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Originals:Sym.No.3 in D M

Mahler, G. (アーティスト) 形式: CD

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CD, CD, リミックス含む, 2014/10/14

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曲目リスト

1	Krftig. Entschieden
2	Sehr Langsam. Misterioso: "O Mensch! Gib Acht!" 'O Mensch! Gib Acht'
3	Pi Mosso Subito
4	Langsam. Schwer
5	Tempo I
6	Lustig Im Tempo Und Keck Im Ausdruck: "Bimm Bamm. Es Sungen Drei Engel"
7	Langsam. Ruhevoll. Empfunden
8	A Tempo
9	Nicht Mehr So Breit
10	Immer Dasselbe Tempo. (Marsch.) Nicht Eilen
11	Tempo I. Ruhevoll
12	Im Alten Marschtempo (Allegro Moderato)
13	Tempo I
14	A Tempo (Etwas Bewegter)
15	Tempo I
16	Tempo Di Minuetto. Sehr Mig
17	Langsam. Tempo I
18	A Tempo. (Wie Im Anfang)
19	Ganz Ploetzlich Gemaechlich. Tempo Di Menuetto
20	Comodo. Scherzando. Ohne Hast
21	Wieder Sehr Gemaechlich, Wie Zu Anfang
22	Sehr Gemchlich (Posthorn)
23	Tempo I
24	Wieder Sehr Gemaechlich, Beinahe Langsam

商品の説明

20th Anniversary Legendary Recordings from the Deutsche Grammophone Catalog 'Originals Series' reissue. This reissue series originally began in 1995. The label explored their huge archives for treasures from every phase of the vinyl LP era, many long unavailable or never before released on CD, representing all the company's major artists and most of it's landmark recordings from 1949 to 1986, one of the richest periods in the medium's entire history. DG used a proprietary "Original-Image Bit-Processing" mastering process for this series.

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メーカーにより製造中止になりました ‏ : ‎ はい
製品サイズ ‏ : ‎ 14.4 x 12.9 x 0.99 cm; 113.97 g
メーカー ‏ : ‎ Deutsche Grammophon
EAN ‏ : ‎ 0028947937692
商品モデル番号 ‏ : ‎ 4793769
オリジナル盤発売日 ‏ : ‎ 2014
レーベル ‏ : ‎ Deutsche Grammophon
ASIN ‏ : ‎ B00LWIKB3K
原産国 ‏ : ‎ アメリカ合衆国
ディスク枚数 ‏ : ‎ 1

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Marjolaine

Symphonie n°3 en ré mineur de Malher

2024年2月16日にフランスでレビュー済み

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Très belle interprétation de cette symphonie. Abbado est un Maître absolu.

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Schnüffel

Das ist Mahler!

2023年1月16日にドイツでレビュー済み

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Ich besitze zahlreiche Aufnahmen von Mahlers 3. Symphonie; diese hier gehört - wie schon andere Rezensenten zu Recht betont haben - zu den besten Einspielungen dieses Werkes. Die Aufnahme stammt aus dem Jahr 1980 und damit aus der Anfangszeit der digitalen Tonaufzeichnung. Der Klang ist ungeachtet dessen über eine Hifi-Anlage mit guten Lautsprechern aber sehr gut. Interpretatorisch ist die Symphonie typisch für den jüngeren Abbado. Abbado hat bei der Deutschen Grammophon Gesellschaft bis etwa Mitte der 1990er-Jahre eine Vielzahl an hervorragenden Aufnahmen produziert. Sein Stil in dieser Zeit gefällt mir deutlich besser als seine Dirigate in der Zeit danach, in der er durchweg den früher klangschönen - eher breit angelegten - Orchesterklang aufgeben und für mein Empfinden zu sehr auf ein differenziertes Klangbild und eine historisch korrekte (?) bzw. informierte Aufführungspraxis Wert gelegt hat. Der Wandel der klangästhetischen Vorstellungen von Abbado mag bei Mahler zwar weniger zu Tage treten als etwa bei Mozart und Beethoven. Aber die hiesige Aufnahme der 3. Symphonie von Gustav Mahler mit den Wiener Philharmonikern wirkt im Vergleich zu der späteren Einspielung mit den Berliner Philharmoniker harmonischer und auch von den Tempi her, insbesondere im letzten Satz ("Langsam, ruhevoll, empfunden"), viel angemessener. Hier wird die Musik tatsächlich tief empfunden. Gerade im letzten Satz dieser Symphonie sollte das Tempo deutlich zurückgenommen sein. Dies ist hier der Fall. Geringfügig schöner gespielt erscheint mir diesbezüglich allenfalls die Aufnahme mit Bernstein und den New Yorker Philharmonikern aus den 1980er-Jahren (ebenfalls bei Deutsche Grammophon); sehr gut auch die Aufnahme mit Haitink und den Berliner Philharmonikern (Philips 1990). Mahler muss - um einem stereotypen Einwand vorzugreifen- nicht durchweg "kantig", "wild" oder "zerrissen" gespielt werden. Es gibt - gerade in der 3. Symphonie - zahlreiche Passagen, die auch "gefühlvoll" und "sehr zart" angelegt sind. Um diese Klangschönheit wiederzugeben, bedarf es nicht nur eines hervorragenden Orchesters, sondern auch des Talents eines Dirigenten, der zudem gewillt sein muss, den Schönklang auszukosten. All dies ist Abbado in der vorliegenden Aufnahme gelungen. Für mich ist die Doppel-CD mit Blick auf die heutige "Klassikwelt" ein Nachklang früherer, besserer Zeiten, die ich mehr und mehr schmerzlich vermisse.

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A. David Wunsch

great mahler

2019年5月21日にアメリカ合衆国でレビュー済み

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good performance

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STEWART CROWE

" The Quiet Man of Music" delivers a lyrical, lucid, elegant performance in SUPERB re-mastered sound !

2016年3月4日に英国でレビュー済み

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My decision to purchase this reissue was prompted by the excellent review-as ever-by Ralph Moore. It drew to my attention that I did not have the latest re-mastered version on DG Originals, the first remastering of what was always an excellent recording.

I have owned –and enjoyed-it in all its incarnations-LP, First CD Release, the version included in the Abbado Mahler Box Set issued by DG in the 90s (it was cheaper to buy that than complete the set with separate releases!), and now in this latest format.
The merits of the performance are described by Ralph and others in fine reviews, but I have a few thoughts to add.

Abbado as a Conductor has always struck me as “The Quiet Man of Music.” His rehearsals with orchestras and singers were invariably “sotto voce”-and relatively brief, and his most common demand was “Listen to each other.”
This approach was used against him for example by the LSO, whose back row members complained that they could not hear him (they were most likely drunk!) and while his gentle, amiable collaborative style worked well in some ways, resultant performances especially in his later years were for my taste too often “ soft grained”-lacking a core, beautiful always but somewhat anonymous.

His work with the VPO-an orchestra that does not need “ building”-was in my view some of his very best, and I count his Vienna Music Directorship as far more successful than his Berlin stint.
The new re-mastering in some ways emphasises my point. The dynamic range has been widened, with quiet passages veering near to the inaudible, and climaxes coming near to distortion!
Recorded in 1980 under Rainer Brock as Producer and Karl-August Naedler as Engineer, this
early digital confounded the hard –edged brilliance of most early DG Digital CD transfers by having THE most spacious acoustic achieved-I’m tempted to say EVER -in the Musikverein.

The resonance and sense of air about the orchestra is redolent of a church acoustic, and one only has to compare the drier, weightier sound of Maazel in this work with the VPO only 4 years later to wonder how this was achieved!

One reason COULD be that it has emerged on a “now it can be told” basis that early Digital Recordings were in fact a retrograde step in flexibility terms.
The early consoles permitted 2 track recording only-no 24 track mix-downs into stereo-and patching was not technically possible either. Passages had to be recorded “whole” and joined up warts and all!
I suspect that the placement of the microphones to accommodate this resulted in the spacious stereo acoustic, which is a joy in itself.
It allows us to hear Abbado’s gentle approach, his attention to detail –and compared to some accounts, less striving for less bombast and grandeur than some accounts, especially in the opening monumental first movement!

This first movement is a compete work in itself, and had Mahler extracted it as a Symphonic Poem in its own right (The Song of Summer Awakening?) I suspect it would be performed as often as the great Strauss Tone Poems are!
If in Abbado’s approach it lacks a little of the weight that can be achieved, it is noble and overall exquisitely beautiful.
He judges the thrust very well and from the truly grand opening peroration quoting Brahms First Symphony (itself quoting Beethoven’s 9th!) Abbado has a great control of the architecture, and of course the orchestra led by the late Gerhard Hetzel plays like angels, though the extra detail exposed in this new mastering does include some horn “cracks.”
If you like the dominance of the timps and bass drum in this movement then you will be disappointed-the resonant acoustic and the balance keep them subdued and integrated into the overall sound picture-present certainly, but supportive not dominant.
This is very “well mannered” Mahler, an approach that does not work for me at all in Abbado’s Mahler 9th, but is magical in its effect in this performance.

The Second Part finds Abbado in “Mendelssohn Mode” in the second movement, and it is perhaps in the 3rd that he reaches his peak in this performance.

The distant Post Horn-and it IS a Post Horn in this performance, not the usual substituted Flugel Horn- is nostalgic and meltingly beautiful in its duet with Roland Berger’s French horn.
Only Maazel also with the VPO extracts more beauty in this passage-though Boulez runs a close third.
The rumbustiousness of the Wedding Party resumes and Abbado generates immense power from the orchestra at the great outburst which quotes from Liszt’s Transcendental Studies.

Jessye Norman contributes a liquid gold vocal contribution in her 2 movements, perhaps a little “knowing” for the text, but the vocal beauty is undeniable.
No-one has yet surpassed the beauty of Jadwiga Rappė for Rögner in his superb Berlin Classics account, and Abbado does not let the oboe “slide” in the 4th movement-those good manners again- but the Vienna Boys Choir are a luxury with the Staatsoper Chorus in the 5th.

The Finale is very well paced, and is a gentler, nobler account than some, but builds up to a strong climax. The sheer weight and richness of the string tone means that Abbado simply has to steer a sensible course.

Much has been written about the lack of timps in the final bars! There is an explanation!
Mahler asks for 2 Bass Drums played as timps-and the VPO do just that-I witnessed this in a ringing performance under Sinopoli in Vienna in 1999.
One of the vagaries of studio style (.i.e Not Live) recordings is that not all the orchestra is needed in every session-and they do not turn up! In addition, recording sessions may well not be in the consecutive order of the movements-(in the 50s and 60s movements of a symphony were sometimes recorded a year apart, even by Karajan!)- thus it was that when the finale was recorded, there were unintentionally no bass drums-or drummers!

The recording went ahead, with the intention of patching in the extra percussion later, and the timps were asked to “mark” the entries as the heavy artillery would be added later.
I imagine that it was with some embarrassment that Rainer Brock realised too late that it would not be possible, and the rest is history.
Such is the beauty otherwise in this recording that this should not detract unduly from the pleasure in any event.
Soft grained, lyrical, lucid and elegant-good mannered, amiable-all these terms describe this performance, and it does not lack moments where the elemental power of Mahler’s inspiration is unleashed- always in a refined way!

Carl Nielsen’s 3rd Symphony is entitled “Espansiva”-it accommodates the whole world according to the composer.
This was how Mahler described his own musical ethos in a conversation with Sibelius, and nowhere is it more evident than in this massive work, HIS 3rd Symphony.

Abbado’s account may be “soft-centred” compared to some, but his gentler view supported by incomparable playing from the orchestra and the transformation of an always excellent recording into an even more dynamic and revelatory one in this 24Bit re-mastering makes it an absolute recommendation-and I am in the minority who thinks that it is better than his later BPO Version (as I do with his CSO Seventh, my other favourite Abbado Mahler recording).

This is a contender at any price, but at the price at which it is offered it is a genuine bargain.
Alternatives abound-Tennstedt, Rattle, Bernstein, Maazel VPO-all are superb but may only be available in box sets-the aforementioned Rögner is a real surprise and a genuine triumph, Leinsdorf with BSO is grand-and many rate the famous Horenstein LSO recording from 1970, where I’m afraid to say again I somewhat part company from the consensus. It’s good-but not that good! It’s interesting-but not THAT interesting.
Absolute duds are Chailly and Zinman-soporific would be my description.

My ultimate choice-a personal one I admit- would be the live Sinopoli on Weitblick that I reviewed a while back-but Maazel, Boulez, Jansons BRSO (subscription only I’m afraid) –and this Abbado recording have places in my affection difficult to dislodge!
Even if you have the original 1982 release-go for this new mastering. Worth every penny. 5 Stars, As ever, Stewart Crowe.

18人のお客様がこれが役に立ったと考えています

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Andrea Martignano

Una terza fondamentale

2016年1月5日にイタリアでレビュー済み

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Claudio Abbado è stato un Mahleriano che si è espresso numerose volte con differenti formazioni.
Questa terza del primo periodo digitale è un capitolo fondamentale di questo viaggio.

Dal lancio iniziale dei corni allo struggente adagio finale, mi riesce difficile trovare "pecche" in questo spettacolo di suono. Basti, a titolo di esempio, il "notturno" del quarto movimento. Abbado, i Wiener e la Norman qui dipingono qualcosa di ineguagliabile: ascoltatelo, è un'esperienza musicale, intellettiva ed emotiva da provare almeno una volta.

Oh poi sì, nel primo movimento il trombettista (bellissimo suono) caccia una micronotina in più in una delle famose terzine, e il secondo cd ha qualche fruscio in più dovuto con tutta probabilità all'apertura dei microfoni per contralto e coro, che non inficia il bel suono della registrazione: bastano queste poco significative screziature per bollare una altrimenti stellare interpretazione? Dipende dall'intelligenza di chi ascolta, e dall'amore per l'arte.

Una meraviglia.

6人のお客様がこれが役に立ったと考えています

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Originals:Sym.No.3 in D M

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