なんと表現したら良いのか迷うのですが、たいへん良い演奏だと思います。聴きながら、充実を感じます。聴き終わった後、聴いて良かったと、思います。コンサートに行って、良かったと思う場合の感覚と同じです。
最も感じるのは、とても「身近な」マーラーの交響曲だという事です。「凄いマーラーを演奏してやろう」では無く、「これは芸術なんだぞ」でもありません。よそよそしいところが無く、堅苦しいところが無く、人をよせつけないところが無いです。コンサートを聴きに来てくれた人たちに音楽を楽しんでもらおうという、オーケストラや指揮者のマインドを感じます。
最終楽章に、ちょと退屈なところがあるくらいです。

1人のお客様がこれが役に立ったと考えています

役に立った

福音

音質のチｪクに最適です！

2020年7月31日に日本でレビュー済み

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空気感、立体感、臨場感、透明感は、大変素晴らしい音質と演奏内容です。SACDマルチの音がベストと感じました。

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Barry Guerrero

(from MP3) Fischer gets back on track with this stunningly detailed yet exciting Mahler 3

2017年5月8日にアメリカ合衆国でレビュー済み

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Even just using the MP3 download option, the sound quality from Channel Classics is second to none (I await the hard discs from another source). The dynamic range is huge, yet the softest passages are perfectly clear. The front page news is that conductor Ivan Fischer gets back on track to his usual high standards.

Fischer's Mahler 5 was a strange affair that failed to establish much darkness in the earlier movements (the 5th being a traversal from darkness to light). His Mahler 9, on the other hand, was very good at climactic moments, but everything surrounding those moments sounded rushed. Fischer's 9th lacked the necessary sense of repose in its softer, more zen-like moments. Perhaps Ivan Fischer relates best to Mahler's earlier "Wunderhorn" period, where his previous successes in Mahler currently lie. Are there minor reservations that one could have with this Mahler 3 recording? . . .

Of course there are. For me, the famous posthorn solo in the third movement borders on being a tad too distant (offstage trumpet). Yet, this remains a minor complaint since you CAN hear it (it's truly inaudible on Benjamin Zander's otherwise fine recording). Aside from that point, the entire scherzo is outstanding, which includes an exciting coda that truly packs a punch. As with the recent Bernard Haitink/Bavarian Radio Symphony recording of M3, mezzo-soprano Gerhild Romberger is nothing to write home about in terms of her vocal talents (fourth movement).

However, Fischer gets around this stumbling block by simply not permitting her to linger - he clocks in at a zippy 8:15 (the Fulop discography shows the speed record in the 4th movement belonging to Vaclav Jiracek at 7:50). At first I thought such a quick tempo was only a gimmick, but it actually works. And as is often the case these days, Fischer does observe the odd yet effective "hinaus ziehen" marking for the oboe and english horn solos in this movement (bending the slurs upwards). Romberger isn't great, but she does fine at this pace. She's far more effective here than she was for Haitink, who was a full 1:15 slower (9:34).

My only other minor reservation is that Fischer chooses to play down the two sets of timpani at the very end of the symphony; the two of them rocking back and forth on the dominant and tonic notes. But I too would choose this path over those who pound away as though they were building a barn. Fischer doesn't drop them down nearly as much as Abbado did on his earlier Vienna recording of M3, but it is noticeably softer than usual. However, everything else in the final four minutes is outstanding.

In the final pages after the climax of the long brass chorale (executed fabulously, by the way), I admire the way Fischer has the horns emphasize each descending note of the tonic D triad as the timpani progress along their way - settling on the horns bringing out the fifth of the chord on the very final sustained note. Small detail? . . . sure, but it's one that sounds good and helps the ending to be as intelligent and logical as it is heartfelt - adding a further degree of gravity and inevitability to the proceedings. What better compliment can there be than that.

Going back to the start, Fischer's first movement has plenty of excitement, power and color. Mahler's kaleidoscopic sound effects register as well here as they do on, pretty much, any other top drawer recording of this symphony. More importantly, Fischer establishes the necessary contrast between this, 'everything but the kitchen sink' first movement, and the light and fleet-footed second movement.

It's an odd thing that Mahler's longest and, perhaps, most ambitious symphony should be so lucky on record. While Fischer's new Mahler 3 may not erase memories of Horenstein, Martinon, Bernstein I, Haitink I, Levine, Abbado/VPO, Inbal, Bertini and a whole host of digital and sacd success stories, it's still a welcomed entry that may well 'fill the bill' for those who want to marry outstanding sound quality to a genuinely outstanding performance. Admirers of this cycle need not hesitate.

Later on:

The hard copy (discs) have arrived. As expected, the sound is excellent (2 channel only at my home). It's in 'digi-pack' form, but it's done in a classy, high quality manner (similar to the Mahler 2 from Channel Classics). While Ivan Fischer graces the outer cover, one opens to a big b&w photo of Mahler - one of the famous ones taken in Amsterdam. I like that. The booklet itself is very thorough, with lots of pictures and an intelligent essay by Clemens Romijn. Lots of technical information is given at the back as well. All in all, one gets the impression that Channel Classics and Fischer went all out on this one.

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Solal de Solal

Fabuloso

2018年12月15日にスペインでレビュー済み

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Excepcional grabación de esta sinfonía.

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Marco Ossani

Procediamo nell'integrale del Secolo

2017年8月17日にイタリアでレビュー済み

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Hanno già detto tutto sul Mahler di Fischer - questa sinfonia l'ho ascoltata dal vivo a Bologna.
Grandissimo, imperdibile, tutto ciò che fa ha un senso e una giustificazione musicale, nulla è lasciato al caso o all'improvvisazione, anche se nei momenti in cui si sciolgono le briglie sembra il contrario - il finale non è mai suonato così vero e così perfetto, senza alcuna concessione al "pompier" o al sentimentale - orchestra da sogno, tecnica e dedizione assolute, il timbro dei legni e degli archi gravi ti lascia a bocca aperta.
Non consigliato agli americanisti convinti, agli ammiratori delle autopsie Bouleziane o ai cultori dei Chicagoans - un mondo e una cultura musicale che sembrava perduto - per me (e qui rivelo le preferenze) sarà l'integrale di riferimento (da tenere accanto a quella particolarissima e complementare di Nott/Bamberger Symphoniker e a quella per me mitica di Bertini/Norddeutsche Philharmonie) - musicalità e onestà intellettuale assolute - l'antidoto ai Bernstein e seguaci (potete ascoltarle senza immaginare cimiteri e decadenti vampire androgine agonizzanti aggrappate ai tendaggi mentre un raggio di sole le uccide rivelando polvere e memorie...). Se siete per il Mahler disegnato da ken Russel questa lettura non è per voi. Questo è Mahler, e nulla di più (come se non bastasse...) niente deliri e cuori in mano di interpreti frustrati per non essere il compositore, senza ritorni al passato o fraintendimenti futuristici...splendido!!!!

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STEWART CROWE

A revealingly different account suffused with beauty and joy, superbly recorded and played! A MUST hear recommendation!

2017年6月14日に英国でレビュー済み

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Though I have always contributed my musical views to various journals I started reviewing on amazon to share my enthusiasm, my experience and “insider knowledge” of the recording industry and “classical music business” if I may term it as such on a wider scale.
I have been reflecting on this process, and it has been becoming clear to me that my listening to new and often reissued or obscure recordings has become subordinated to the compulsion to review, and that I am not spending enough time effort just enjoying the music that I love so much, and which I feel enriches my life.
Accordingly I am now only reviewing a fraction of the discs I buy or revive from my collection, and this only where I feel that there is a sufficient positive –or negative- reason to do so.
Happily this particular recording falls into the positive camp, and I can state at the outset that this is a really superb version in every respect, joining the ranks of the “must hear” for lovers of Mahler and lovers of great music making. It is something special.

The Budapest Festival Orchestra is a musical treasure-under the Directorship of Ivan Fischer it has developed a unique and wonderful sound-a giant chamber orchestra wherein one can hear the players listening to each other and reacting off this.
This transparency is enhanced by beauty of tone in all sections, though by mutual choice between players and conductor it seems sheer weight of sound is sacrificed for the added transparency-usually!
However,I have not been impressed overall by Fischer’s unfolding Mahler cycle-with the exception of the luminous and beautiful 4th and a thrusting, spikey 9th.

I had fears that the 3rd-Mahler’s encapsulation of the entire world as represented by the triumph of summer over winter-would suffer from the lack of the weight that made the recent Haitink BRSO recording so special despite some sluggish tempi, but this is not the case. The weight is not there compared to recordings by the VPO, BRSO and the recent Pittsburgh/Honeck sensation, but there is more than enough to balance the delicacy and fantasy conjured up by Fischer and his orchestra.

The timing for the first movement suggests that tempi are on the slow side-but this is not the case. The transitions between each section are teased out almost excruciatingly by the conductor, so that that when the thematic material kicks in it is the more startling and the more welcome! Tempi are swift but never rushed throughout the entire work-pauses are extended!
The Edition used is the New Critical Edition of the Mahler Society edited by Erwin Ratz and Karheinz Füssle and published by Universal Editions Vienna, the same as by Jansons in his BRSO subscription edition (not generally available) and there are moments which will surprise those used to standard Universal Edition (which is most of us!). The differences are subtle but noticeable
The recording is superb-not in any other have I heard so much music normally buried in a tutti or in a complex orchestrated section, and this applies throughout. In stereo and SACD this recording must be described as “State of the Art”.

Fischer takes us on a quieter, more mystical journey in the first movement, though the military band is suitably raucous-though never vulgar-until the vast explosion of energy which Strauss likened to hordes of workers released from a factory rushing headlong to a holiday festival.
The climax has power and though there is a comparative lack of sheer orchestral weight, it is not missed.
The second movement has charm and brilliance, and it is as so often the case, the 3rd which is a triumph.
The wistful country walk which encounters the rustic wedding is just soooo beautiful, and the offstage post horn echoes from the distant hilltops in an achingly nostalgic manner, distanced just right-distant but audible. The final duet between the offstage and onstage horns will leave you with a lump in the throat and a tear in the eye.
The big quotation from Liszt blazes out with rippling harps, and I do not recall the tam tam being so audible throughout a performance both when used subtly and resounding mightily.

The mezzo/contralto is the same as for the recent Haitink, Gerhild Romberger, and I like her rich toned delivery and interpretation a lot. The BRSO Chorus and Cantemus Children’s Choir bim-bam charmingly and tellingly, and the Finale is just glorious.

The tempo is swift-think Boulez and the VPO-and the string tone has a glorious sheen matched by the usual transparency.
In keeping with his more delicate approach, the drums used in the closing bars are timps rather than bass drums played as timps which is the usual practice (though they did not turn up for the famous Abbado/VPO version through a mix-up in session schedules!), but they make their impression tellingly.
The Finale is a “sunny” piece-it is not a Brucknerian vision of Heaven but a depiction of the joy that Spring and Summer bring when the bitter cold of Winter is defeated, and the mood is caught perfectly in this reading!

This performance gives us a different and revealing view of this magical work, one which inspires anew and reminds us of the triumph of nature and of the human spirit in troubled times!
Of course there are MANY fine versions of this monumental work-Bernstein (of course!), Maazel, Rögner, Tennstedt, Abbado (VPO), Boulez and the extraordinary Sinopoli/SWR Stuttgart recording are among favourites and the Horenstein has acquired a legendary status the enthusiasm for which I do not share so much (I don’t think it’s THAT great!), and the recent Haitink BRSO recording is very fine indeed. I must also recommend the stunning Manfred Honeck recording on Exton with his Pittsburgh Orchestra-the American VPO-and readers (if any!) will have other favourites (already Neumann and Macal spring to mind-the superb Jansons BRSO is difficult to obtain!).

However, this IS a top recommendation and one I will return to.
A glorious achievement, certainly the jewel in the Fischer/Budapest crown, and not just recommended-but demanded to be heard! 5 Glorious Stars, Stewart Crowe.

26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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PG

What's Not to Love?

2020年7月9日にアメリカ合衆国でレビュー済み

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After years of listening, I have concluded that Mahler 3 might be the most "meshugeh" great symphony ever written. When I try to follow the emotional line between the movements, I get dizzy to the point of having to sit still, grab a cold compress, and forget trying to figure things out. Better for me to go moment to moment and revel in what I'm hearing right then, than to start wondering how Mahler got from that ominous beginning to a Sousa march in just a couple of minutes. I have gone through many 3s over the years and haven't found all that many to love. I admire Chicago/Levine with Marilyn Horne in that luscious solo that comes out of stark, raving nowhere, but the RCA engineering from the label's "Dead Sound Era" is a real turn-off. (This would be wonderful candidate to be sent back to the lab for sonic surgery.) The two Bernsteins are still at the top. Lenny pretty much owned 3 and I can hear him saying, "Of course this is nuts!. Love it anyway! I dare you not to!" And for charged-up Mahler that sounds better than both Bernsteins, there is Bychkov on Avie. He is a fine conductor, and this is a terrific 3rd. (In an age when your garage mechanic has probably been offered the chance to record a Mahler cycle, why hasn't Bychkov?) All of which leads us here, to Maestro Fischer, who manages to keep thngs exciting but without so much of the febrile quality you hear from others. To those who would argue that--quirky or not-- the 3rd is Mahler's most beautiful symphony, Fischer would respond with an enthusiastic, "Amen." And he has a wonderful orchestra and sonorous SACD sound to back him up. Salonen and Lopez-Cobos also gave us beautiful-sounding Mahler 3s, but neither had much juice. This one conveys enough of the "mishegas" to keep us on the Mahlerian hook while overwhelming us with the sheer beauty of Mahler's writing. So what's not to love?

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Symphony No.3 -Sacd/Digi-

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