Tonhalle Orchestra Zurich, David Zinman - Mahler: Symphony No. 6 in A minor 'Tragic' (2009) [Hi-Res]
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BAND/ARTIST: Tonhalle Orchestra Zurich, David Zinman
- Title: Mahler: Symphony No. 6 in A minor 'Tragic'
- Year Of Release: 2009/2015
- Label: RCA Red Seal
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 44.1kHz +Booklet
- Total Time: 01:21:47
- Total Size: 369 / 741 mb
- WebSite: Album Preview
Tracklist
01. Symphony No. 6 in A Minor "Tragic": I. Allegro Energico, Ma non Troppo
02. Symphony No. 6 in A Minor "Tragic": II. Andante Moderato
03. Symphony No. 6 in A Minor "Tragic": III. Scherzo: Wuchtig
04. Symphony No. 6 in A Minor "Tragic": IV. Finale: Allegro Moderato
It is difficult to listen to Mahler's Sixth Symphony completely detached from what we know about his biography, if only because of the two or three strokes of the hammer in the Finale. The following image derives from Mahler: This is a hero who is the victim of three strokes of fate, the third of which fells him like a tree. Alma Mahler later linked these strokes with Mahler's own biography: the death of his elder daughter, the forced resignation from his position as Director of the Vienna Hofoper, and his heart condition, which led to his death. And on the basis of this arose the assumption that Mahler deleted the third stroke of the hammer for superstitious reasons. Is that not merely the cult of genius? Theodor W. Adorno's response to the piece is perhaps more accurate: 'Mahler's novels have no heroes and admire none.' In the hero, he saw the 'collective,' a 'mass of traveling journeymen who have had a destiny, who are now going out into the world.' However, counter-explanations such as these also have programmatic character.
„Every performance of this symphony succeeds or fails on the basis of the finale, and here Zinman really excels. He takes his time over the introduction, those menacing brass shrieks as expressionistically underlined as in Bernstein/Vienna (DG). The hammer blows are sensational–among the most crushing ever recorded, but also, somehow, musical rather than just noisy. In the last 10 minutes or so (the recapitulation) Zinman succeeds in clarifying the music’s polyphonic combinations of themes without sacrificing a scintilla of its power or excitement. The sonics are also much better balanced than in the previous release of the Fifth Symphony, with the lower strings and brass captured much more realistically. In sum, this is a very fine Sixth, and you can always enjoy it with the scherzo second if you feel so inclined.“ (David Hurwit)
01. Symphony No. 6 in A Minor "Tragic": I. Allegro Energico, Ma non Troppo
02. Symphony No. 6 in A Minor "Tragic": II. Andante Moderato
03. Symphony No. 6 in A Minor "Tragic": III. Scherzo: Wuchtig
04. Symphony No. 6 in A Minor "Tragic": IV. Finale: Allegro Moderato
It is difficult to listen to Mahler's Sixth Symphony completely detached from what we know about his biography, if only because of the two or three strokes of the hammer in the Finale. The following image derives from Mahler: This is a hero who is the victim of three strokes of fate, the third of which fells him like a tree. Alma Mahler later linked these strokes with Mahler's own biography: the death of his elder daughter, the forced resignation from his position as Director of the Vienna Hofoper, and his heart condition, which led to his death. And on the basis of this arose the assumption that Mahler deleted the third stroke of the hammer for superstitious reasons. Is that not merely the cult of genius? Theodor W. Adorno's response to the piece is perhaps more accurate: 'Mahler's novels have no heroes and admire none.' In the hero, he saw the 'collective,' a 'mass of traveling journeymen who have had a destiny, who are now going out into the world.' However, counter-explanations such as these also have programmatic character.
„Every performance of this symphony succeeds or fails on the basis of the finale, and here Zinman really excels. He takes his time over the introduction, those menacing brass shrieks as expressionistically underlined as in Bernstein/Vienna (DG). The hammer blows are sensational–among the most crushing ever recorded, but also, somehow, musical rather than just noisy. In the last 10 minutes or so (the recapitulation) Zinman succeeds in clarifying the music’s polyphonic combinations of themes without sacrificing a scintilla of its power or excitement. The sonics are also much better balanced than in the previous release of the Fifth Symphony, with the lower strings and brass captured much more realistically. In sum, this is a very fine Sixth, and you can always enjoy it with the scherzo second if you feel so inclined.“ (David Hurwit)
Classical | FLAC / APE | HD & Vinyl
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