NOVEDADES CD

Yo la Primera unicamente.

Psanquin escribió:¡Ojalá! Esta es de momento su tercera Primera

Se hablaba hace unos días de esta tercera Primera de de Waart...coincide con esta novedad, la inclusión en el catálogo de arkivmusic.com de la reedición de la grabación (descataligada) que hizo el director para el sello Virgin con la Orquesta de Minnesota,,,



Un saludo,

grabación (descataligada)

Aun se ve tirada de precio:

http://www.berkshirerecordoutlet.com/search.php?row=0&brocode=&stocknum=&submit=Find+Item&text=de+Waart&filter=all

Aunque en esta edición:

Robertino Bergamasco escribió:
Aunque en esta edición:

¡Vaya portada más fea! Sí, la verdad es que está tirada de precio...

Un abrazo,

Todo reediciones:

Otre macro-caja a precio super-reducido (que tan de moda están estos días). Mucho Munch y Reiner...en el capítulo mahleriano, DLvdE y la Cuarta de Don Fritz con su orquesta de Chicago...

Y otra reedición más:

En la web de DG más detalles sobre la Novena de Dudamel con Los Ángeles:

http://www.deutschegrammophon.com/cat/single?PRODUCT_NR=4790924

Se había anunciado más arriba, pero aquí está ya oficialmente con todo su contenido:



http://www.danacordbutik.dk/mediafiles/images/covers/Dist/2012-48/RCO%2012004.pdf

Por fin parece tener fecha.... en www.jpc.de aprece este críptico anuncio de una Neuerscheinung:

Prohaska, anna / boulez, pierre / w
Das Klagende Lied/Lulu-Suite
CDi
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Detailinformationen
Künstler:
Label: Decca.
Bestellnummer: 9753546
Erscheinungstermin: 4.3.2013
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EUR 22,99*
Artikel noch nicht erschienen.

http://www.jpc.de/jpcng/classic/detail/-/art/Prohaska-anna-boulez-pierre-w-Das-Klagende-Lied-Lulu-Suite/hnum/9753546

No reproducen la portada...sorprende que aprezca en Decca y no en DG

Aun siguen apareciendo cosas, primera vez en cd:


Mahler: Symphony No. 5 in C sharp minor
Kölner Rundkunk-Sinfonie-Orchester, Hans Rosbaud

Es una grabación de 1951.

Crítica aparecida en www.musicweb-international.com sobre el DkL del año 81 de Rozhdestvensky con la BBC Symphony--junto con una infrecuente obra de Janáček--editado recientemente en el sello ICA Classics (y que habíamos mencionado en este hilo en el mes de agosto):



http://musicweb-international.com/classrev/2013/Jan13/Mahler_Klagende_ICAC5080.htm

En www.jpc.de anuncian para febrero esta compliación de Brigitte Fassbaender en la serie Icon de EMI (8 CDs por 22,99 €). No aparece aún el tracklist detallado, pero Fassbaender grabó para EMI (junto al pianista Irwin Gage) algunos de los Lieder und Gesänge aus der Jugendzeit, una selección de los Knabenhorn, y los Lieder eines fahrenden Gesellen (acompañada al piano por Irwin Gage).

No es una novedad como tal (la edición de M&A lleva ya unos años en el mercado), pero en www.musicweb-internatioal.com, John Quinn publica ahora esta reseña de la 3ª y el adagio y Purgatorio de la 10ª de F. Charles Adler:...



Gustav MAHLER (1860-1911)
Symphony No.3 in D minor (1895-96) [101:47]
Symphony No.10 (1910) - Adagio [22:40] and Purgatorio; edited Otto Jokl [4:03]
Hildegard Rössl-Majdan (alto)
Wiener Sängerknaben
Vienna Symphony Orchestra/F. Charles Adler
rec. 27 April 1952, Vienna (No.3) and 8 April 1953, live (No.10)
MUSIC & ARTS CD-1249 [66:00 + 67:05]

I've been keen to hear this performance of Mahler’s Third Symphony for a long time. It is the first recording of the work and that in itself would be sufficient to merit listening to it. However, as the late Tony Duggan indicated in his survey of recordings of the symphony, it is a commendable recorded performance in its own right and, as Tony said, it tells us a lot about performing practice in Mahler.

So, I was aware that this is a pioneering issue. What I didn’t realise until I read Mark Kluge’s comprehensive booklet essay, is how remarkable a figure was Charles Adler and I will draw on Mr Kluge’s fascinating essay for a very brief summary. Adler, who was christened Frederick Charles but never used his first given name, was born in London in 1889. His father was a banker and young Charles narrowly escaped a career in business. Instead he went to Germany where he studied under Felix Mottl. He got the Mahler bug at an early stage and helped prepare the choruses for the first performance of the Eighth symphony in 1910. Adler’s early career was spent in Germany and he rose to become Music Director of the Berlin State Radio (1924-1933). He fled Germany when Hitler came to power and settled in the USA, his base for the rest of his life. He established a career in the US, though not without some difficulty. The key to his later career was becoming artistic director to a small independent record label, SPA, which was established in 1951. The following year Adler went to Vienna and established a relationship with the Vienna Symphony Orchestra. He was to pay regular visits to the city to give concerts and make recordings with the VSO until his death from cancer in February 1959.

Adler’s repertoire was nothing if not varied and enterprising; it ranged as far back as Frederick the Great and as far forward as a good deal of contemporary music. Mahler featured strongly and for SPA he made the first recordings of the Third and Sixth symphonies as well as one of the earliest recordings - the third, in fact - of the torso of Mahler’s Tenth.

Having waited so long to encounter Adler’s version of the Third I’m delighted to say that it doesn’t disappoint. The trouble for someone hearing it in 2012 is that we have been spoiled by hearing so many very fine recordings of the work set down since Adler’s pioneering account. For myself, when listening to the Third I find it very hard to dislodge from my memory Leonard Bernstein’s superb first recording of the work, made for CBS in April 1961 (review) or Jascha Horenstein’s very different but equally memorable 1970 traversal (review). It’s a measure of Adler’s achievement that his recording can be compared with these two market-leaders. It’s also worth noting that this massive symphony was set down in a single day - a feat repeated by Bernstein nine years later.

In the immense first movement Adler adopts quite a sturdy basic tempo for the march. I have to admit that there are several moments in this long movement when I wanted him to move the music along more. You won’t find the flamboyance of Bernstein here, nor the drama of Horenstein. However, Adler is by no means dull and in his hands the music is strongly projected - not least by the solo trombone. Adler has the measure of the music and conducts with grip and an excellent sense of purpose. You may feel that his tempi are careful, even cautious. I confess I thought that at first but I came to feel that in fact what we have here is a case of a broad conception of the music; essentially Adler’s is a firm, confident view of Mahler’s great march. His is undoubtedly a spacious reading: he takes 37:42 compared with Bernstein’s 33:16 and Horenstein’s 33:09. However, he maintains concentration well and he certainly carried me with him. He obtains good playing from the Viennese orchestra - as he does throughout the symphony - though it would be idle to pretend that we’re listening to the same level of virtuosity as is provided by the New York Philharmonic (Bernstein) or the LSO (Horenstein).

In the middle movements Adler’s timings are pretty similar to the other two conductors - though, of course, we’re considering much shorter movements here. In the second the VSO give him some graceful playing - and some nimble playing also - and Adler seems to me to be very successful and idiomatic in his use of rubato and in negotiating tempo changes. There’s more characterful playing on display in the third movement and once again Adler conveys the essence of the music. That said, it sounds a bit deliberate at times and there’s no doubt in my mind that Bernstein, for one, is much more adept at inflecting the rhythms with the right amount of spring. The post horn solo episodes are well managed; the instrument is decently distanced. However, the soloist is not the equal, I think, of Bernstein’s player or of Horenstein’s and I think there’s rather more magic in both the rival versions.

Hildegard Rössl-Majdan is a good, expressive soloist in the fourth movement and Adler’s account of the fifth is sprightly; here he gets some good, lively choral singing. He sets the seal on his performance with a dedicated reading of the long, slow finale. He’s patient in this movement, over which he takes 26:00 (Bernstein takes 25:04 and the somewhat more flowing Horenstein 22:43). It’s a deeply felt interpretation by Adler, who gets some eloquent playing from the VSO. I think he displays vision as well as patience in this movement and he brings the symphony to a majestic conclusion.

Mark Kluge asserts that Adler’s reading is “something more than merely an earnest effort”. I agree entirely. It’s a well-considered and idiomatic interpretation in its own right and even if it were not the first recording of this symphony I think it would merit a secure place in the recording history of this work. I’d say that as a pioneering achievement it’s up there with Eduard Flipse’s recordings of the Sixth and Eighth symphonies (review).

Music & Arts also include the two movements of Mahler’s Tenth which were all that were ever played until scholars such as Deryck Cooke produced performing versions of the full score. The music included here is given in the edition by Otto Jokl. Adler recorded this music for SPA in April 1953. Interestingly, however, M&A have chosen not to issue that recording but instead give us a live performance - with separately tracked applause - that Adler and the VSO gave on the day before the recording sessions. Apparently, this live performance has not previously been issued on disc. Adler leads a dedicated reading though for some reason that I can’t quite put into words the performance didn’t engage me in the same way that the Third did.

These recordings appear in 2010 transfers by Aaron Z. Snyder. As usual he’s done an excellent job and the sound quality on these sixty-year-old recordings is pretty impressive. The recording of the Third, in particular, is an important document and should be heard by all Mahler enthusiasts.

John Quinn

http://musicweb-international.com/classrev/2013/Jan13/Mahler_sy3_CD1249.htm

Ya sabíamos que Luisi había grabado la Sexta; no había aparecido aun la portada por aquí. Poco original

Sí, poco original y presuntamente tampoco muy interesante.

La colgué hace tiempo en ITERCAMBIOS, más bien MUY interesante

Bueno, bueno. Tampoco es para tanto. Ese forofismo...

Prejuicios, prejuicios... que no estamos en un campo de fútbol

Por aquí dejo esta cajita de Furt. De Mahler incluye los Lieder eines fahrenden Gesellen con Poell que en su día editó Tahra. También la Primera y Segunda de Suitner:



2/3 juin 1944
MOZART: Symphonie n° 40, SCHUBERT: Rosamunde, entracte n° 3
BEETHOVEN: Léonore III

17 octobre 1944
BRUCKNER: Symphonie n° 8

19 décembre 1944
BEETHOVEN: Symphonie n° 3 "Eroica"

28 janvier 1945
FRANCK: Symphonie en ré mineur
BRAHMS: Symphonie n° 2

8 février 1949
MOZART: Concertos pour 2 pianos, K.365, avec Badura-Skoda et Dagmar Bella
27 janvier 1952
MOZART: Concerto pour piano n° 22, K.482, avec Badura-Skoda

7 janvier 1951
BEETHOVEN: Symphonie n° 9, avec Seefried, Anday, Patzak & Edelmann

25 janvier 1951
BRAHMS: Requiem allemand, avec Seefried, Fischer Dieskau et les Wiener Symphoniker

27 janvier 1952
BRAHMS: Variations Haydn, Double Concerto & Symphonie n° 1

9 avril 1952
BACH: Passion selon Saint Matthieu (1ère partie seulement)

29 novembre 1952
BEETHOVEN: Symphonie n° 1

30 novembre 1952
MAHLER: Lieder eines fahrenden Gesellen, avec Alfred Poell
BEETHOVEN: Symphonie n° 3 "Eroica"

22 février 1953
GLUCK: Ouverture de Iphigénie en Aulide
FURTWÄNGLER: Symphonie n° 2

30 mai 1953
BEETHOVEN: Symphonie n° 9, avec Seefried, Anday, Dermota & Schöffler

10 avril 1954
BRUCKNER: Symphonie n° 8

15 avril 1954
BACH: Passion selon Saint Matthieu

Moreno escribió:....También la Primera y Segunda de Suitner...

...anunciada en estas mismas páginas en mayo del año pasado

¿Qué hubo, Moreno? Espero que estés bien...¿sabes cómo estará el sonido--y el precio ---de esa cajita de Furtwängler? Parece una buena colección de un repertorio muy cercano al director (si bien esa Pasión de Bach echa un poco para atrás, ¿no? ).

También acaban de publicar--de nuevo, en Orfeo--otra Novena de Beethoven desde Bayreuth (del año 54), pero he leído que le sonido es bastante pobre .



Un abrazo,