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Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD] Super Audio CD

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Détails sur le produit

  • Interprète: The Philadelphia Orchestra
  • Chef d'orchestre: C. Eschenbach
  • Compositeur: Mahler
  • CD (8 septembre 2006)
  • : Requires SACD-compatible hardware
  • Nombre de disques: 1
  • Format : Super Audio CD
  • Label: Ondine
  • ASIN : B000HRMEM8
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 391.872 en Musique (Voir les 100 premiers en Musique)
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Commentaires client les plus utiles sur (beta) 4.5 étoiles sur 5 11 commentaires
38 internautes sur 43 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Wow! 21 novembre 2006
Par Amazon Customer - Publié sur
Format: CD
I would never conduct Mahler six the way Eschenbach does here. Yet, I too am totally won over by this recording. Perhaps the lion's share of the credit has to go to Philly. When Eschenbach deviates from the score - or my ideas of how the piece should go - he does so in a most unarming and convincing manner. Let me put this another way: Michael Tilson Thomas also finds new and unusual places to suddenly slow down, or do a big piece of rubato (the Alma theme). Yet, MTT's decisions strike me as being mostly thoughtless and annoying. With Eschenbach, I find myself saying, "oh, that's different, but it works". I also think that Philly is darn near ideal for this piece; more "Slavic" sounding than "Austro-Germanic". That means hefty low strings; strong low brass; solid percussion; piercing trumpets; uniformly dark sounding horns; piercing clarinets; loud bassoons, etc. And then there's that incredible violin section, which - to my ears, anyway - seems to have lost little since with their salad days with Eugene Ormandy.

As far as I'm concerned, Gramophone magazine can keep the Abbado/Berlin Mahler 6. Berlin is like an overgrown chamber orchestra with a great violin section. Philly is like a big, fat symphony orchestra with a great violin section. Choose your weapon wisely - consider the piece. Also, to be fair, the sonics are simply better here.
24 internautes sur 28 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great Mahler from a surprise orchestra 13 octobre 2006
Par P. Weber - Publié sur
Format: CD Achat vérifié
This is an absolutely stunning Mahler 6. Quite simply: great sound, great playing and a winning interpretation by a conductor who understands Mahler. This certainly beats recent accounts by Thomas and Abaddo. All four movements have ideal tempos, though Eschenbach is very flexible and knows where to let it breath. Although the andante is liesurely in tempo it is incredibly moving and never drags. The hammer blows in IV are like a bomb blast. Too often we have to settle for poor sound or a dull interpretation, but here we have a great American orchestra and a top recording team. Don't miss it!
11 internautes sur 12 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 intense and wonderfully played 4 février 2008
Par Kostas A. Lavdas - Publié sur
Format: CD
Another disc in Ondine's refreshing series with the Philadelphia Orchestra under Christoph Eschenbach. Mahler's Sixth, possibly because of its classicism in comparison to most of her sisters, lends herself to readings that would otherwise appear un-Mahlerian. Among US orchestras it is the Cleveland Orchestra that has given us two superb examples that, in spite of their differences, can be considered as falling within this broad `classicist/structural' approach. Cleveland did a very fine job first with Georg Szell (CBS) and, later, with Christoph von Dohnanyi (Decca).

The new recording by Philadelphia /Eschenbach takes a different route. It is certainly neither structural nor austere in its approach. It might be better compared with more impulsive performances, being a journey of discovery rather than a structural rendering. In the first movement, after some passages of great intensity, Eschenbach tends to over-sentimentalize the so-called Alma theme. The Andante gets an intimate and wonderfully played reading. The Finale is, I think, one of the most convincing on record. Still, in the Finale's opening bars one misses the tremendous aesthetic effect achieved by the Berlin Philharmonic in Karajan's recording (DG). All said, Eschenbach's is a reading that might appeal to most contemporary Mahler audiences.
6 internautes sur 7 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Very good playing, but Eschenbach's interpretation is ordinary 17 mai 2010
Par Santa Fe Listener - Publié sur
Format: CD
The Philadelphia Orch. hasn't exactly been under a lucky star recently. Between financial troubles, the forced exit of Eschenbach, and acoustic jiggery with their new Verizon Hall, the orchestra suffers from low morale and erratic management. I am firmly on the side of seeing Eschenbach go, having heard the bad results he was achieving after an initial honeymoon. But this Mahler Sixth dates from around the time of the honeymoon. Signing with a small foreign record label is quite a comedown for the once mighty Philadelphians under Stokowski, Ormandy, and even Muti. But everyone put the best face on it, and as can be heard here, the musicians give the performance their all. (I believe Ondine has since backed off, and the orchestra has moved on to an in-house label devoted to MP3s of live concerts. Strangely, it features a lot of Eschenbach.)

Eschenbach falls firmly into the solid second rank of conductors, and although he is adept at Mahler, not a single thing happens here that is very distinctive, much less eye-opening. The mood is even throughout, the execution first-rate, the ideas non-existent. At times, as in the opening of the Scherzo, he drags the tempo and loses tension. The first movement's emotional extremes are evened out, much as Mariss Jansons did in his two recordings. But we live in a world where reviewers hype anything and everything, so this quite ordinary performance hasn't lacked for extravagant admiration. At Amazon the five-star brigade forms a solid phalanx.

Reading reviews is always a game of "who do you trust?" I can't induce anyone to trust me over the five-star generals, but when one of them claims that the Philadelphians play the ravishing Andante more beautifully than any of eleven rivals, including the Berlin Phil. under Karajan, my response is skeptical. I hear quite the opposite, but then, who do you trust? In this case, Eschenbach's lack of intensity in the Andante blots out beauty of tone. He ambles aimlessly through the opening of the finale, too. I was continually reminded that good enough isn't good enough in the Mahler Sixth. This is a daunting work, and only the greatest conductors plumb it to the depths. Eschenbach isn't at that level.
8 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Thrilling Ride Through the Intricacies of Mahler's 6th 22 janvier 2007
Par Grady Harp - Publié sur
Format: CD
Christoph Eschenbach is a master at clarifying lines some conductors find confusing in the big complex symphonies, so it is no wonder that he is able to present us with a performance of Mahler's very personal Symphony No. 6 that stands with the most solid and yet transparent. And despite recent grumblings about the Philadelphia Orchestra's regard under his direction, this recording is one of the very finest of this symphony. Eschenbach's decisions about the order of the movements (staying with the original Mahler idea of placing the Scherzo as the second movement instead of the alternative - Mahler induced - placement of the Andante as the second movement, the latter being a preference by this listener) are sound when the entire symphony is heard.

The amazing aspect of this recording is the return of the lush strings sound so long associated with the 'Philadelphia sound' and Eschenbach makes fine use of this mellow burnished tone to set off the many introductions of extraneous instruments such as the cowbells etc. The overall approach to the symphony sounds more in favor of the raw climaxes than the contemplative moments, but in the grand sweep of the work this just makes sense.

As an added bonus on this 2 CD set is the Piano Quartet Movement In A Minor which though a student work of Mahler's it none the less displays his penchant for folk lines and extended development of themes that were to mark his work in coming years. Eschenbach and members of the Orchestra give a fine performance of the work. The only problem with its inclusion is the placement after the last movement of the symphony, a time when the emotions are big, making the Quartet seem less powerful. But that is a personal view and for this listener it is, in the end, a welcome addition to the Mahler library. Grady Harp, January 07
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