youtube.com/watch?v=4cyGKsfGXoI
1:26:28
Gustav Mahler: Symphony No. 2 "Resurrection" (Lucerne Festival Orchestra, Claudio Abbado)
Recorded live at the Lucerne Festival, Summer 2003
Culture and Convention Centre Lucerne, ...
published: 02 Feb 2015
Gustav Mahler: Symphony No. 2 "Resurrection" (Lucerne Festival Orchestra, Claudio Abbado)
Gustav Mahler: Symphony No. 2 "Resurrection" (Lucerne Festival Orchestra, Claudio Abbado)
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- published: 02 Feb 2015
- views: 3240698
Recorded live at the Lucerne Festival, Summer 2003
Culture and Convention Centre Lucerne, 21 August 2003
Eteri Gvazava - soprano
Anna Larsson - mezzo-soprano
Orfeón Donostiarra
José Antonio Sainz Alfaro - chorus master
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 2 "Resurrection"
1:37 I. Allegro maestoso
22:26 II. Andante moderato
32:18 III. [Scherzo] In ruhig fließender Bewegung
43:38 IV. Urllicht. Sehr feierlich, aber schlicht
48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn"
Resurrection in Lucerne
Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nouvel is electric. The event was sold out months ago. Here and there a throat is softly cleared, people settle in their seats, their faces alert and expectant. At last, doors open and the members of the newly founded Lucerne Festival Orchestra come on to the platform. There are many very well-known faces: the clarinettist Sabine Meyer and Emmanuel Pahud, the fleet-fingered first flute from the Berliner Philharmoniker, Natalie Gutman among the cellists, members of the Hagen and Alban Berg Quartets among the rank and file of strings, and other players include Albrecht Mayer (oboe), Kolya Blacher (violin) and Wolfram Christ (viola).
Lucerne en fête
What kind of orchestra is this, formed of the most famous instrumentalists, the most celebrated chamber-music players, the most experienced soloists from the world's best orchestras? With Claudio Abbado to conduct it, chief conductor of the Berliner Philharmoniker up until the previous year, for whom the Lucerne Festival Orchestra is the realization of a wholly personal dream? One answer, at least, is obvious: lt is an orchestra of superlatives. "After this first appearance", the press agreed, "there can be no argument: orchestral cultivation of this calibre is scarcely to be heard anywhere else."
The Lucerne Festival has a long tradition of generating its own orchestras. The best remembered is probably the Swiss Festival Orchestra, which assembled "the best orchestral musicians of Switzerland" (to quote the Original memorandum of association) to give the concerts that formed the festival's backbone every year from 1943 to 1993. But the idea of an elite orchestra goes back further, to the summer of 1938. This was the year in which Arturo Toscanini dissociated himself from the Salzburg Festival for political reasons; a handpicked orchestra was formed for him to conduct in Lucerne (the members of the legendary Busch Quartet, banned frorn playing in Germany, sat at the first desks of the string section) and his "concert de gala" marked the moment when Lucerne was new-born as a festival city.
1:02:14
Gustav Mahler: Symphony No. 1 (Lucerne Festival Orchestra, Abbado)
Recorded live at the Lucerne Festival, Summer 2009
Concert Hall of the KKL Luzern, August ...
published: 14 Mar 2015
Gustav Mahler: Symphony No. 1 (Lucerne Festival Orchestra, Abbado)
Gustav Mahler: Symphony No. 1 (Lucerne Festival Orchestra, Abbado)
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- published: 14 Mar 2015
- views: 1467512
Recorded live at the Lucerne Festival, Summer 2009
Concert Hall of the KKL Luzern, August 2009
Lucerne Festival Orchestra
Claudio Abbado - conductor
Chapters:
0:00 Gustav Mahler: Symphony No. 1
0:30 I. Langsam, schleppend
17:16 II. Kräftig bewegt, doch nicht zu schnell
24:50 III. Feierlich und gemessen, ohne zu schleppen
36:19 IV. Stürmisch bewegt
Watch this work performed by the Asian Youth Orchestra under the baton of James Judd: https://youtu.be/Kj_iBBmGzsU
Whenever Claudio Abbado conducts the LUCERNE FESTIVAL ORCHESTRA, music lovers are in for a very special event. Such was the case in the summer of 2009 when the charismatic Italian conductor opened Lucerne's tradition-rich Festival with a concert featuring Mahler's First Symphony and Prokofiev's Third Piano Concerto. In 2003 Abbado, together with Artistic and Executive Director Michael Haefliger, founded the orchestra, which consists of internationally renowned soloists and chamber musicians - just as did its model, the elite body of musicians that Arturo Toscanini gathered around hirn at the Festival's founding in 1938. lt was with this first-class ensemble that Abbado offered a vividly inspired interpretation of the Mahler. In truth - as the audience's response demonstrated - it left nothing to be desired. The twenty-two-year-old Chinese Pianist Yuja Wang likewise earned enthusiastic applause for her account of the Prokofiev Concerto, which she played with character and nuanced expression.
The theme of nature served es the guiding thread for all the programming choices during the summer of 2009 - a theme with obvious relevance for the LUCERNE FESTIVAL, which is held amid one of the most beautitul landscapes of Europe: its concerts incIude unforgettable views of Lake Lucerne and Alpine panoramas. This theme, es it happens, has eminent musical significance es well: 'Like a sound of nature' is the direction Mahler inscribed at the very beginning of the First Symphony.
9:54
Gustav Mahler-Piano Quartet in A minor
Gustav Mahler's Piano Quartet in A minor
For Piano and Strings Trio.
Hope you Enjoy =...
published: 21 Mar 2010
Gustav Mahler-Piano Quartet in A minor
Gustav Mahler-Piano Quartet in A minor
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- published: 21 Mar 2010
- views: 1802085
Gustav Mahler's Piano Quartet in A minor
For Piano and Strings Trio.
Hope you Enjoy =]
1:49:56
Keeping Score | Gustav Mahler: Origins (FULL DOCUMENTARY AND CONCERT)
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director ...
published: 29 Mar 2020
Keeping Score | Gustav Mahler: Origins (FULL DOCUMENTARY AND CONCERT)
Keeping Score | Gustav Mahler: Origins (FULL DOCUMENTARY AND CONCERT)
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- published: 29 Mar 2020
- views: 123169
The first of two episodes explores the roots of Gustav Mahler’s music. SFS Music Director Michael Tilson Thomas journeys to rural Bohemia to rediscover the inspirations of Mahler’s music, and traces Mahler’s life through the premiere of his first symphony in 1888. It shocked the contemporary audience, but as MTT and the San Francisco Symphony reveal, on location and in performance, this ground-breaking symphony contains elements of everything else that Mahler composed. Shot on location in the Czech Republic, Austria, Hungary, and in performance in San Francisco’s Davies Symphony Hall.
Bonus Features:
Full-length concert performance of Mahler's Symphony No. 1 by the San Francisco Symphony originally filmed in high-definition 16:9 widescreen and 5.1 surround sound.
More information about DVD and Blu-Ray discs available here:
https://www.warnerclassics.com/release/keeping-score-mahler-origins-and-legacy
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27:20
Gustav Mahler - Symphony No. 10 "Adagio" | Vienna Philharmonic, Leonard Bernstein [HD]
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna P...
published: 01 Dec 2014
Gustav Mahler - Symphony No. 10 "Adagio" | Vienna Philharmonic, Leonard Bernstein [HD]
Gustav Mahler - Symphony No. 10 "Adagio" | Vienna Philharmonic, Leonard Bernstein [HD]
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- published: 01 Dec 2014
- views: 319606
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein.
Movements
00:00 I Adagio
Incomplete movements:
Scherzo (sketches)
Purgatorio (sketches)
Scherzo (sketches)
Finale (sketches)
Other Recordings:
Adagietto https://youtu.be/Bj6KLv7kv2Q
Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentation and harmony, sometimes with less information, sometimes with nothing but the melodic line. He used this sketch to produce a "performing version" in which to Mahler's material he added, where needed, countermelodies, harmonies, and orchestration. Later Cooke redid his completion, using a larger orchestra. The interior of the symphony comprises two scherzos divided by a movement called "Purgatorio," based on the accompaniment to one of his early Wunderhorn songs. The first scherzo is grotesque, the second more dramatic, with a great deal of good humor. The fourth movement ends with a muffled bass drum stroke, an effect Mahler observed at a New York City fireman's funeral procession. The final movement is a struggle movement, faster in tempo, not yielding easy answers, and reprising the screaming chord of the first movement. Is this completed version valid? Many conductors, including arch-Mahlerite Leonard Bernstein, did not think so. This writer accepts it as fascinating listening which is never less than at least a good imitation of Mahler, and frequently coming close to the genuine article.
1:24:08
Gustav Mahler - Symphony No. 9 (Gustav Mahler Jugendorchester, Claudio Abbado)
From the Sala Santa Cecilia, Rome
Gustav Mahler Jugendorchester
Claudio Abbado
Chapters:
...
published: 06 Feb 2015
Gustav Mahler - Symphony No. 9 (Gustav Mahler Jugendorchester, Claudio Abbado)
Gustav Mahler - Symphony No. 9 (Gustav Mahler Jugendorchester, Claudio Abbado)
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- published: 06 Feb 2015
- views: 758002
From the Sala Santa Cecilia, Rome
Gustav Mahler Jugendorchester
Claudio Abbado
Chapters:
0:00 Gustav Mahler - Symphony No. 9 in D major
0:40 I. Andante comodo
25:50 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
41:05 III. Rondo-Burlesque. Allegro assai. Sehr trotzig
53:57 IV. Adagio. Sehr langsam und noch zurückhaltend
The Gustav Mahler Jugendorchester (GMJO) was founded in Vienna in 1986, on the initiative of its present musical director, Claudia Abbado. Today it is regarded as the world's leading youth orchestra.
As weil as the encouragement of the next musical generation and working with young musicians, it was of particular importance to him to enable young Austrian musicians to play with their colleagues from the then socialist republics of Czechoslovakia and Hungary. Thus, the GMJO became the first international youth orchestra to hold open auditions in the countries of the former Eastern bloc. In 1992, the GMJO opened up to musicians aged up to 26 from all over Europa. As the youth orchestra for the whole of Europe, it is under the patronage of the European Council.
A jury authorized by Claudio Abbado makes its selection from the many candidates at auditions held in more than twenty-five European cities each year.
- Violin I
Raphael Christ, Germany (Leader/ Konzertmeister) / Emilie Belaud, France / Adriana Coines Escriche, Spain / Elisabeth Eibensteiner, Austria / Gustav Frielinghaus, Germany / Aya Georgieva, Bulgaria / Yury Gorbachev, Russia / Desirée Justo Castilla, Cuba / Alexandra Krivoborodov, Germany / Jana Kuhlmann, Germany / Carolina Kurkowski Perez, Poland / Lorenzo Lucca, Italy / Franziska Mantel, Germany / Lisa Obert, Germany / Anna Maria Paatz, Germany / Marie-Stephanie Radauer-Plank, Austria / Carmel Raz, Israel / Isabelle Reinisch, Austria / Janka Ryf, Switzerland / Mariella Schorn, Austria / Yunna Shevchenko, Russia / Alexandra Shipilo, Russia / Dessislava Tcholakova, Bulgaria
- Violin II
Angelo Bard, Germany / Thomas Bilowitzki, Germany / Indulis Cintins, Latvia / Beate Dorina, Latvia / Helena Druwé, Belgium / Katarzyna Dul, Poland / Michal Durib, Slovakia / Sergio Guadagno, Italy / Piotr Kaniuga, Poland / Maartje Kraan, Netherlands / Ewoud Mahler, Netherlands / Andrea Mascetti, Switzerland / Martina Mazzon, Italy
Mara Mikelsone, Latvia / Danilo Pia, Switzerland / Franz-Markus Siegert, Germany / Diet Tilanus, Netherlands / Dimiter Velitchkov, Bulgaria / Anna Wirdefeldt, Sweden
- Viola
Maite Abaloso Candamino, Spanien / Aubrun Ermengarde, Frankreich
Federica Cucignatto, Italien / Marie-Louise De Jong, Niederlande / Anežka Ferencová, Tschechien / Abel Gonzalez Rodriguez, Spanien / Leonardo Jelveh, Italien / Lydia Kappesser, Deutschland / Tomasz Karwan, Polen / Mirabelle Le Thomas, Frankreich / Fabian Lindner, Deutschland / Marcos Lopez Martinez, Spanien / María Rallo Muguruza, Spanien / Paula Romero Rodrigo, Spanien / Marie Walter, Frankreich / Miryam Veggi, Italien
- Violoncello
Maartje-Maria den Herder, Netherlands / Georg Dettweiler, Germany / Benoît Grenet, France / Inge Grevink, Netherlands / Maria Grün, Austria / Christian Hacker, Germany / Gabriel Hopfmüller, Austria / Katarzyna Horbowicz, Poland / Evgeniya Hristova, Bulgaria / Maria Pstrokonska-Nawratil, Poland / Laie Puig Torné, Spain / Jean-Baptiste Schwebel, France / Martin Sikur, Slovenia / Uli Wittalar, Germany
- Double Bass
Sándor Budai, Hungary / Albert Chudzik, Poland / Pierra-Emmanuel da Maîstre, France / Johanee Gonzalez Seijas, Venezuela / Apostol Kossev, Bulgaria / Roman Mosler, Poland / Stanislaw Pajak, Poland / Stefan Rauh, Germany / Christian Todorov, Germany / Tibor Tóth, Romania / Omry Weinberger, Israel / Emilio Yepes Martínez, Spain
- Flute / Flöte
Matthieu Gauci-Ancelin, France / Alvaro Octavio Diaz, Spain / Frauke Oesmann, Germany / Birgit Ramal, Austria / Thomas Saulet, Frence
- Oboe
Nicolas Cock-Vassiliou, France / Lucas Macías Navarro, Spain / Konrad Mika, Poland / Céline Moinet, France /
- Clarinet / Klarinette
Massimo di Trolio, Great Britain / Darío Marinio Varela, Spain / Marcos Pérez Miranda, Spain / Pavel Püspöky, Slovakia / Sandrine Vasseur, France
- Bassoon
Pieter Nuytten, Belgium / Guilhaume Santana, France / Matthias Schottstädt, Germany / Philipp Tutzer, Italy
- French Horn
Fabian Gabriel Borchers, Germany / José Vicente Castelló Vicedo, Spain / Gustavo Castro Barreiro, Spain / Christian Loferer, Germany
lonut Podgoreanu, Romania
- Trumpet
Thomas Hammerschmidt, Austria / Gábor Richter, Hungary / Christian Syperek, Germany / Herbert Zimmermann, Austria
- Trombone
Ruth Davies, Great Britain / Martin Lueger, Austria / Bernhard Stangl, Germany
- Tuba
Ramiro Tejero Morte, Spain
- Percussion
Jakob Weber Egholm, Denmark / Ines Fehr, Germany / Stephan Kostenbader, Germany / Ignacio Molins Bosch, Spain / Heikki Parviainen, Finland
- Harp
Manon Louis, France / Ekaterina Semion, Russia
10:21
Gustav Mahler: Symphony No. 1 ~ Funeral March
Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Sc...
published: 19 Sep 2011
Gustav Mahler: Symphony No. 1 ~ Funeral March
Gustav Mahler: Symphony No. 1 ~ Funeral March
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- published: 19 Sep 2011
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Gustav Mahler: Symphony No. 1 in D major ~ Movement III Feierlich Und Gemessen, Ohne Zu Schleppen
Mahler's inspiration for this movement was a children's woodcut (above) by the artist, Moritz von Schwind. The illustration depicts a torch-lit funeral procession of animals carrying a fallen huntsman.To describe this ironic and amusing scene, Mahler juxtaposes various musical themes in the movement to recreate the sense of irony the scene represents. The huntsman's funeral is firstly evoked by a minor mode version of the children's round 'Frère Jacques', then the oboes and trumpets offer a mock sentimental accompaniment in a Jewish Klezmer dance. A dreamlike melody from Mahler's 'Songs of a Wayfarer' is an interlude in the movement, and finally, the march returns back with a sudden rush of pace with the animals of the forest rushing the huntsman towards his grave. The irony of the movement? How unhappy are these animals with the huntsman's death?
Performed by Leonard Bernstein; Royal Concertgebouw Orchestra
1:41:41
Gustav Mahler - Symphony No. 3 (Lucerne Festival Orcherstra, Claudio Abbado)
Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne ...
published: 10 Feb 2015
Gustav Mahler - Symphony No. 3 (Lucerne Festival Orcherstra, Claudio Abbado)
Gustav Mahler - Symphony No. 3 (Lucerne Festival Orcherstra, Claudio Abbado)
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- published: 10 Feb 2015
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Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne Festival Orchestra
Women of the Arnold Schönberg Choir, Vienna
Tölz Boys Choir
Anna Larsson - contralto
Chapters:
0:00 PART I
0:50 I. Kräftig, Entschieden
33:55 PART II
34:10 II. Tempi di Menuetto. Sehr mäßig
43:26 III. Comodo. Scherzando. Ohne Hast
59:44 IV. Sehr langsam. Misterioso. Durchaus ppp "O Mensch! Gib Acht!"*
1:09:14 V. Lustig im Tempo und keck im Ausdruck "Es sungen drei Engel einen süßen Gesang"**
1:13:37 VI. Langsam. Ruhevoll. Empfunden
*Text by Nietzsche: Also sprach Zarathustra
**Text: Des Knaben Wunderhorn
***
"Blissful trust"
Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the head of his own Lucerne Festival Orchestra, the whole is more than just the sum of its parts thanks to a process that one is tempted to call magical. The present live recording of an acclaimed performance of Mahler's Third Symphony at Lucerne's Culture and Convention Centre on 19 August 2007 provides lasting proof of this and allows us to see that with Abbado ecstasy is never achieved at the expense of musical and rhetorical clarity: a powerful emotional charge is held in check by calm contemplation. Never for a moment does Abbado give undue emphasis to subjective mawkishness or an overtly theatrical sense of worldweariness: Abbado's Mahler is precisely calculated and at the same time intuitively felt.
The musicians of the Lucerne Festival Orchestra were meeting for the Orth time when they assembled in Lucerne in the summer of 2007. Among them were not only a number of distinguished soloists but also experienced principals from the world's foremost orchestras: the leaders were Kolja Blacher and Sebastian Breuninger, while the rank-and-file violin sec-tion behind them included players of the eminence of Mirijam Contzen and llya Gringolts. The cellos ware led by Jens Peter Maintz and Natalia Gutman sitting alongside Valentin Erben of the Alban Berg Quartett and Clemens Hagen, whose sister, Veronika, was a member of the viola section under Wolfram Christ and Diemut Poppen. The woodwind section in-cluded the flautist Jacques Zoon and the ciarinettist Sabine Meyer, while prominent among the brass was the trumpeter Reinhold Friedrich.
All the plavers are friendly with one another es weil as sharing a special affinity for chamber music, which famously makes the greatest demands in terms ofthe need to listen closely to one's colleagues. And it is here thatthis orchestra is unique, a uniqueness clear from the present performance. The large concert hell seerned literally to vibrate with psychic energy, and the intensity with which the musicians responded to even the tiniest fluctuations in the music reached the point where all the players seemed to surpass themselves. "The goal is clear and is shared by all the participants," wrote the critic ofthe Neue ZürcherZeitung; "it seems that in advancing towards this goal, the players achieve a high degree of individual responsibility, while the conductor encourages each and every one ofthem ... to realize his or her potential in orderto benefitthe collective— an example of successful leadership in a highly specialized context. As such, this is more or less the opposite of what people normally assume to be the job of a conductor. What we saw here was emphatically not self-promotion ata stroke butthe experience that something special arises only when people have space in which to develop."
Abbado first recorded Mahler's Third Symphony in 1980, following it up with a second recording in 1999, both of them demonstrating the conductor's particular affinity with the work. His unerring feel tor the narrative structures of this rich and varied score finds expression in an extraordinary sensitivity, aliowing hirn to respond with particular vividnessto a workthat deals with nothing lass than the origins ofthe universe. [...]
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Gustav Mahler
Gustav Mahler (7 July 1860 – 18 May 1911) was an Austrian late-Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky . Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Gustav_Mahler
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