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Mahler : Symphonie n° 4 Super Audio CD
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Description du produit
Description du produit
Conductor Iván Fischer, a nominee for the 2008 Classic FM Gramophone Award for Artist of the Year, co-founder and Music Director of the Budapest Festival Orchestra, has been responsible for creating a vibrant orchestra with an enviable international touring profile which appears at all the major venues and festivals of the world. As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, every year he leads two weeks of programs with the Royal Concert-Gebouw Orchestra. Besides his contract with the NSO of Washington, he works regularly with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.
The sleeve-notes for Ivan Fischer's new recording of Mahler's Fourth contain a statement by Fischer that initially makes one's heart sink. Culminating in a 'lovely vision of paradise', the symphony, Fischer argues, shows Mahler taking us 'to his own inner child, to his dreams of angels, fairytales, angst and pure divine love'. Concerns that we're in for an hour of unremitting sentimentality are mercifully unfounded. Childhood, in Mahler, is viewed as both an idealised lost Eden and a place of primal trauma - and Fischer is as interested in the abysses that threaten to open round this music as he is in its surface calm. The combination of naive excitement and indefinable menace is strikingly sustained throughout, while the final vision of paradise, coolly voiced by Miah Persson, is at once funny, savage and unbearably sad. Fischer's insistence that the symphony should be treated as chamber music means this won't appeal to those who like a high-decibel count in Mahler, but the Budapest Festival Orchestra's playing is exceptional in its dark-hued subtlety. It's a provocative, iconoclastic performance, and highly recommended. Tim Ashley - Friday 13 March 09 Tim Ashley --The Guardian - 5 out of 5 starsVoir l'ensemble des Description du produit
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Finally I found the Mahler Fourth of my dreams. With all due respect to others who have had their say on this interpretation, I find nothing emotionally lightweight about it at all. The first movement reminds me of the powdered candy I used to pour from a long paper tube onto my tongue: it seemed intensely sweet at first blush but left the most surprisingly bitter aftertaste. I don't know where that wonderful aftertaste comes from but I think the sound of the orchestra has something to do with it. There's always a special treat to hearing Mahler played by an Eastern European ensemble, with its tart winds, and the Budapest Festival Orchestra here offer a wonderful anodyne to what I hear as the corporate blandness of so many better-known Symphonies and Philharmonics. My ear was constantly arrested by orchestral colors and turns of phrase that seemed different but intuitively "right." Yes, the expression "like hearing the work anew" is in serious need of retirement but I'm going to trot it out one more time because it applies so well here.
I've never heard the scherzo done better. The solo violin sounds more diabolical than in any other version I know and the phrasing is wonderfully pointed. In contrast, the trios, in which Fischer achieves a sense of aching nostalgia, are meltingly beautiful.
If the glockenspiel had been given just a little more presence in its one fast variation in the third movement, Fischer's interpretation would have been, for me, perfect. As it is, it's as near to perfection as I ever hope to find. The opening cello melody and its variations are beautifully inward and profoundly moving and the oboe-led second thematic group leaves a lump in my throat. From there the movement builds effortlessly and inevitably, yet the "Gates of Heaven" episode sounds like the most glorious surprise (the slight acceleration leading into the E major chord is magnificent). Fischer sees this as the real climax of the symphony, playing it as the climax of the first movement magnified, as it were, and in this way he ties together the two "slow-ish" movements (with the scherzo between them), making a proper introduction to the finale.
For three decades I've found the finale the dead spot in this symphony. Not that the movement isn't beautiful, per se, but that it seems a sad anticlimax, especially after the adagio. By not overplaying the third movement ("beautifully inward" and "profoundly moving" do not mean "milked") and taking this finale at a blithe amble, Fischer alone makes it seem an inevitable and perfectly fitting conclusion, and Miah Persson's voice, shorn of any sense of artifice or souped-up "sophistication" is just ideal.
Did I happen to mention that this performance is more rich in portamento than any I know?
This won't be a Mahler Fourth to all tastes, any more than any other is or ever will be, but it's nice to be reminded, every now and again, that some things are worth waiting for.
Bernstein with NY is great but maybe too cute.
Bernstein with Amsterdam is REALLY SAD. Don't think I mean bad! Or even dreary. Sad.
Levi sounds wonderful, but doesn't have a point of view.. or something. Sterile?
Abravenel is really sweet, and worth listening to. Childlike but just this side of cloying. . yay.
Chailly, um, It's great. I forgot how at the moment, but I will update this review soon!
Zinman... Ok, I'm not prepared for a review, lol. Not as good as this one ..
But this is great. Killer recording, great sense of space around instruments, freshness and lightness, a childlike quality but presented maturely. What did I just say? That sounds ridiculous... But see if you don't agree.
I have been known to get bogged down when I listen to this piece. I lose the thread. That never happens with other Mahler...
And it didn't happen with This wonderful recording.
I have the Fischer Mahler 9 and it is great in its way, but my least favorite 9 to listen to. It is not GRAND. If you have heard it, and feel a similar way, don't let it keep you from buying this. I smiled right from the beginning, and I didn't find myself wondering if Mahler put in some intense subtext I wasn't smart enough to get... As I sometimes do. I became really certain he didn't. The sleigh bells are much quieter. It's better.