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Mahler - Symphonies 1 and 2 - Bruno Walter

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资源名称：Mahler - Symphonies 1 and 2 - Bruno Walter
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mahler - symphonies 1 and 2 - bruno walter


下面是原贴的介绍(好长.........)：

music : classical : lossless
gustav mahler

symphonies 1 and 2 + liedereines fahrenden gesellen

cond. bruno walter

as requested



1. symphony no.1 - columbia symphony orchestra - 1961
2. symphony no.2 - new york philharmonic orchestra - 1958
maureen forrester (contralto) emilia cundari (soprano)
westminster choir
3. lieder eines fahrenden gesellen - columbia symphony orchestra - 1960
mildred miller (mezzo-soprano)


cover and notes included

ripped (eac (secure)/flac - log + non-compliant cues for both wav and flac included. eac or burrrn recommended for burning to disc using cue.


tony duggan's musicweb review of the 1st symphony

there are a number of recordings of this symphony conducted by bruno walter available, but only two are studio recordings as opposed to some live "airchecks". the first was made in 1954 in new york and in its latest remastering on sony is certainly one for the serious mahlerite's shelf. the playing of the new york philharmonic, one of the great mahler orchestras with a proud tradition stretching back to the composer himself, is superb and one of the jewels of this recording, along with the interpretation of a man who was the composer's friend and protégé. but if i choose instead the 1961 stereo remake with the columbia symphony in los angeles on sony (sm2k 64447 purchase- a two disc set with walter's classic recording of mahler's second) it's because i feel he penetrates even deeper into this work, even though the orchestra is not quite the match in weight of tone or commitment compared with the new yorkers. another gain in the remake is the richer recording in stereo. walter's introduction to the first movement is a degree more literal than kubelik's or horenstein's, but it's marginal and the stillness is sustained just as well. though note how this is broken by the pizzicato interjections, startling us across each string section. the way walter unfolds the wayfarer theme is just as unforced and eloquent as his two colleagues but he favours a little more brooding portent in the lead-up to the soft horn announcement of the clinching motive and the recording allows us to hear a splendid soft bass drum with it also. there is plenty of raw energy and power in the great outburst at the climax of the development and the closing pages are perhaps more exhilarating under the octogenarian walter than with men a third his age. in the scherzo the feeling of being in the hands of someone in whom this music is bred in the bone starts to become even more apparent first in the way the lower strings dig trenchantly into the dance then in the way the woodwinds cluck at the inner voices and finally in the waltz element of the trio. there is such a wealth of experience that you miss when you hear many later recordings that i wonder whether a sustained period of listening to a walter recording really ought to be compulsory for all the young whippersnappers who think all they have to do with this music is stand up in front of the orchestra. but it's in the third movement the real profundity of walter's interpretation becomes apparent. of course he recognises the parody element, but he also manages to take it one step further, mixing with it just a hint of tragedy to make it matter to us even more. the band music interjections are beautifully "placed" with hairsbreadth judgement of rhythmic alteration, the wayfarer song interlude is much closer to the original song which is an important and illuminating touch. the return of the march at a slightly quicker speed, another fine judgement of tempo, takes us deeper again because, if there was slightly less of an element of parody in the first presentation of the march, here if anything there is even more. this for me is the key to why this interpretation of the third movement is the greatest of them all. this is the kind of dramatic touch only a conductor of walter's experience could have made. it's in the fourth movement you notice the greatest difference between this recording and walter's earlier one. in new york his overall tempo is more conventional, even though filled with the special insights he carries forward to his stereo remake. in 1961, however, he is broader, grander and it's hard to choose between the two approaches as both are valid. my own view is that in the second recording he builds on his first and the gain, especially in the opening section, is that the music is less frenzied, more sky-reaching, rather in the manner of horenstein even though i think the new york philharmonic prove themselves the greater orchestra. walter plays the lyrical second subject to the manner born and note the double bass pizzicato. yes, horenstein and kubelik might be purer, but walter's special brand of old world nobility brings its rewards. despite the broader approach, the central "false" climax is paced superbly and never flags. all the listener needs to do is be aware that walter is taking the wider view, seeing a bigger picture, which then means that when the nostalgic recall of the symphony's opening arrives the more it stays in the mind. the coda towers as much as horenstein's. you might argue walter is too steady but you would need to have a heart of stone not to respond to the sense of completion and hard-won confidence.


tony duggan's musicweb review of the 2nd symphony

bruno walter was mahler's protégé and disciple and a man much closer to him than oscar fried. so walter’s view of this work does carry immense importance. fortunately we can hear it in fine stereo albeit some four decades after mahler‘s death. his 1958 new york philharmonic recording on sony (sm2k 64447 coupled with his classic stereo recording of the first praised in my survey of that work) is always required listening. the opening challenge of the first movement has the right amount of weight and breadth to fix itself in our minds but also bring to us up with a start suggesting great events about to unfold. the lovely ascending transitional theme that follows flows naturally and is given lyrical grace and lift by the sensitivity of the conducting and the playing of an orchestra steeped in mahler's music. under walter this is already essentially the funeral march/lament mahler meant it to be. what we can call the first development is the passage that starts with another soft ascending theme in the strings, just as the music appears to have settled down to sleep. under walter this has a directness that maintains funereal momentum and yet has the power to move us. note the pastoral element with the cor anglais. handled by walter it's a masterly example of how to allow music to speak for itself. as the movement gathers for the next climax, in the lower strings you will hear a heavy tread re-entering the picture indicating the kind of long-term planning a lifetime's experience brings. then with a restatement of the opening challenge we are into the second development, full of portent and a fine sense of the long crescendo culminating at last in the recapitulation crisis, an unforgettable passage with crashing brass chords ripping the fabric. this is arrived at under walter with a controlled intensity that marks a fine sense of inner tension. the reprise of the movement's introduction under walter reminds us that life is a wheel and the recapitulation is a bitter pill to swallow that not even the lyricism of the rising motive can lift. all in all, a formidable performance of the first movement.

the second movement should contrast with the first. in fact, mahler was so concerned about this that he asks for a five minute pause. here mahler is trying to show an interlude in the life of the person deceased in the first movement. under walter it doesn't quite contrast as much as it can. a fine reading, however, with the air of a veiled dance and dance is what does lie behind this with mahler's favourite l?ndler lurking magically subdued. there is a lifetime's experience in walter's reading again. no sense of having to force a personality on the music's dark lyricism and with lower strings continuing the purpled-hued qualities of the first movement. when the music becomes more passionate and striving walter sees even more relationship between this and the first movement. even the closing section, with pizzicato strings, brings a whispered, phantom-like quality. a triumph of form balanced with content. the third movement is where all the irony and bitterness inherent in asking the great questions of life whose conundrum mahler is trying to crack come to the fore, or they should. based on mahler's earlier setting of the wunderhorn song about saint francis preaching a sermon to birds and fishes who remain uncomprehending and unchanged by the experience, there should be an air of futility and illogic about it: a mocking treadmill punctuated by the clacking of the rute with the world seen through a concave mirror, as mahler described it. this is where despair and desperation should enter the soul. fine though walter is, he doesn't lift us all that much from the grim, elegiac quality we have noticed in his reading. there are details highlighted, but the rhythms and interjections can be made so much more of than here. the brass outbursts that spin the music along are a mite restrained too. there is a lovely trumpet solo at the heart of this movement, however, and under walter this emerges sweet and golden but, again, more might be made of its crucial role as a vision of nostalgic hope in the middle of what ought to be a horrible, grinding experience. towards the end we come to the emotional core of the movement, one of the crucial "way points" of the work, what mahler refers to as a "cry of disgust". under walter this seems robbed of a greater power. more a cry of distaste than disgust. in the fourth movement we hear maureen forrester, one of the greatest mahler singers, and her presence is one of this recording's virtues, as also is the restrained way walter accompanies her, prayerful and tender, as hope in the form of the wunderhorn poem "urlicht" ("primal light") about entreating an angel to light the way to god prepares us for the cataclysm to come in the fifth movement where the drama of resurrection of the whole of mankind is played out, moved from the personal to the universal. this immense series of tableaux takes us on a journey from death to resurrection and it is here mahler's astounding imagination finally shakes itself free and goes for broke. the huge movement, where any idea of symphonic form finally is abandoned, must carry a dramatic charge, the strength to maintain itself in moments of vast repose, and encompass a real sense of huge events developing around us in an ordered and yet unorderly fashion. no apologies must be made by the conductor. it must move, inspire, terrify, entertain, go to our very deepest centres and bring resolution and consolation. under walter there is a drastic opening with fine lower strings underpinning. the first outburst dies away to leave us with the distant horn calling as "the voice crying in the wilderness" and here walter's sense of charged nostalgia is never more in evidence than in the way he builds gradually with a superb sense of architecture towards the first announcement of the crucial "oh glaube" ("oh believe") theme that will keep coming back at strategic points to haunt us as an entreaty. its first appearance is rather smoothly taken, more stress on symphonic growth. the vast climax on fanfares that marks the close of the first section arrives with weight and power but doesn't overwhelm as it should. it's as if walter is holding back. this moment can really thrill under the right conductor but with walter it merely impresses. there then follow two huge crescendi on percussion and brass that portray the bursting open of all the graves of mankind's dead. under walter they are not really long enough, or loud enough, to carry the seismic shock built into them and so are slightly disappointing when you know what can be done with them. the great march that follows is meant to portray the trooping to glory of the souls of mankind and this is paced about right here but doesn't carry quite as much terrifying power as it should and can be made to. it builds to a good climax, though. in the reprise of the "o glaube" theme that follows mahler's aural imagination tests the performance even further as we now hear an off-stage brass band crashing out a manic march. they can make a terrific effect but here not as much and the effect is rather earthbound, as though a limit to terror has been imposed. the next climax, a stunning collapse where the fabric of mahler's vision seems set to tear itself asunder, gives walter a chance to take the terror to what is his own limit which is, i have to say, some way short of others.

we have then arrived at what mahler calls the "grosse appell" ("the great call") where the off-stage brass sound fanfares from heaven against the sound of flutes playing the part of a nightingale, the bird of death, as the last sound from earthly life left behind. under walter the trumpets sound more like barracks buglers (which in other symphonies would sound ideal) than heavenly hosts and the whole passage would have been better if it had been given more space. now the chorus enter, intoning klopstock's resurrection ode, the hearing of which, in another musical setting, unlocked the block that had descended on mahler. there is a wonderfully nostalgic solo trumpet after the entry of the soprano, stressing again lyricism and nostalgia over drama and terror, and walter makes much of this. it must, however, be obvious that, to me, it's his interpretation of this movement that symbolises best his general approach: spiritual over human, lyrical over dramatic, vigour over terror, symphony over quasi-operatic. one valid way of seeing this work but not, i believe, the whole story. this impression is carried forward to the final chorus, "aufersteh'n" ("rise again"), which under walter stresses a hymn-like quality and therefore a certainty that is palpable and touching, yet with no real sense that what we are being given has been hard won and i think that, for this work to succeed completely, that is more inappropriate. it's as if for bruno walter the end was there to start with and all we had to do was arrive to be admitted. was walter too certain of himself? i think he was. just as i'm equally sure that mahler wasn't and the implications of this are deep and profound for this work and will come back again and again as we discuss other versions. walter himself once said that mahler spent his life searching for god but never found him. he doesn't seem to have brought that idea into his reading of this work, to these ears at least. the playing of the nypo is exemplary with a depth of experience that can be heard in every bar. the sound is early stereo from the late 1950s and perfectly acceptable in itself. for those who mind, however, they might find it a little limited in range and detail, though the balance is always spot on. my view of this walter recording may seem harsher than it is as i do regard it as one of the truly essential recordings. my disagreement with it is more intellectual as i believe there is more to be gleaned from this work and the fact that walter does not do so is not a reflection of any inadequacies on his part, merely a reflection of the kind of man and artist he was, especially at that time of his life.

mahler - symphonies 1 and 2 - bruno walter

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