Channel Classics Ccs 34516 Fischer Composers Portrait Reviews
Aqueduct CLASSICS Mahler CCS SA 38019 Symphony no. 7 B U D A P Eastward S T F Due east IvanS T O R C H E S T R A I V A L Fischer
Iván Fischer I ván Fischer is the founder and Music Managing director of the Budapest Festival Orchestra since 1983 and Honorary Conductor of Berlin'southward Konzerthaus and Konzerthausorchester, later vi years every bit Music Director of the Konzerthaus Berlin (2012-2018). In 2018 he became Artistic Managing director of the Vicenza Opera Festival. In recent years, he has also gained renown as a composer, with his works existence performed in the United States, kingdom of the netherlands, Belgium, Hungary, Germany and Austria. The Budapest Festival Orchestra's frequent worldwide tours and a series of critically acclaimed recordings, which have been awarded prestigious international prizes, released first by Philips Classics and later past Channel Classics, have contributed to Iván Fischer'due south reputation as one of the globe'due south most visionary Music Directors. In Budapest and Berlin he introduced innovative concerts including cocoa concerts for small children, autism friendly concerts, midnight music for students and a diverseness of outreach activities. A regular presence on the podium with leading orchestras of the world, Mr. Fischer has invitee conducted the Berlin Philharmonic more than than ten times and spends 2 weeks each twelvemonth with Amsterdam's Royal Concertgebouw Orchestra. He is a frequent guest of the Cleveland Orchestra and New York Combo, and held the position of Principal Conductor of the National Symphony Orchestra in Washington, d.c. from 2006 to 2010. Mr. Fischer has conducted operas in the Staatsoper Vienna, the Purple Opera House in London, the Opera de Paris, and in opera houses in Zurich, Amsterdam, Stockholm, Brussels, Berlin and Budapest. He has held music director posts with both the Kent Opera and the Opera National de Lyon. Since 2013, he has worked exclusively with the Iván Fischer Opera Company, with whom he has directed a number of successful 'staged concerts' in Budapest, New York, Berlin, Amsterdam, London, Bruges and in the Abu Dhabi and Edinburgh Festivals. Iván Fischer is a founder of the Hungarian Mahler Guild and Patron of the British Kodaly Academy. He has received the Gold Medal Award from the President of the Democracy of Republic of hungary and the Crystal Honour from the World Economic Forum for his services in promoting international cultural relations. The regime of the France fabricated him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary's most prestigious Iván Fischer (Photo: Marco Borggreve) arts honor. In 2011 he received the Royal Philharmonic Social club Music Award, Hungary's Prima 3
Primissima Prize and the Dutch Ovatie Prize. In 2013 he was accorded Honorary Membership to the presented with cracking success in Republic of hungary and internationally, including at the London Proms. Regal Academy of Music in London. In 2015, he was presented with the Abu Dhabi Festival Laurels The Music Marathon at Müpa Budapest features i composer in eleven concerts on a unmarried day. for Lifetime Achievement and in 2016, he won the Clan of Music Critics of Argentine republic's The Midnight Music cycle attracts a young audience that sits among the orchestra musicians on award for Best Foreign Conductor. beanbags. 500 Hungarian children – of Roma and non-Roma origins – dance together every June Mr. Fischer studied piano, violin, and later the cello and composition in Budapest, before at Budapest'due south Hero Square. The orchestra's ain Bridging Europe festival, co-organized with Müpa continuing his education in Vienna and Salzburg where he studied conducting under Hans Budapest focuses on presenting the civilisation of a different European nation every September. Swarowsky and Nikolaus Harnoncourt. The bfo'southward opera productions are commonly directed by Iván Fischer as staged concerts designed for concert halls. In New York Mag's 2013 list of the metropolis's top classical music events, the bfo'southward Marriage of Figaro was voted the best of the year. Other successful productions have been invited Budapest Festival Orchestra to major music centers, including the Mostly Mozart Festival, the Edinburgh Festival and the Abu Dhabi Festival. From 2018 the bfo will be the resident orchestra of the yearly Vicenza Opera Festival Westward hen Iván Fischer founded the Budapest Festival Orchestra together with pianist Zoltán Kocsis in 1983, he fabricated a personal dream come up true. The orchestra's core philosophy has been to form a team of creative, risk-taking musicians who continue to develop their musicianship in the unique Teatro Olimpico. The bfo has commissioned and premiered many new compositions. In order to educate young talents, the orchestra has developed an apprentice scheme in collaboration with the in orchestral, chamber music and solo repertoire. Mr. Fischer introduced many reforms ranging European Matrimony Youth Orchestra and the Verbier Festival. Its first principal guest conductors from an intense, individual rehearsal technique to encouraging and promoting each musician's were Sir Georg Solti and Sir Yehudi Menuhin. Now this position is held past Gábor Takács- Nagy. creative activities. It is the innovative arroyo to music, the musicians' consummate dedication and Since its foundation over xxx years ago, the bfo's Music Director has been Iván Fischer. The their permanent striving for excellence that rocketed the Budapest Festival Orchestra into the Budapest Festival Orchestra is a foundation governed by a Board of Directors and receives subsidy group of the world's elevation orchestras. This young orchestra is at present a frequent guest of the major from the Hungarian State and the Municipality of Budapest. Friends and Supporters' Clubs of the international festivals; its recordings (showtime with Philips Classics, then with Channel Classics) Budapest Festival Orchestra have been formed in Hungary, the u.s.a., the u.k. and Germany. have won numerous awards. Gramophone Mag'southward international survey in 2009 listed the bfo among the ten all-time orchestras in the world. At dwelling house in Budapest the bfo has become the nearly popular Hungarian orchestra, playing normally to capacity audiences in the Müpa Budapest concert hall and in the Franz Liszt Academy. Every season, iii weeks are devoted to community programs, where groups of the orchestra accept music to schools, nursing homes, churches and community centers. They organize a tour of Hungary'south abandoned synagogues in order to bring life and attention to these buildings and promote tolerance. A number of innovative concerts take fabricated headlines all over the world. The autism-friendly cocoa concerts bring the joy of music to the whole family. Audience option concerts accept been iv v
Mahler 7 I am happy that the Dutch tv company vpro made a documentary of our recording of this bully symphony. This movie is available on the cyberspace. [YouTube/Mahler seven/Iván Fischer] It documents my efforts in proving that the last movement of Mahler'southward 7th symphony – despite some doubts of Mahler experts – is a masterpiece. This work is often seen equally enigmatic, fragmented, less accessible than the other, honey Mahler Symphonies. May this recording contribute to a revalidation! Mahler returns hither to a perfect balance. He ended the sixth Symphony in a tragic minor central. Hither he offers us the total journeying from darkness to light. And what a journeying it is! Delight notation the nearly magnificant scherzo framed between the two unique night music episodes! I beloved this symphony. Iván Fischer From darkness into light Thou ustav Mahler'due south 7th Symphony was commencement performed in 1908 in Prague, when the composer conducted the Czech Philharmonic Orchestra. This stupendous work, built up symmetrically in five movements, lasts some 80 minutes and is considered, despite its 'dark music' and funeral march, to be an 'optimistic' sequel to Mahler's pessimistic 6th. Members of the orchestra, audience and critics took some getting used to the modernistic sounds of this music, on the border betwixt late romanticism and early atonality. Mahler said of the symphony: 'It is my best piece of work and it has a cheerful character'. In writing it the composer threw no few conventions overboard. With an enormous orchestra, including novel instruments such as the tenor horn, mandolin, guitar, gong, tambourine and cow bells, Mahler presents his 'song of the dark' to the listener, though this title was not of his own making. The creative process of the Seventh Symphony went through various stages and fifty-fifty came to a standstill when Mahler suffered a composer's block – all quite dissimilar his other symphonies. Limerick is not something that can easily be planned or forced; equally he said himself: 'in this fine art, as in normal life, I am dependent on thoughts and ideas. If I had to etch, I would not produce a single annotation'. In the summer of 1904, before finishing his Sixth Symphony, he completed the two 'night music' movements for the Seventh. He planned to finish the other movements Recording session during the post-obit summer. For this purpose Mahler fabricated a special trip from Vienna to the (Photo: Channel Classics) family unit'south summer home on the Wörthersee. But precisely because of his strong inner coercion 6 vii
to complete the piece of work, he did not succeed. Writing to his wife Alma, he said 'I absolutely intended big-scale evolution department, the main theme appears at the close in the radiant key of Eastward to complete the Seventh, for which I had already finished the ii Andantes. I tormented myself major, bringing this sonata-class first movement to a jubilant finish. on and on for ii weeks until information technology depressed me ... then I left for the Dolomites. There exactly the same affair happened again, so in the finish I gave up and went back habitation ... I got into the boat to Night music and a waltz total of suspense be taken to the opposite shore. At the very commencement pull of the oars the theme (or rather its rhythm The opening movement and the Finale form the frame of the symphony. At its heart are two and character) for the outset of the first movement flashed through my mind – and within intriguing 'night music' movements, separated past a strange and macabre Scherzo, which is more than four weeks I had finished the commencement, 3rd and fifth movements'. like a dance of death in the shape of a waltz. The first nighttime music is imbued with the mood of Mahler's Wunderhorn songs, with the audio of moo-cow bells in the distance – which according to the Premiere in Prague composer are symbolic of 'far-from-the-world loneliness'. They are 'the fading audio of earth in Mahler was granted twenty-four rehearsals to prepare the work with the Czech Combo the face of eternity, as the final greeting of living beings'.The showtime, with a dialogue between Orchestra, enabling him to experience at length the issue of his cosmos. Full of doubts well-nigh the the beginning and 3rd horns, is reminiscent of the scène aux champs from the Symphonie Fantastique by slice, he continually changed the instrumentation, even up to a few days before the premiere. Hector Berlioz, a work which Mahler was addicted of conducting. Subsequently the first performances too (including three in the netherlands), he continued to shine the According to his wife Alma, when Mahler was composing Nachtmusik 2 he had charming work. Fortunately Mahler found support in the Maverick capital from several young musicians, visions like to those in the poems of Joseph von Eichendorff, the poet of the romantic German including Alban Berg and Otto Klemperer, who had likewise come up to Prague to hear the symphony landscape: peaceful meadows, rustling trees and murmuring brooks. The clan with the in what was one of the cultural highlights of the season. This first performance of the Seventh classical serenades of the age of Haydn and Mozart is completed past the presence of instruments Symphony, on 19 September 1908, took identify in the concert hall of the Prague Jubileum Exhibition; never heard before in a symphony, including the mandolin and guitar, non to forget the nocturnal it was the tenth combo concert marking the sixtieth anniversary of the reign of Emperor mood provided by the harp, solo violin and horn. The conductor Bruno Walter thought this Franz Joseph I. serenade to exist peradventure 'the virtually beautiful piece ever written by Mahler, in that location lurks a tender and sweet eroticism, the merely erotic note, every bit far as I am aware, in whatsoever of Mahler'due south music'. From funeral march to jubilant cease Afterward the enthusiastic reception at the Prague premiere of the Seventh Symphony, the consider The opening movement, in which so much happens amid profuse variation, bursts into action as ably more critical and conservative Viennese audition showed little appreciation for the Finale in if things had already started and all would be explained to the listener at a later phase. The march item. Had Mahler written a jubilant fanfare for a new victory here? Or was it rather a huge rhythm, so typical of Mahler, is immediately discernible in the slow introduction. It reminds ane parody of the pompous musical style of the plow of the century, a grotesque succession of orchestral of the dotted rhythms of French overtures of the Bizarre era, like those of Bach with which he effects? What was more, the articulate reference to Wagner's overture to the Meistersinger gave offence was very familiar. Mahler also evokes associations with his childhood in the Maverick garrison in Vienna. Was Mahler festively and jubilantly ridiculing the main of Bayreuth? Was information technology a parody? town of Iglau, where he was surrounded past the sounds of military signals and march music. Whatever the case may exist, after the nocturnal moods of the preceding movements, the clear light Every bit the 'messenger of the story' he employs the tenor horn for the chief theme: 'hither nature of day, of life itself, shines out in this exuberant and unfathomable finale. In his Seventh Symphony screams', every bit he said. Notable as the motility proceeds are the whole-tone scale (which he rarely Mahler seems, once again, to have followed the chief of 'per aspera ad astra' – through hardships used), the estranging leaps of a fourth, and the often sharp sounding instrumentation. Subsequently a to the stars. Clemens Romijn Translation: Stephen Taylor 8 nine
Mahler 7 Familie am Wörthersee. Doch simply sein starker innerer Drang, das Werk zu vollenden, stand up ihm im Weg. Mahler schrieb an seine Frau Alma: „Nun wollte ich gleich die 7. fertig machen, derer beide Ich freue mich sehr, dass der niederländische Sender vpro eine Dokumentation über unsere Aufnahme dieser großartigen Andanten schon vollendet waren. Zwei Wochen quälte ich mich bis zum Trübsinn, bis ich wieder in Sinfonie gemacht lid. [YouTube/Mahler 7/Iván Fischer] Er dokumentiert meine Bemühungen, einigen Mahler-Experten die Dolomiten ausriß! Dort derselbe Tanz, und endlich gab ich es auf und fuhr nach Hause mit der zum Trotz zu beweisen, dass der letzte Satz ein Meisterwerk ist. Die siebte gold als rätselhaft, fragmentarisch und weniger Überzeugung, daß der Sommer verloren sein wird. In Krumpendorf erwartete mich Alma nicht, zugänglich als die anderen, beliebten Mahler-Sinfonien. Möge diese Aufnahme zu einer Neubeurteilung beitragen! weil ich meine Ankunft nicht angezeigt hatte. Ich stieg in das Kick, um mich hinüberfahren zu Mahler kehrt in seiner siebten zu einem perfekten Gleichgewicht zurück. Endete die sechste Sinfonie in einer tragischen lassen. Beim ersten Ruderschlag fiel mir das Thema (oder vielmehr der Rhythmus und die Art) der Molltonart, nimmt er uns hier mit auf eine Reise von der Dunkelheit zum Licht. Und was für eine Reise das ist! Bitte Einleitung zum 1. Satz ein – und in etwa iv Wochen waren der 1., iii. und 5. Satz fix und fertig!" beachten Sie das wunderbare Scherzo, das von den beiden einzigartigen Nachtmusiken umrahmt ist. Ich liebe diese Sinfonie. Uraufführung in Prag Iván Fischer Für die Uraufführung mit der Tschechischen Philharmonie waren vierundzwanzig Proben angesetzt, sodass Mahler umfangreiche Erfahrungen mit der Wirkung seines Werk sammeln Vom Dunkel ins Licht konnte. Doch von Zweifeln an seinem Werk geplagt, änderte er die Orchestrierung ständig, sogar G ustav Mahlers Siebte Sinfonie wurde 1908 in Prag uraufgeführt, der Komponist selbst dirigierte die Tschechische Philharmonie. Das imposante Werk mit seinem symmetrischen fünfsätzigen Aufbau dauert etwa achtzig Minuten und gilded trotz der Nachtmusiken und des Trauermarschs als noch wenige Tage vor der Uraufführung; und auch noch nach den ersten Aufführungen nahm er weitere Korrekturen vor. In der böhmischen Hauptstadt wurde Mahler glücklicherweise von jungen Musikern wie Alban Berg und Otto Klemperer unterstützt, die eigens angereist waren, um „optimistische" Fortsetzung von Mahlers pessimistischer Sechster. Orchestermusiker, Zuhörer und das Werk, ein kultureller Höhepunkt der Saison, zu hören. Die Aufführung der Siebten Sinfonie Kritiker mussten sich zunächst allerdings an dice modernen Klänge dieser Musik auf der Grenze am nineteen. September 1908 fand im Konzertsaal der Jubiläumsausstellung in Prag statt und gehörte zum zwischen Spätromantik und früher Atonalität gewöhnen. Mahler selbst meinte: „Es ist mein bestes zehnten Philharmonischen Konzert zum sechzigsten Regierungsjubiläum Kaiser Franz Josephs I. Werk und vorwiegend heiteren Charakters." In seiner Siebten brach der Komponist gleich mit mehreren Konventionen und bot einen riesigen Orchesterapparat samt Spezialinstrumenten wie Vom Trauermarsch zum jubelnden Finale Tenorhorn, Mandoline, Gitarre, Gong, Tamburin und Kuhglocken auf, um dem Publikum sein Der bewegte und ereignisreiche erste Satz beginnt, als ob dice Handlung bereits im Gange wäre und „Lied der Nacht" zu spielen – ein Titel, der übrigens nicht von Mahler selbst stammt. der Zuhörer erst später eine Erklärung erhielte. In der langsamen Einleitung ist sofort Mahlers Anders als bei den anderen Sinfonien verlief dice Arbeit an der Siebten in mehreren Etappen typischer Marschrhythmus zu erkennen, der an die punktierten Rhythmen der französischen und kam durch eine kreative Blockade vorübergehend sogar zum Erliegen. Komponieren lässt Ouvertüren aus der Barockzeit erinnern, wie Mahler sie von Bach kannte. Außerdem weckt sich weder planen noch erzwingen, oder wie Mahler sagte: „In der Kunst, genau wie im Alltag, er hier Assoziationen an seine Kindheit in der böhmischen Garnisonsstadt Iglau, wo er täglich bin ich auf Einfälle angewiesen. Wenn ich gezwungen wäre zu komponieren, würde ich keine militärische Signale und Marschmusik hörte. Das Tenorhorn als „Bote der Geschichte" stellt Annotation zustande bringen." Noch bevor Mahler im Sommer 1904 seine Sechste Sinfonie vollendete, das Hauptthema vor – „hier röhrt dice Natur", so Mahler. Auffällig sind im Folgenden dice von hatte er bereits die beiden Nachtmusiken für die Siebte fertiggestellt. Die anderen Sätze plante er Mahler selten verwendete Ganztonleiter, die verfremdenden Quartsprünge und dice teilweise im nächsten Sommer zu schreiben. Dafür begab er sich extra von Wien in das Feriendomizil seiner grelle Instrumentierung. Nach einer großangelegten Durchführung erklingt das Hauptthema 10 11
Recording session (Photo: Channel Classics) 12 13
in strahlendem E-Dur, was den ersten Satz – der übrigens in Sonatensatzform steht – in Jubel Mahler 7 enden lässt. La chaîne de télévision vpro a fait un documentaire sur notre enregistrement de cette grande symphonie. J'en suis heureux. Nachtmusik und spannungsreicher Walzer Ce moving picture peut être vu via net. [YouTube/Mahler seven/Iván Fischer] Il montre mes efforts cascade prouver que le dernier Der erste Satz und das Finale bildet den Rahmen der Sinfonie. Das Herzstück sind die beiden mouvement de la septième symphonie de Mahler – malgré les doutes émis par certains experts – est un chef d'œuvre. Cette faszinierenden Nachtmusiken, die durch ein merkwürdiges und makaberes Scherzo getrennt œuvre est souvent considérée comme énigmatique, fragmentée, moins accessible que les autres symphonies de Mahler tant sind, eher ein Totentanz in Class eines Walzers. Dice erste Nachtmusik atmet die Atmosphäre aimées. Que cet enregistrement contribue à sa réhabilitation ! von Mahlers Wunderhornliedern, mit fernem Kuhglockenklang, laut Mahler das Symbol Mahler revient là à un équilibre parfait. Il termine sa sixième symphonie dans une tonalité mineure tragique. Dans la „weltfernster Einsamkeit" und „verhallendes Erdengeräusch im Angesicht der Ewigkeit, als septième, il nous offre le voyage entier, de l'obscurité à la lumière. Et quel voyage ! Notez le magnifique scherzo encadré letzten Gruß lebender Wesen." Der Anfang mit seinem Dialog zwischen dem ersten und dritten par les deux remarquables nocturnes ! J'aime cette symphonie. Horn erinnert an die „Scène aux champs" aus der Symphonie fantastique von Hector Berlioz, die Iván Fischer Mahler gerne dirigierte. Die zweite Nachtmusik assoziierte Mahler, so seine Frau Alma, mit einer Lieblichkeit wie De l'obscurité à la lumière in den Gedichten von Eichendorff, dem Dichter der romantischen deutschen Landschaft: friedliche Wiesen, rauschende Bäume und murmelnde Bäche. Dice Verbindung zu den klassischen Serenaden aus der Zeit Haydns und Mozarts wird durch Instrumente wie Mandoline und Gitarre L a septième symphonie de Gustav Mahler a été créée en 1908 à Prague par l'Orchestre Phil harmonique Tchèque sous la baguette de Mahler. Cette puissante œuvre musicale à l'orga nisation symétrique en cinq mouvements dure environ quatre-vingt minutes. Malgré ses vervollständigt, die in einer Symphonie noch nie zuvor zu hören waren. Nächtliche Stimmung « Nachtmusiken » et une marche funèbre, elle est considérée comme la continuation « optimiste » erzeugen außerdem Harfe, Solovioline und Solohorn. Dirigent Bruno Walter fand dice Serenade de la pessimiste Sixième symphonie de Mahler. Les membres de 50'orchestre, le public et les „vielleicht das Schönste, das Mahler je geschrieben hat: eine süß-zarte Erotik lebt darin als einziger critiques ont toutefois eu besoin d'un peu de temps pour south'habituer à ses sonorités modernes, erotischer Laut, der meines Wissens in Mahlers Werken vorkommt." à une musique se situant entre le romantisme tardif et le début de 50'atonalité. Mahler a dit à son Nachdem dice Siebte Sinfonie in Prag begeistert empfangen worden war, störte sich das viel propos : « C'est monday œuvre la plus réussie (…) elle possède un caractère essentiellement enjoué. » kritischere und konservativere Publikum in Wien vor allem an dem Finale. Hatte Mahler die Pour la limerick de ce « Lied der Nacht » ou « Chant de la Nuit » – titre dont il n'est en réalité Blechbläser hier einen neuen Sieg bejubeln lassen? Oder war es eher eine Persiflage auf den prunk pas l'auteur -, il a mis de côté un certain nombre de conventions, et choisi de faire exécuter cette vollen Musikstil der Jahrhundertwende, eine bizarre Abfolge von Orchestereffekten? Vor allem œuvre par united nations immense orchestre intégrant des instruments peu habituels tels que le cor ténor, la der klare Verweis auf das Vorspiel zu Wagners Meistersingern missfiel den Wienern. Hatte Mahler mandoline, la guitare, le gong, le tambourin et les cloches de vaches. hier schlichtweg den Meister von Bayreuth verspottet? War es eine Parodie? Wie dem auch sei, Le processus de création de la Septième symphonie a connu différentes phases. Il est même nach der vorangegangenen nächtlichen Atmosphäre bricht in diesem überschwänglichen und resté stationnaire le temps d'un blocage créatif, à la différence des autres symphonies. Composer unergründlichen Finale das helle Licht des Tages, des Lebens hervor. In seiner Siebten Sinfonie schien est un acte qu'il est difficile de planifier et d'exécuter sous la contrainte, ou comme Mahler le Mahler – wie and so ofttimes – dem Prinzip „per aspera ad astra" zu folgen: über raue Pfade zu den Sternen. disait lui-même : « Dans l'fine art comme dans la vie, j'ai été assigné à la spontanéité. Si j'avais european union l'obligation de composer, je n'aurais pas pu écrire une notation. » Mahler avait déjà achevé ses deux Clemens Romijn Übersetsung Anne Habermann fourteen 15
Nachtmusiken cascade sa Septième symphonie, avant même d'avoir achevé durant l'été 1904 sa baroque – et Mahler, ayant étudié la musique de Bach, les connaissait bien. On note également des Sixième symphonie. Son objectif était de composer les autres mouvements fifty'été suivant. Il s'est associations avec 50'enfance du compositeur à Jihlava (Iglau), petite ville de garnison bohémienne, spécialement rendu pour cela dans sa maison secondaire, sur le bord du Wörthersee. Mais son où sonneries et marches militaires faisaient partie de fifty'environnement. Le cor ténor – « messager fort désir intérieur d'achever l'œuvre a justement pour lui été un obstacle. À son épouse Alma, de la narration » – introduit le thème principal : « Ici crie la nature », disait Mahler. On entend il a écrit ce qui adjust : « J'avais vraiment le projet d'achever la septième symphonie dont les deux ensuite des gammes par ton – rares chez lui -, des sauts de quarte et une instrumentation aux andantes étaient déjà terminés. Je me suis torturé l'esprit deux semaines jusqu'à en devenir dé sonorités « très caustiques ». Après un développement de grande envergure, le thème principal pressif… Je suis allé dans les Dolomites. La situation s'est reproduite. J'ai alors abandonné et suis réapparaît pour finir dans united nations rayonnant mi majeur qui conduit à la conclusion pleine d'allégresse rentré à la maison… Je suis monté dans la barque pour pouvoir traverser. Au premier coup de de ce mouvement de forme sonate. rame, en un éclair, le thème (ou plutôt le rythme et le caractère) de fifty'introduction du premier mouvement k'est venu à l'esprit – et en quatre semaines, le premier, le troisième et le cinquième Musique de nuit et valse avec suspens mouvement étaient achevés. » Le premier mouvement et le mouvement concluding elective le cadre de la symphonie. Son cœur est constitué par deux nocturnes intrigants, séparés par un scherzo étrange et lugubre aux allures Création à Prague de danse macabre en forme de valse. Il règne sur ces nocturnes l'atmosphère des lieder du Knaben Pour son travail avec l'Orchestre Philharmonique de Tchéquie, Mahler avait obtenu vingt-quatre Wunderhorn, avec ces sons de cloches de vache qui résonnent au loin et qui symbolisent selon répétitions et a largement pu expérimenter 50'effet de sa création. Tourmenté par ses doutes, Mahler Mahler la « solitude la plus éloignée du monde ». Ce sont les « sons de la terre qui expirent face up à apportait constamment des modifications à l'instrumentation, et cela même jusque quelques l'éternité, tels le dernier salut d'united nations être vivant ». Cela commence par un dialogue entre le premier jours avant la création. Après les premières exécutions publiques (dont trois aux Pays-Bas), il a et le troisième cor, rappelant la « scène aux champs » de la Symphonie Fantastique d'Hector continué de la peaufiner. Par risk, dans la capitale bohémienne, Mahler a trouvé le soutien de Berlioz que Mahler aimait tant diriger. quelques jeunes musiciens tels qu'Alban Berg et Otto Klemperer, qui s'étaient également rendus à Quand Mahler a composé son deuxième nocturne, il a eu selon son épouse Alma de char Prague pour entendre la symphonie, climax culturel de la saison. La création de la Septième sym mantes visions du blazon de celles que l'on trouve dans les poèmes d'Eicheldorff, poète du paysage phonie a eu lieu le 19 septembre 1908 dans le Pavillon « salle de concert » de fifty'Exposition de la Cham romantique allemand : prés paisibles, bruissement d'arbres et murmure de ruisseaux. 50'intro bre de Commerce et des Métiers – organisée à Prague à 50'occasion du soixantième anniversaire de duction d'instruments encore jamais entendus dans une symphonie, tels que la mandoline et l'accretion au pouvoir de l'empereur Franz Joseph Ier. Cet événement a constitué le dixième et la guitare, rend complète 50'association avec les sérénades classiques de 50'époque de Haydn et de dernier concert philharmonique de cette exposition anniversaire. Mozart. L'utilisation d'une harpe, d'un solo de violon et d'un solo de cor sont d'autres éléments participant à fifty'élaboration de cette atmosphère nocturne. Pour Bruno Walter, chef d'orchestre, De la marche funèbre à la decision pleine d'allégresse cette sérénade était peut-être « ce que Mahler a composé de plus boyfriend : il southward'y cache united nations érotisme Le premier mouvement, changeant et riche en événements, débute comme si fifty'action était déjà tendre et doux, le seul son érotique, à ce que je sache, présent dans la musique de Mahler. » en train, et comme si l'auditeur allait plus loin en obtenir l'explication. Dans l'introduction Après l'accueil enthousiaste à Prague de la Septième symphonie, le public plus critique et lente, un rythme de marche particulièrement caractéristique de l'écriture de Mahler se fait conservateur de Vienne a surtout contesté le Finale. Mahler a-t-il voulu composer ici une fanfare immédiatement entendre. Il évoque le geste pointé des ouvertures à la française de 50'époque joyeuse saluant une nouvelle victoire ? S'agissait-il plutôt d'un persiflage monumental du style sixteen 17
ccs sa 25207 Beethoven / Symphony no.7 pomposo – caractéristique en cette époque de changement de siècle – ou d'une succession baroque bbc music magazine, sound & operation 5* • (...) A spring-heeled conductor such as Iván Fischer d'effets orchestraux ? Les références claires à l'ouverture des Maîtres Chanteurs de Wagner a was born for Beethoven'south Seventh Symphony, and this account with his Budapest Festival Orchestra is a bubbling particulièrement déplu à Vienne. Mahler s'est-il moqué de manière festive et joyeuse du maître delight. ... Fischer whips upwardly tremendous excitement, but still gives united states of america playing of shining finesse. Rossini, Weber and a lesser light, Wilms, offer novel fillers. (...) the times online de Bayreuth ? Était-ce une parodie ? Quoi qu'il en fût, après les atmosphères nocturnes des mouvements précédents, la lumière claire du jour et de la vie résonne dans ce Finale exubérant. ccs sa 26109 Mahler / Symphony no.iv, with Miah Persson, soprano Comme souvent, Mahler a semblé suivre dans sa Septième symphonie l'adage suivant : « per audiophile edition 5* • Opus d'Or • volkskrant 5* • klassiek centraal Gouden Label • de morgen v* • rondo (Republic of finland) cd of the Month • sa-cd net 5*, Performance/Recording aspera advertizing astra » - par des sentiers ardus jusqu'aux étoiles. 5* • Diapason d'Or • classics today ten/10 • bbc music 5* • gramophone Editors selection of the Month 'Fischer and his brilliant Budapest ring give us Mahler with the personal Bear on.What no one will deny Clemens Romijn Traduction : Clémence Comte is the amazing unanimity and precision of the playing here and the superlative quality of the sound engineering. This is but one of the endless imaginative touches on an exceptional hybrid sacd which must surely be an Awards candidate for 2009.' gramophone ccs sa 27708 Rossini / Instrumental Music bbc music magazine orchestra cd of the month • (...) 'The opening moments of this disc leave no doubt that it's going to exist a enormous fun, and from a virtuoso orchestra with a superb conductor (...) Fischer has shown, in a wide repertoire, that he has deep understanding non simply of the glittering surfaces of music we observe hither, but also of its deeper meanings. (...) Can Rossini take imagined any of this music would receive such impeccable performances?' bbc music magazine ccs sa 28309 Brahms / Symphony no. 1 in C minor, Variations on a theme by Haydn classics today 10/10 • the guardian 5* • fonoforum Empfehlung des Monats • luister 10 • irr (international tape review) Outstanding • (...) for anyone seeking an imaginative new operation (...) enthusiastically recommended. (...) Aqueduct Classics has provided, as we 've come to look from this visitor, concentrated sound with an splendid sense of space – especially on the surround tracks. A winner. fanfare ccs sa 30010 Dvórak / Symphony no. seven in D modest; Suite in A major the sunday times cd of the Calendar week • Fischer maintains the momentum throughout, giving his woodwind soloists enough of time to luxuriate in Dvorak'due south inexhaustible stream of melodic ideas, yet never driving the music the lord's day times ccs sa 30710 Beethoven / Symphony no. 4 in B apartment major op. 60, Symphony no 6 in F major op. 68 'Pastoral' (1806-1808) (...) I requite this disc five stars – information technology hits on all cylinders, and the performances are every chip the equal of the superb audio. Y'all'll be hard pressed to observe a more emotionally involving, yet technically perfect performance. Very highly recommended audio (...) audiophile edition 18 nineteen
ccs sa 31111 Franz Schubert / Symphony no. 9 ('Groovy') in C major [D 944], Five German ccs sa 33514 Brahms / Symphony no. two, Tragis & Academic Festival Overture Dances and Seven Trios with Coda [D89] Diapason D'Or • (...) intense freshness and lyricism from Fischer and hist Budapest forces. (...) the audiophile edition v* • bbc music magazine 5/5* • bbc radio 3 Disc of the Week • classical-music. guardian • (...) In short, this is a disc with impressive performances and so thoroughly prepared, expertly executed com five/5* • classics today 9/9 • You will non find a more than loving impeccable performance of Schubert'due south masterpiece and superbly recorded that one could not reasonably ask for more. Unreservedly recommended. cd-choice than this excellent reading. classical cd review ccs sa 36115 Mahler / Symphony no. 9 ccs sa 32112 Igor Stravinsky / Rite of Jump, Firebird Suite, Scherzo,Tango sacd-net 5/5* • gramophone Editors Choice • nrc five* • classics today 10/ten • opus hard disk drive d'Or • sa-cd net v/v* • the sunday times cd of the Week • bbc radio 3'due south building a library • knack A very special class, a sonic beauty (...) gramophone • For those who can't have too much of this (Belgium) 4* • classics today 9/10 • stereoplay: cd des Monats • luister x • only the music masterpiece, Fischer is essential fot further enlightenment. (...) bbc music magazine 4/4* (...) a Mahler Record of the Month • rondo v* • pizzicato Supersonic Honor • audiophile audition Multi Ninth that's non to exist missed. classics today 4/5* channel Disc of the Calendar month 5* • (...) This is one of the earthiest, most pagan accounts of the ballet effectually… before you play it, warn the neighbours. (…) an ear-stretching interpretation the times ccs sa 35315 Brahms / Symphony no.four, Hungarian Dances 3, vii & 11 (...) Intimacy on a m calibration (...) This is an orchestra whose players listen to each other intently. (...) Iván ccs sa 32713 Richard Wagner / Götterdämmerung, Die Meistersinger von Nürnberg Fischer keeps the larger picture in focus. bbc music magazine five/five* (excerpts), Siegfried-Idyll, Petra Lang, soprano bbc music magazine sound & functioning v* • u.k. specialist classical charts #1 • sa-cd cyberspace iv.5 ccs sa 37016 Tchaikovsky, Symphony no. 6 / Borodin, Polovtsian Dances /5* • dagblad de limburger 5* • (...) Thank you to Channel's superb recording we tin can bask the piquancy of the (...) intelligently-paced and emotionally powerful Tchaikovsky (...) presto classical Budapest woodwind, the smoothness of the strings and especially the seize with teeth of the contumely. (…) sa-cd-net ccs 34516 Fischer, Composer's portrait one ccs sa 33112 Mahler / Symphony no.one in D major In music that is full-bodied, lyrical, acerbic and often dazzling, Fischer brings together eclectic influences from grammy 2013 nomination • classics today france 10/10 • preis der deutchen schallplattenkritik Bach to weill, from Yiddish traditions to the Indian tabla and Japanese Noh theatre. (...) Soprano Nora Fischer • audiophile audition 5* • Multichannel Disc of the Month • klara 10 • musicweb international proves a revelation (...) Download of the Month • Diapason d'Or • sacd-net 4/v* • classics today 10/10 • klassik.com bbc music magazine five/iv* 5/v* • musiq3 cd of the Week • audiostream Best hd Albums of 2012 • (...) The playing on this disc is so beautiful that it volition take your breath away. (…) classics today x/10 ccs sa 38817 Mahler / Symphony no. three Here for once is a Mahler symphony release that feels different from the outset.(...) I doubt whether there has ever ccs sa 34213 Mahler / Symphony no. v in C sharp pocket-sized been a more precisely focused, more than sheerly beautiful recording of any Mahler work. (...) Reluctant to parade its iowa public radio All-time cd's of 2013 • audiophile audience v/5* • relish the music 5* • sacd-net five/5* roughest edges and disinclined to hurry, Fischer instead elicits a range of pristine, jewel-similar colour that leaves its • knack 5* • klassik.com v/5* • cbc radio Disc Of The Week • parool 5* • mahler review 5* • (...) textile refreshed. (...) This Third is a must-have. ameliorate than whatsoever recording of the 5th, including the Bernstein, Rattle and Abbado. audiophile audition • gramophone [editor's selection - june 2017] ccs sa 33714 Bruckner / Symphony no. 7 in E major ccs sa 37418 Mendelssohn / Incidental music to 'A Midsummer Night's Dream' by 'Pick of the Month's' Releases gramophone • (...) a superb performance (...)audiophile audience • The Shakespeare playing of the Budapest Festival Orchestra throughout is breathtaking (…) sacd-net 4.5/5* (...) a conscientious, joyous reading that delights in Bottom's donkey effects, a drunken Funeral March, effervescent textures, and light graciousness of heart. (...) audiophile audition 5* twenty 21 Colophon Production Technical data Aqueduct Classics Records bv Microphones Producer Bruel & Kjaer 4006, Schoeps Hein Dekker Digital converter March 2019 Recording engineers DSD Super Sound/Grimm Sound Hein Dekker, Jared Sacks Pyramix Editing/Merging Technologies Dear Sir / Madam, Editing Speakers Jared Sacks Audio Lab, Holland Thank you for purchasing Mahler's Symphony No. seven by the Budapest Festival Comprehend design Amplifiers Orchestra nether the baton of Iván Fischer. I hope you are enjoying the recording! Advertising van der Kouwe, Manifesta, Rotterdam van Medevoort, Holland Cover photo Mixing board The complete catalogue of the 400+ recordings that I made over the past 29 Ian Douglas Rens Heijnis, custom blueprint years with the Aqueduct Family of Artists is available on our website. This includes Liner notes recordings with Rachel Podger, Florilegium, Rosanne Philippens, Amsterdam Clemens Romijn, Iván Fischer Mastering Room Sinfonietta, Ragazze Quartet and Ning Feng, to proper name a few. Yous will likewise find Translators Speakers Mahler Symphonies Nos. 1, 2, three, 4, 5, 6 and 9 by Iván Fischer and his BFO at Stephen Taylor, Clémence Comte, Grimm ls1 www.channelclassics.com Anne Habermann Amplifier Recording location Classe 5200 All-time wishes, Jared Sacks Palace of Arts, Budapest Cables Founder, Producer, Engineer at Channel Classics Records Recording date Van den Hul* September 2015 *sectional use of Van den Hul 3t cables New to our website? You volition automatically receive a 25% disbelieve lawmaking on the entire cart upon creating your account. The discount is valid on the concrete products (CD / SACD) every bit well equally Downloads in any format of your choice. More Data: www.channelclassics.com/welcome www.bfz.hu | world wide web.channelclassics.com 22 23
BUDAPEST FESTIVAL ORCHESTRA Iván Fischer, usher Gustav Mahler (1860-1911) Symphony no. 7 in East minor (1904-1909) 1 Langsam – Allegro risoluto, ma non troppo xx.45 two Nachtmusik 1: Allegro moderato fourteen.29 3 Scherzo: Schattenhaft 9.05 four Nachtmusik 11: Andante amoroso 12.29 5 Rondo – Finale 17.57 total time 75.17 www.vandenhul.com
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