内容紹介
At the centre of his great orchestral works the FIFTH SYMPHONY marks Mahler's return to a purely orchestral concept. And yet the voice seems implicitly present in a movement like the famous ADAGIETTO, made familiar throughout the world by Viscontis film Death in Venice. It is a work that measures up to the stature of Hermann Scherchen, one of the legendary conductors of the 20th century.
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Although in a letter to his wife Mahler expressed doubts about what the public would make of his Fifth Symphony, it has become one of his most popular works. As always, he kept revising it for several years; the final version, heard here, was not published until 1964. Cast in five movements, it opens with a heavy, achingly mournful Funeral March, heralded by a recurring trumpet signal. The next movement, though thematically related, is its opposite: fast, "stormy," grotesque, calling for "utmost vehemence." The Symphony's center of gravity is the third and longest movement, an unusually weighty Scherzo. Driving and rambunctious, with a tenderly lyrical Trio, it stomps, dances and swings. In complete contrast to the preceding violence and massive orchestration, the famous Adagietto is the Symphony's shortest but most profoundly affecting movement. Scored only for strings and harp, it feels like an oasis of sonic and emotional calm. The Finale brings another surprise: humorous, gracious, playful, it recalls previously heard material (as well as some of Mahler's songs) and ends in a burst of laughter. Recorded live, this performance has great vitality, freedom, and color - even the enharmonic shifts are enhanced by making the flat keys dark and the sharp keys bright. However, it suffers from a few excesses: the tempo changes are good but too frequent and there is a lot of push-and-pull. The pianissimos are barely audible, the fortissimos ear-splitting; the texture gets muddy in the loud sections. The Adagietto is inordinately slow and falls apart with big ritards and long pauses. However, the playing is exciting and expressive, and the soloists are wonderful. --Edith Eisler
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