As amazing as the human voice is, somehow @5:40 to the end, when the singer is silenced, brings an untouchable sorrow and grief to the proceedings. I'm not sure why I only get that "beyond" feeling from just the end --- the melody is the same as before, the harmony is the same as before, but somehow it is just more devastating.
Transcendent, sublime beauty. The truest expression of existential resignation and cosmic lonliness, quite possibly in musical history. Mahler, and these performers recreating his vision, have tapped into magical depths of feeling that we can all relate to as we all decay, and watch loved ones decay and die, and all sadly spin on a fragile dying planet in a vast void. Is there a more densely packed expression of this in any other work of art in the history of humankind? How can less than seven minutes be this magical and cathartic? I can think of a few works that might match, but none can surpass. The only true response here to anyone really listening can be tears, and lots of them.
Magdalena Kozen dimostra un'ottima capacità di fraseggio. Le dinamiche discendono dalle note. Probabilmente le viene naturale, ma il risultato è straordinario. Il suo "ruh" devasta il cuore ♥
The pressure from potentially dropping a bum note into performance like this would preclude me from playing any instrument. Even a triangle. These performers have nerves of steel.
In common with many devotees of this particular song, I've listened to countless versions, both recorded and live, over the years. I have to state that the orchestral playing in this performance, is, in my very humble opinion, the best I have ever heard. If perfection in orchestral tone and accompaniment exists - then this is it! My thanks go to the LFO, Ms Kozena, Maestro Abbado and not least, Mr Mahler himself!
The glissando at the end never fails to make the hairs on my neck bristle. How is it that I can’t hear it in all the other recordings that have been made? Such a perfect ending to a perfect song. Maybe I should see it live and sit in the front row opposite the lead violinist!
Abbado looks the part of this most epic of songs. One recalls that both Freud and Mahler had reproductions of the cryptic yet restful "Isle of the Dead" hanging in their chambers. In this recording of the great Mahler anthem (I'm familiar with a different Kozena rendition), she sweeps over the 1930s and 40s like a doleful angel... such is c her power.. one imagines the defiant Strauss simply refusing to take down his dedications to Mahler in the very height of the tyranny. In meinem himmel. One can so clearly hear why.
Epic song, wtf is wrong with the music industry..this song is a masterpiece. The beat, the time signature, the synergy of integrating them all together with the tempo changes... masterpiece
I loved Abbado’s peaceful spirit when I first discovered him. Sadly, he was gone shortly after I discovered him, and I wished I had known of him longer while he was alive. . RIP Maestro. You’re dearly missed and you still are affecting my life, even now at 2 AM. ❤️
للناطقين بالعربية، محاولتي للترجمة: مفقودٌ أنا في هذا العالم. في عالمٍ تعودت فيه ضياع وقتي، منذ فترةٍ لم يَسمع مني، وقد آمن أن الموت طوى صفحتي. لا يهُمني... إن ظنني ميتٌ؛ لا أستطيع نكران ذلك، حقاً أنا هالك. فانٍ أمام ضوضاء الوجود، راضٍ في عالمي الهادئ، أعيش وحدي في جنتي، في حبي وأغنيتي!
