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Mahler - Symphony No. 4 (Frederica von Stade, Wiener Philharmoniker, Claudio Abbado) (Universal UCGG-9054) - 1977/2012
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1977/2012
Жанр: Classical
Издатель (лейбл): Deutsche Grammophon / Universal Records Japan
Номер по каталогу: UCGG-9054
Продолжительность: 00:58:06
Наличие сканов в содержимом раздачи: Только обложка альбома
Треклист:
Symphony No. 4 in G major
01. I. Bedächtig. Nicht eilen (16:11)
02. II. In gemächlicher Bewegung. Ohne Hast (9:17)
03. III. Ruhevoll (23:28)
04. IV. Sehr behaglich (9:10)
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Лог проверки качества (DR16)foobar2000 v2.25.7 / DR Meter v1.0.6
log date: 2026-03-18 10:43:48
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Analyzed: CLAUDIO ABBADO / MAHLER: SYMPHONY NO.4
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DR Peak RMS Duration Track
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DR16 -6.20 dBFS -30.45 dBFS 16:11 01-1. BEDAECHTIG. NICHT EILEN [SYMPHONY NO.4]
DR15 -16.71 dBFS -37.87 dBFS 9:17 02-2. IN GEMAECHLICHER BEWEGUNG. OHNE HAST [SYMPHONY NO.4]
DR19 -6.18 dBFS -32.42 dBFS 23:28 03-3. RUHEVOLL [SYMPHONY NO.4]
DR16 -14.87 dBFS -37.37 dBFS 9:10 04-4. SEHR BEHAGLICH [SYMPHONY NO.4]
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Number of tracks: 4
Official DR value: DR16
Samplerate: 88200 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
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Оркестр: Wiener Philharmoniker
Композитор: Gustav Mahler
Дирижер: Claudio Abbado
Исполнитель:
Gerhart Hetzel, violin solo (1)-(2), (4)
Frederica von Stade, mezzo-soprano (4)
Wiener Philharmoniker
Claudio Abbado, conductor
Доп. информация:
Recorded at the Großer Saal, Musikverein, Wien in V.1977
Executive Producer: Rainer Brock
Recording Producer: Rainer Brock
Recording Engineer: Günter Hermanns
Balance Engineer: Volker Martin
Editor: Hans-Rudolf Müller
DSD Remastered by Emil Berliner Studios in VIII.2012
Original liner notesIt is odd that a work so sublimely agreeable as Mahler's Fourth – his "Symphony of heavenly life" but his "Pastoral" Symphony too, a Symphony which begins with sleigh-bells and a joyful G major dance and ends, transfigured, calm in E major – should have caused such acrimony when it first appeared in 1901. Yet even today Mahler is thought of as a "tragic" composer (strangely so when only one of his symphonies, the Sixth, ends in bleak despair), and in 1901 the general public, with only the Second Symphony's tenuously proven popularity to guide them, were wholly convinced of the fact. It had taken them several years to come to terms with the Second, with the Totenfeier first movement especially, and so it is perhaps not surprising that, confronted with the Fourth Symphony, all air and innocence by comparison, they thought it a joke, a piece of symphonic vaudeville written to trap or tease them out of seriousness.
The Symphony's hallmarks are a luminous beauty and a simple radiance. Such qualities are always likely to be puzzling to metropolitan man; perhaps to men of many conditions and ages. It is an interesting social and psychological, as well as etymological, fact that the German word "selig", "blessed", has given the English-speaking peoples the word "silly". What could be sillier, or to imaginative minds more blessed, than the finale of Mahler's Fourth Symphony, a Wunderhorn fable in which angels bake bread, maids dance, St. Peter fishes and St. Ursula smiles fondly on? It is a song-finale remarkable for its blend of Viennese charm, Wunderhorn humour and blessed simplicity. "There is no music on earth like this; angelic voices ravish the senses; all things waken to joy", sings the soprano; and the harp, dominant and tonic notes of E major quietly sounding, cocks us into eternity.
"It is the critics who consider him with an ironic eye and find only affectation in his music", wrote Artur Seidl, a lone assenting voice at the time of the première. "It is they who are stubborn and cannot find the key to his naive and childlike fairy-tale world." This was well said. But why was there such bitter acrimony, and why did Mahler, by return of post, send proofs of the unpublished score to one of his most impassioned critics, the young Swiss musician, William Ritter, who wrote almost hysterically of Mahler bringing "jugglers into the temple", "a circus into the cathedral", of "sacriligeous buffoonery" and the "Jewish, Nietzschean spirit" desecrating Christianity? The truth is, Mahler's vision of heavenly bliss, and his concept of natural wonder, like William Blake's, had nothing escapist about it. Ritter, Mahler clearly intuited, was right to be shocked. Outwardly, of course, the Symphony's first movement is so much pastiche – it has been called a Watteau-esque essay in rococo with its naively affecting Wunderhorn melodies, its jogging rhythms, its chamber-music scoring, its breezy, innocent moods and quaint sidelong glances at 18th-century musical style. But it is music as organically, and thus as symphonically, whole as anything Mahler had written to date. A free-wheeling rondo it may be, deploying half-a-dozen varied and gorgeous themes, by turns countrified ("the main theme swings into view with all the gallantry of a rustic back from town" was Tovey's witty evocation), gracious, broadly songful, archaic and bright with visionary wonder. But though the music is so prodigal of invention that at one point it confounds itself and comes to a peremptory halt, there is here a teeming, Protean inventiveness which gives it the "inexhaustible" quality which for Mahler was one of the prerequisites of symphonic utterance.
Mahler once said that there are no fortissimi in the Fourth Symphony, which is literally a lie but metaphorically a truth. For even the triple forte peak of the first movement speaks less of foreboding and more of an excess of love as the sleigh-bells go jingling on. Yet though, in essence, the Symphony's first movement is as warm and beguiling as a summer's afternoon, it does, as Ritter sensed, carry its own dangerous charge, a charge which betokens not parody or irony, as Ritter first thought, but a deep love of life and a determination to savour it to the full. It is a specially heightened celebration of innocence and wonder. The high flute calls midway through the first movement lead to several pages which have, undeniably, a certain dangerous, dionysiac beauty about them. Hearing the "Paradise" theme in the flutes I am reminded of Coleridge – "Where melodies round honey-dropping flowers,/ Footless and wild, like birds of Paradise, / Nor pause nor perch, hovering on untamed wing!" And who would deny the shock of the subito mosso midway through the slow movement before the glorious release of the horns, or the splendour and the terror, the awe-inspiring blaze, of the great transforming climax, the vision of the Gates of Paradise, at the height of the Adagio?
The Symphony's Scherzo, with its tuned-up fiddle, is outwardly demonic, hinting at ghosts, ghouls, grief and regret beyond the bright, warm cocoon of childhood. But when all's said and done, it is little more than a quaint essay in the medieval grotesque, a picture-book story, a brief disturbing dream in the nursery. And the two Trios are sublime, pure meditative Schmalz, trailing their own clouds of childish wonder. True, Mahler's preoccupation with death, the skull beneath the skin, is all-pervasive. Recumbent stone figures, their arms crossed in eternal sleep on the tops of tombs: that is what, according to Bruno Walter, Mahler had in mind at the start of the symphony's luminous slow movement – the bell-like pizzicati (taken up by the timpani at the movement's climax, a typical transformation) suggestive of an implacable calm. Yet this picturesque set of variations, death-haunted though they may be, is but a cloistered way to glory, a necessary transition from the Styrian fields of the first movement to the Elysian fields of the last. "What country, friends, is this?" asks Viola near the start of Shakespeare's Twelfth Night. Illyria or Elysium? Shakespeare knew, when he penned that sublime pun, that Viola was in both – as was Mahler, when he gave to the world his once berated, now perhaps too little pondered, Fourth Symphony.
1978 Richard Osborne
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