Gustav Mahler
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Mahler: Symphony No. 5
$24.99SACDReference Recordings
May 01, 2026FR-763SACD -
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O weh!
Mahler: Symphony No. 5
Vienna - Joyful Apocalypse / Aurélien Pontier
A veritable musical metaphor for the suicide of Europe that was the Great War, both apotheosis and apocalypse. We also hear evocations of Schubert, Liszt, Mahler and Kreisler, all imbued with a kind of nostalgia that belongs only to this mythical city. - Aurélien Pontier
Dedicated to the last years of Imperial Vienna, which gave rise to an artistic effervescence unique in European history. The program opens with a piano transcription of Strauss's Die Fledermaus and ends with Ravel's La Valse.
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MAHLER: THE COMPLETE WORKS - 150TH ANNIVERSARY BOX
SYMPHONY NO 2 IN C MINOR RESURRECTION
SYMPHONY NO 5
MAHLER: THE SYMPHONIES
SYMPHONY NO 2 RESURRECTION
MAHLER: SYMPHONY NO. 8 "OF A THOUSAND"
DAS LIED VON DER ERDE / 3 RUCKERT LIEDER
Mahler: Symphony No. 1 in D Major "Titan" & Lieder eines fah
Mahler, G.: Symphony No. 2, "Resurrection"
Mahler, G.: Symphony No. 3
Mahler: Symphony No. 9
Mahler: Symphony No. 5 in C-Sharp Minor
Mahler: Symphony No. 2 in C Minor "Resurrection"
Mahler: Symphony No. 9 In D Major
Mahler: Symphony No. 6 / Järvi, RSNO
Mahler: Symphony No. 5
A. Mahler: Complete Songs / Paasikivi, Panula, Tampere Philharmonic
REVIEW:
It's the marvelous singing of Lilli Paasikivi, with her intelligence, penetrating insight, and richly rounded tone that fully captures the spirit of these works and makes them little gems that no Lieder enthusiast can afford to overlook. Ondine's warmly resonant, naturally balanced recording makes this important disc even more welcome. It's a "must-have".
It's not long into this disc before it becomes evident that Alma Mahler was a very different composer from her famous husband Gustav. Alma studied with Zemlinsky, whose influence (along with that of Hugo Wolf) shows most readily in her work--yet this is Alma's music through and through. Even before Mahler forbade her from composing once they were married, Alma displayed a distinctive voice, one steeped in 19th-century Romanticism (her father often sang Schumann lieder) as well as the musical currents of the new century. The first set of Five Songs comes from this early period, and right from the opening "Die stille Stadt" Alma's skill at word setting captivates, as does her ability to recreate in music each poem's unique emotional state. Of the five, "Bei dir ist es traut", with its recurring falling major second, is the only one that sounds remotely close to her husband's style.
After Gustav's death Alma again took up composition, and the following Four Songs reveal a new richness and poignancy in her writing as well as an expanded harmonic palette. "Licht in der Nacht"'s haunting atmosphere lingers after the song has ended, while "Anstrum"'s tonal waywardness displays Alma's awareness of modern musical developments. Alma's last set of Five Songs, published in 1924, is based on spiritual texts, emphasizing both their reverential (Hymne) and mystical (Hymne an die Nacht) themes.
The program concludes with two unpublished songs, "Leise Weht ein erstes Bluhn" and "Kennst du meine Nachte", both composed in a cultivated Romantic style that would indicate their belonging to Alma's earlier period. The impact of the music is no doubt enhanced by Jorma Panula's idiomatic and imaginative orchestrations, beautifully rendered by the Tampere Philharmonic.
--Victor Carr Jr, ClassicsToday.com
