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Mahler - Symphonie n° 2

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Détails sur le produit

  • CD (2 mars 2004)
  • Nombre de disques: 1
  • Label: BBC Legends
  • ASIN : B00018D59O
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
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Liste des titres

Disque : 1

  1. I. Allegro Maestoso
  2. II. Andante Moderato
  3. III. (Scherzo) In Ruhig Fliessender Bewegung - Attacca:
  4. IV. 'Urlicht'. Sehr Feierlich, Aber Schlicht - Attacca:
  5. V. Im Tempo Des Scherzo. Wild Herausfahrend
  6. 'Aufersteh'n, Ja Aufersteh'n Wirst Du'
  7. 'O Glaube, Mein Herz, O Galube'

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Par Antoine Martin TOP 500 COMMENTATEURS le 5 septembre 2015
Achat vérifié
Londres, Royal Albert Hall , promenade concert de juillet 1963 , première interprétation de l'œuvre dans le cadre des Henry Wood concerts .
Un Stokowski tout feu tout flamme, faisant lui aussi ses débuts dans cette célèbre série de concerts .
Flamboyante du LSO et quelle attaque des cordes dès les premières secondes de la symphonie qui n'était pas encore très souvent jouée au début des années 60. Primitivement le programme comprenait la 8eme , modification pour des raisons financières !
Stokowski devait l'enregistrer pour RCA en 1974 alors qu'il était âgé de 92 ans !
Il n'avait pas dirigé cette symphonie depuis 1921 à Philadelphie.
Quelques problèmes : l'orchestre de scène trop bruyant mais enregistrement live avec mise au point sans doute difficile ; surtout un final décevant, succession de moments plus ou moins inspirés sans l'unité formelle amenant à la magnifique péroraison finale .
Janet Baker (30 ans en 1963) un peu extérieure elle aussi montre déjà son affinité pour le monde de Mahler .
Concert fascinant comme souvent chez BBC Legends .
Quelques mois avant ( 1961 et 1962 ) le vieil Otto Klemperer nous offrait sa vision marmoréenne avec les voisins du Philharmonia. Y-a-t-il une vérité ?
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Commentaires client les plus utiles sur (beta) HASH(0xa1f15f24) étoiles sur 5 9 commentaires
25 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0xa1d823d8) étoiles sur 5 Overwhelming Mahler Experience 9 mars 2004
Par William Dodd - Publié sur
It's mono, the audience is intrusive, the recorded balance of the instruments leaves something to be desired. That said, this Proms Concert BBD Legends recording of Mahler's Symphony #2 left me speechless. I have Klemperer. I have Bruno Walter. I have the new Testament CD with Barbirolli. I've heard many others. I'm not even a Stokowski fan. But no performance of this music has moved me more than this. It's simply amazing.

ADDED, TEN YEARS LATER: It had been a while since I had heard this recording, but I decided to put it on this morning. Once again, this performance simply blows me away. I've added MANY other Resurrection Symphonies to my collection. Heaven knows this one does not measure up to recent recordings in terms of audio quality, but it is far superior to most historic recordings taken from radio broadcasts. Stokowski recorded this later for RCA--one of his last studio recordings, but the result is anemic next to this one. I see that this disc is available used for a moderate price, so I would urge anyone with the slightest interest to simply GO FOR IT! Get it while you can. The worst that can happen is you've wasted the price of lunch at Burger King. Still recommended highly!
13 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0xa1db6eb8) étoiles sur 5 Another great reissue of Stokowski's great performance. 1 avril 2005
Par Wei Hsien Li - Publié sur
Achat vérifié
As a fan of both Mahler and Stokowski, I would never say Stokowski is a Mahlerian conductor. But surprisingly, every Mahler made by Stokowski is wonderful. As for Symphony no.2, the RCA one has high -standard recording and vivid interpretation. You won't bother to pick out some minor techical pitfall of orchestra since the performance itself is so touching and the recording is awesome. The live reocrding here I listen the old M&A issue for the first time. I would never forget how much I was touched. This live not only overwhelmed Stokowski's own RCA one, but also those Mahlerian conductors like Walter, Klemperer, and Scherchen.. It is so convincing that makes you believe Mahler no.2 should be like this.(How interesting the feeling comes out from the recording from the "strange" Stokowski). The only pitfall here is the recording, but relatively speaking, it is a good mono recording. Even if you are those audiophile who only wants to listen Hi-fi Mahler, I still urge that you must listen to this performance as long as you love Mahler.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0xa1db9b34) étoiles sur 5 Vintage Stokowski 22 octobre 2011
Par Ralph Moore - Publié sur
First, two caveats: this "Resurrection Symphony" is mono and the Proms audience for this performance appears to include refugees from a local TB ward; the worst of their wholly unguarded, phlegmy hacking is nearly always judiciously timed to erupt in the quietest most reflective passages. Secondly, it is in mono sound. It is not really possible, as some commentators have optimistically suggested, to mistake it for early stereo, but it nonetheless mostly remains spacious enough to do the music justice and has benefited from 20 bit digital re-mastering which has removed any fuzziness and clarified detail without creating edginess. There is a sense of the vast space which is the Albert Hall; reverberance without too much reverberation.

Having got those drawbacks out of the way, I am left with nothing to do but rapturise over this 1963 performance. Already in his early eighties at the time, Stokie's only concession to age was to press even harder seemingly to prove that there was no way he was slowing down. The ferocity with which he attacks that opening stringendo figure in the Allegro maestoso is startling. The pacing of the second and third movements is just perfect; no lingering but plenty of cunning shaping of phrases with recourse to generous and fluid rubato which never sounds applied or self-conscious. The last movement, especially when the trumpets blare tipsily, is just occasionally more suggestive of the circus than post-Apocalyptic events but the grandeur of the climactic resurrection theme intoned by brass and chorus is inevitably over-whelming. The addition of a crescendo for the tam-tam is a typical Stokie indulgence but forgivable. Some have patronisingly detected "promise" in the young Janet Baker's "Urlicht"; to me she is already a fully-formed and deeply moving artist of extraordinary vocal richness and nuance. Soprano Rae Woodland - a late replacement for Elizabeth Harwood - is touching and more than adequate. There is the occasional blurt and blip from the woodwind, such as a squawk from the oboe early in the first movement but in general the confidence and virtuosity of the LSO are phenomenal.
7 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0xa1dc50b4) étoiles sur 5 This live peformance got better and better 23 août 2005
Par Klingsor Tristan - Publié sur
I remember this Prom concert well. It was only the second performance of a Mahler symphony I had ever heard (they were pretty few and far between in those days). And it blew my socks off. I've been a convert to the music ever since.

With Stoki there is always the uneasy balance between the showman or the vulgarian and the supreme moulder of orchestral sounds and the profound musical thinker. Both were on display that evening. Having brought the performance to a towering and overwhelming conclusion, he then encored the final pages. I know we all reacted as you would expect and shouted for more. I know he was eager to proselytise on behalf of a composer he loved and championed at a time when his reputation was only just beginning to pick up. But, two last judgements in an evening - really!

Nevertheless, listening to this performance now with the experience of many other conductors in this symphony since, it is still a stunning interpretation. The performance is a little slow to get off the ground. The first movement is good but not electrifying. But as the symphony progresses, the performance just gets better and better. The second movement manages to retain a lightness and rhythmic lift despite the cavernous Albert Hall acoustic. The Scherzo is Wunderhorn magical - listen to the way the trumpets soar in the first trio. A young Janet Baker brings a wonderful freshness to Urlicht and for the last movement, with its brass summonses, its marches of the dead, its lonely bird trilling its replies to a distant last trump and its monumental Resurrection peroration, Stoki is - as you would expect - in his element. This is not the most 'symphonic' reading of the last movement: one is aware of different sections butting up against each other rather than being integrated into a greater whole (cf. Rattle on EMI). But Stokowski gives each section its due weight, he balances tempi with rare judgement and produces predictably glorious sounds from his BBC forces.

It has to be said that we were a rather asthmatic audience for a high summer Prom. And this was the unrestructured Albert Hall, before the flying saucers appeared. However the BBC engineers managed it well and while it remains a big resonant space, they spare us the second echo performance one usually got in the Hall in those days.

Whoever chooses the tapes for this BBC legends series does so, for the most part, with great judgement. This was in the flesh and is on disc a memorable performance. Stokowski had championed Mahler's work long before it became fashionable. This performance was a major stepping-stone in the rehabilitation of the composer's work in the UK. It certainly set me on the road to exploring all his works when that wasn't very easy - either in the concert hall or on record. And it's a performance that rewards hearing again after all these years.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0xa1db98d0) étoiles sur 5 A legendary prom concert 5 juin 2007
Par L. Johan - Publié sur
Achat vérifié
Leopold Stokowski is a conductor that divides opinions. Some consider his work to be "definitive" while others mainly take notice of Stoki's habit to rewrite details in the scores, making his own additions and "corrections" to the music.

The present recording is an example of all this. First of all, it is a legendary 1963 prom concert where the 81 year old noble Stoki charmed the bronchitis-British audience (yes, they cough almost as much and as loudly as they always did in the sixties during concerts). And it is indeed a brilliant live performance: vivid, exciting and very dramatic. It is almost as memorable as Klemperer's 1965 Munich live (EMI), another great live performance. Bernstein's 1987 moving New York live (DG) is another reference that comes to mind. Stoki fanaticism is thus understandable and somewhat excusable, from a Mahlerite point of view.

Second, there is at least one and a half Stoki "correction". The one and very noticeable is a tam-tam crescendo at the very end of the finale. The half is that Stoki applies Mahler's ad libitum direction on the "O Schmerz du Alldurchdringer", also in the finale. Thus the mezzo soloist is backed up by the choral altos for eight bars, underscoring this (usually) sublime section. Even if Mahler's score justifies this change, it appears to be a typical Stoki gesture in the present context. But one should notice that Klemperer also applies this ad libitum direction in his 1965 performance.

Soloists are good, Janet Baker in particular (who also sings for Klemperer 1965), and the orchestra is apparently inspired by the grand old man's authority.

Sound is in mono but with presence and detail, even if slightly too bassy.

Now the catalogue of Mahler seconds is not short of items. There are many alternatives, if you look for the best possible recording. Klemperer's 1963 studio recording (EMI) is a solid classic in very fine stereo sound, and his 1965 Munich performance (EMI) is equally good. Walter's 1961 studio (SONY) is also essential, even if the stereo sound is less convincing. Metha's 1975 Vienna performance (Decca) and Bernstein's 1987 New York performance (DG) are two other fine recordings. Finally, there is also a stereo studio Mahler second with the 92 year old Stoki on RCA (see my review), but it is currently not available in fresh copies at a reasonable price (try to find it used).

In sum, all Mahlerites must have this CD. It's a valuable addition to your collection. Budget minded collectors can either pick this recording, if you accept (decent) mono sound and British coughs, or grab any of the above.
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