Support us on Patreon and get more content: / classicalvault --- Gustav Mahler Symphony No 3 Anna Larsson, contralto Arnold Schoenberg Chor Tolzer Knabenchor Lucerne Festival Orchestra Claudio Abbado, conductor Lucerne, August 2007
martin asher And with every night, it gets better and better. This symphony just blows my mind completely every time. Hard to describe what this does to you. Especially the last movement.
@ Yes, he was Jewish. And if he had lived a few decades more, he would have been thrown out of Germany and Austria like Bruno Walter, Otto Klemperer, Erich Leinsdorf, Emanuel Feuermann, Georg Solti, William (Wilhelm) Steinberg, Arnold Schoenberg, Rudolf Kolisch, Vladimir Horowitz... or murdered like Erwin Schulhoff, Pavel Haas, Hans Krasa, Alma Rosé - need I go on? For many people, this was/is "good riddance", but the truth is, that Germany and Austria inflicted themselves terrible losses from which they ever recovered.
🟦 1st Movement : "Pan Awakens: Summer Marches In" 0:03 THE AWAKENING CALL: Intonation of the march theme 0:28 Misterioso (anticipation of the introduction of the midnight song) 1:14 Funeral March [heavy and dull] 2:40 Recitative/Arioso [4:39 = sleep motif] 5:14 PAN IS SLEEPING: Chorale (with songlike melody as counterpoint) 5:53 THE HERALD: Fanfare that dissolves into music from far away 6:31 Recitative/Arioso (funeral march rhythms as accompaniment) [8:31 =sleep motif] 8:55 Music from far away (Chorale with songlike counter melody, later fanfare [9:39 =completely vanishing] ◾Exposition 10:39 March music from a distance, coming closer and closer (with songlike character at the beginning); Entrance of Summer 13:13 Hymnlike, then intense climax: Anticipation of the Finale ◾Development 14:04 Recitative/Arioso 16:54 Music from far away 18:26 Song without words in two stanzas, in G-flat major 19:56 March 20:16 The Rabble 21:47 The Battle Begins 22:32 The South Storm ◾Recapitulation 23:34 Statement of the march theme 24:03 Misterioso 24:47 Recitative/Arioso (with funeral march beginning) 27:46 March [from very far away coming closer] 32:10 Intense climax: Anticipation of the Finale 32:25 Victory fanfare 🟦 2nd Movement : "What the Flowers in the Meadow Tell Me" 33:11 Main section (A) in three-part song form, A major Trio (B): 35:04 2nd theme in 3/8 meter, F-sharp minor 35:19 3rd theme in 2/4 meter, F-sharp minor 35:32 4th theme in 9/8 meter, beginning in e minor 35:57 Main section (A’, greatly varied) Trio (B’, greatly varied): 38:09 2nd theme in 3/8 meter, F-sharp minor 38:19 3rd theme in 2/4 meter, now in G-sharp minor and augmented 39:02 3rd and 4th themes combined 39:27 Transition 39:36 Main section (A’’, greatly varied) 41:22 Coda 🟦 3rd Movement : "What the Animals in the Forest Tell Me" Material derived from earlier Wunderhorn song Ablosung im Sommer, ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7Gf52ibfKNU.html 42:28 Part A in 2/4 meter and in C minor/C major: Scherzando character 43:56 Part B in 6/8 meter and in C major: pastorale-like or scherzolike character 44:58 Part A’ 47:02 Part B greatly shortened and modified 47:25 Transition 48:06 Part C: Post horn episode in F major (as from far away) 52:06 Part D: in 2/4 meter, beginning in F minor and ending in C minor (with mysterious haste!) 52:41 Part E, beginning in F major and ending in C minor (Merry or boisterous) 53:53 Part B’: [Crude!] 54:33 Transition 55:01 Part C’: Post horn episode in F major (from a great distance) 57:08 Crescendo from ppp to fff and diminuendo down to pppp; development of the bird-call motif 57:52 Coda 🟦 4th Movement : "What Mankind Tells Me" 58:58 Nietzesche’s “Midnight Song”, aka Zarathustra’s roundelay is a poem which concludes two chapters of Also Sprach Zarathustra. “based on the concept of the mysterious music of nature that can be heard only in a dream” 🔸O Mensch! Gib acht! Was spricht die tiefe Mitternacht? »Ich schlief, ich schlief-, Aus tiefem Traum bin ich erwacht:- Die Welt ist tief, Und tiefer als der Tag gedacht. Tief ist ihr Weh-, Lust-tiefer noch als Herzeleid: Weh spricht: Vergeh! Doch alle Lust will Ewigkeit-, -will tiefe, tiefe Ewigkeit!« 🔹O man! Take heed! What saith deep midnight's voice indeed? "I slept my sleep- "From deepest dream I've woke and plead:- "The world is deep, "And deeper than the day could read. "Deep is its woe- "Joy-deeper still than grief can be: "Woe saith: Hence! Go! "But joys all want eternity- "Want deep profound eternity!" 🟦 5th Movement : "What the Angels Tell Me" Text from the Wunderhorn poem “Armer Kinder Bettlerlied” (Poor Children’s Beggar Song) 1:08:12 Boys' choir 🔸Bimm, bamm, bimm, bamm ... 1:08:24 Women's choir: 🔸Es sungen drei Engel einen süßen Gesang; Mit Freuden es selig in den Himmel klang, Sie jauchzten fröhlich auch dabei, Daß Petrus sei von Sünden frei, Von Sünden frei. 🔸Und als der Herr Jesus zu Tische saß, Mit seinen zwölf Jüngern das Abendmahl aß, Da sprach der Herr Jesus: Was stehst du denn hier? Wenn ich dich anseh', so weinest du mir! 🔹[Three angels were singing a sweet song; With joy it resounded blissfully up to heaven. They were rejoicing happily as well, That St. Peter was free of sin, Free of sin.] 🔹[And when the Lord Jesus sat down at the table To sup with his twelve apostles, The Lord Jesus said: "Why are you standing here? When I look at you, you weep.] 1:09:26 Alto: (Material derived from his 1892 work Das himmlische Leben, later mvmt IV of Symphony 4) 🔸Und sollt' ich nicht weinen, du gütiger Gott. 🔹[And why should I not weep, gracious God…] 1:09:35 Women's choir 🔸Du sollst ja nicht weinen! Sollst ja nicht weinen! 🔹[You should not weep!] 1:09:39 Alto: 🔸Ich hab' übertreten die zehn Gebot. Ich gehe und weine ja bitterlich, Ach komm und erbarme dich! Ach komm und erbarme dich über mich! 🔹[ I have violated the Ten Commandments. I go and weep bitterly, Oh, come and have mercy, Have mercy on me!] 1:11:07 Women's choir: 🔸Hast du denn übertreten die zehen Gebot, So fall auf die Kniee und bete zu Gott! Liebe nur Gott in alle Zeit, [A Capella chorale @ 1:11:17] So wirst du erlangen die himmlische Freud', Die himmlische Freud' ist eine selige Stadt; Die himmlische Freud', die kein Ende mehr hat! Die himmlische Freude war Petro bereit't, Durch Jesum und Allen zur Seligkeit. 🔹[ If you have violated the Ten Commandments, Fall on your knees and pray to God! Love only God at all times, And so you will attain heavenly joy! Heavenly joy is a blessed city; Heavenly joy, which no longer has an end! Heavenly joy was granted to St. Peter Through Jesus, and for the salvation of all.] 🟦 6th Movement : "What Love Tells Me" ◾Part I 1:12:35 Main-theme complex in D major [A @1:12:35 B@1:13:18 A’@1:14:24 Coda@1:15:04] 1:15:58 Chorale theme (with transitional function) 1:16:36 Secondary theme in C-sharp minor 1:17:22 Transitional secion, beginning with the primary motifs of the main theme, leading into a “painful interlude” @1:17:53 with reminiscences of the first movement ◾Part II 1:18:43 Main-theme complex in D major (varied) [A’ @1:18:43 B@1:19:28 B@1:20:11 A@1:20:50] 1:21:24 Chorale theme (with transitional function) 1:21:54 Secondary theme in C-sharp minor 1:22:56 Modulating development-like section leading leading into a more intense “painful interlude” @1:24:36 with quote from 4th movement @1:05:31 "Tief ist ihr Weh!" [Deep is the lament!] @1:25:00 ◾Part III 1:25:33 Main-theme complex in D major (shortened) 1:27:28 “Painful interlude” with reminiscences of the high points in the first movement 1:28:23 Transition ◾Part IV 1:29:03 Main-theme complex in D major (extended) ◾Coda 1:32:48 ◾notes based on Constantin Floros : Gustav Mahler The Symphonies, Amadeus Press (1985)
The last concert I saw with my grandma before her passing was Mahler's 3rd. I'm so happy it was that piece. It was The Boston Symphony Orchestra's performance with Stephanie Blythe as soloist, Boston Children's Choir, Boston Women's Choir, and James Levine conducted. A sudden snow storm hit after the concert - we were only supposed to get 2-3 inches but we ended up getting like 8. The plows weren't expecting it so I ended up spending the night on grandma's couch. She made my childhood favorite: spaghetti and meatballs.
Sounds like a perfect night! OMG, I need spaghetti and meatballs right now... I'm taking my 16 year old nephew, who loves "liminal" music, this Sunday. I'll let Mahler throw open his music brain...(I started loving Mahler when I was his age. Now I'm 52). Atlanta Symphony, June 12, 2022 - we will get spaghetti and meatballs after!!!
Unbelievable. Completely in a puddle of tears by the end - not sadness, not joy, just completely overwhelmed by a single person's capturing of the creative spirit. No one could capture humanity and the cosmos like Mahler. Thank you, thank you, thank you dearest, blessed Abbado.
It is true...the silence after the finale is stunning. Here in the U.S. there is often no pause at all. The last note hasn't even finished sounding when some bloke yells "Bravo" to show off that he knows the end of the piece. So irritating. This awed silence is a fitting tribute to a great conductor and a glorious performance.
It's quite simple, really; most European audiences know how to behave at concerts while a minority of concert-goers in US audiences don't. The profound silence that lasts for about 2-1/4 minutes after Abbado's performance of Mahler's Ninth at a Lucerne Festival concert speaks volumes.
This actually depends on what the conductor does at the end. The very first time I heard this work live was in the early 1990's at the St. Louis Symphony Orchestra's Powell Hall (GREAT acoustics!) with my mother who was in her early 80's at that time. At the end of the work one could have heard a pin drop for at least 20 seconds. Leonard Slatkin just stood there without dropping his arms (similar to what Abbado did) and NO one yelled "Bravo" but that roar of the applause was deafening. My mother passed in 1995 and her birthday was 12/20/, so today (12/20/2020) I listened to this to remind me of her as it was the last time she was able to attend ANY concert. I forgot to mention that as my mother and I walked toward our car, a gentleman and his wife were close by and he turned to me and said: "Do you think we could get Lenny to do this again?"
@@Renee2004lr I saw this happen right here at home, in Tucson, Arizona, when the Tucson Symphony, conducted by José Luis Gomez, did a breathtaking Bruckner Symphony No. 7. At the end, as Gomez held his hands up, there was silence. The audience obeyed him. Then they erupted. I was stunned. An audience in Tucson, hearing a symphony the local orchestra was performing for the first time in its over-80-year history, had sat transfixed, in near-complete silence, letting this glorious music into themselves. If I remember correctly, several years ago the orchestra did the Mahler Third under George Hanson, and the audience response was ecstatic. Sometimes everything just works.
1. "Pan Awakes, Summer Marches In" 0:00 2. "What the Flowers in the Meadow Tell Me" 33:00 3. "What the Animals in the Forest Tell Me" 42:25 4. "What Man Tells Me" 58:35 5. "What the Angels Tell Me" 1:08:05 6. "What Love Tells Me" 1:12:33
I have seen many Mahler 3rds in my life. And I saw this when it was broadcast live. This is the pinnacle. Simply the best I ever heard. That idea to muffle the brass for the finale chorale in the last movement is a stroke of genius. Not a single brass section before and after played this otherworldly soft and beautiful. Abbado always had a hand for the 3rd. His early DG recording with Jessey Norman was already brillant. But this one is like the sum of all of his experience coming together to bring it to perfection.
@@madad0406 Nope. It's not. That is a genuine Abbado idea. In another Mahler symphony, I forgot which one it was, he had the snare drum covered with such a cloth. Also a good idea.
Really beautiful performance. I can never stop crying. We were at the Andris Nelsons prom a few years ago, and I had to wait before leaving, but this....
My absolute favorite. That final movement is what i hear everytime i look at anything remotely beautiful in the outside. A sunset, rain, trees. Automatically this starts playing in my head. Mahler really did composed the scenery.
It's one of my favorites as well, and is truly a testament to Mahler's ability to create something extraordinary, even from a melody so simple. I've always felt it perfectly captures those moments in life you'd give anything to last for eternity- where there is nothing else, but you and that moment: camping in a field with a loved one in the early morning when it's still dark, surrounded by nothing but yourselves, while the summer dew begins to fall; a time where you did not have the worries you have today, or a time where you can give everything up, if only for an hour.
Such an amazing symphony. Mahler's 3rd is like being told a perfect story that you can imagine in your head. Its long and for good reason which is why I love it. Mahler was really the master of composing romantic symphonies in my opinion.
I prefer this version more by a lot just listen to the first movement and you might agree ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jVT94orN01o.html
I have been listening to recorded music for more than 70 years. This is one of the most beautiful performances that I have ever heard. And the silence before the applause is unbelievable.
Abbado knew hot to create emotions without making an orchestra sound pathetic or cheesy. I remember when I heard him with Mahler 3 and Jessye Norman in Berlin about 30 years ago - it was open air and suddenly birds were chirping as if they were trying to sing along with Jessye´s thrilling "Oh Mensch, gib acht."
Only the genius of Mahler and Abbado could combine in this summit recording. This is World Heritage material that transcends and pierces the cosmic veil. Long live the memory of maestro Abbado and may this video recording live forever as a cultural treasure for all mankind!
The very first time I heard this work was in the early 1990's with Leonard Slatkin conducting the St. Louis Symphony. Powell Hall was packed. My mother came along (for the last time). At the very end, there was what seemed a LONG silence----as if we were all breathing together. Then came the thunderous applause. As my mother and I walked through the parking lot, a gentleman suddenly turned to us and said: "Do you think we could get Lenny to do that again?" My mother passed away in July 1995.
This is one of the most heart-rendingly beautiful, and sensitive performances of this great Mahler symphony. I have all of Abbado's recordings of Mahler, but this live performance is thrilling, and so deeply observed by every performer. Anna Larsson's singing is even more powerful for its restraint and emotion -- other singers tend to push that sequence -- but here, her understanding of the words and Mahler's intentions are realized to a stunning evocation of the text. Abbado's performances with the Lucerne are a paramount in the canon. I love watching each of the instrumentalists, singer, and conductor -- how they are so involved with every note and timbre of the score. And the black-draped horns toward the end -- a beautiful visual. This deeply moved me in every way. Every 'bravo' deserved.
20 seconds (1:34:58 -1:35:18) of utter awe, sweet disbelief of what one has just heard, the very sound of breath being taken away. This is Abbado's finest moment.
That moment at 31:40 just gives me goosebumps every time especially knowing that this is just the beginning, the first movement. God I love Mahler 3! 🤩
Hence why performing one of these symphonies is an event, and often the entire concert if it's the 3rd. These take insane effort to pull off just because of the manpower required.
Sometimes even the symphony itself has an intermission after the first movement. I went to one such - it was just ten minutes so they could give the audience a brief bathroom/water break, and then the chorus went on and set up in the time between. I think it was pragmatic.
Amazing that the audience held it together at the end, waiting for Maestro Abbado to lower his hands completely before applauding!! Most audiences would have been all over it a second after the last note died off.
The Lucerne Orchestra Mahler videos are all spectacular testaments to the emotional power of Mahler under the baton of Maestro Abbado. The videos are among the best I have ever seen and the recorded sound is absolutely top shelf
I've watched this performance dozens of times, and always takes my breath away. Abbado was magnificent. Mahler's perfection. Orchestra as good as it gets.
Simply the best performance of M3 I've ever heard. The sum of Abbado's intimacy with the work and what may be the finest orchestra ever assembled. It is so wonderfully strange that some conductors can make you 'hear' things that may otherwise go unnoticed. An example for me is Abbado's treatment of the 3rd movement. The posthorn solo is ethereal and heavenly, but until this recording I had listened without 'hearing' - The duet of horns playing the delicate, lazy counter melody together with the posthorn. 56:05 - A lullaby - a view of heaven seen through the eyes of a child. Rapture.
✨✨Gustav Mahler (1860-1911)✨✨ ✨ Symphony No. 3 *(1896)* ✨ Part 1️⃣ 0:00:01 I. Kräftig. Entschieden _[Pan Awakens, Summer_ _Marches In🧟♂️🌞]_ 0:05:14 *[11]* 0:06:23 *Langsam. Schwer. [13]* 0:08:55 *Tempo 1. [18]* 0:11:40 *[25]* 0:15:04 *[31]* 0:17:06 *[35]* 0:19:56 *Etwas wuchtiger.* *Immer dasselbe Tempo.* _(Marsch.)_ *Nicht eilen. [43]* 0:21:48 *[49]* 0:23:34 *Tempo primo. Wie zu anfang.* *[55]* 0:32:10 *[73]* Part 2️⃣ 0:33:10 II. Tempo di Menuetto _[What the Flowers in the_ _Meadow Tell Me 💐]_ 0:35:03 *L’istesso tempo [3]* 0:36:42 *poco riten.* 0:38:08 *Sempre l’istesso tempo* 0:38:20 *Etwas bewegter. Sempre* *l’istesso tempo* 0:41:47 *a tempo* 0:42:28 III. Comodo. Scherzando. Ohne Hast. _[What the Animals in the_ _Forest Tell Me🦉🌳🐿]_ 0:45:00 *[6]* 0:47:54 *[14]-10. Sehr gemächlich.* _(Posthorn solo 📯 Pt. 1)_ 0:52:04 *[17]-2. Mit geheimnissvoller* *Hast! Tempo I.* 0:54:49 *Immer noch zurüchaltend.* _(Posthorn solo 📯 Pt. 2)_ 0:57:09 *[30] Wieder lebhaft, und* *schneller als zu Anfang.* 0:57:52 *[32] Sofort wieder Tempo I.* 0:58:56 IV. Sehr langsam. Misterioso. Durchaus ppp *Poem from* *Nietzsche’s* _Also sprach Zarathustra_ _[What Man Tells Me🧔🏻]_ 1:08:11 V. Lustig im Tempo und keck im Ausdruck _[What the Angels Tell Me👼🏼]_ 1:12:36 VI. Langsam. Ruhevoll. Empfunden _[What Love Tells Me💕]_ 1:20:12 *[11] a tempo. Sehr* *Gesangvoll.* 1:25:34 *[21] Tempo I* 1:28:23 *[25] Langsam. Etwas* *zurückhalten* 1:33:22 *[31] Breit.* 1:34:57 *Silence, then Applause* Anna Larsson, contralto *Arnold Schoenberg Chor* *Tölzer Knabenchor* Lucerne Festival Orchestra Claudio Abbado, conductor *Lucerne Festival* *Lucerne, Switzerland 🇨🇭 August 2007* 🧟♂️🌞 💐 🦉🌲🐿 👴 👼🏻 💕 *Note: The text enclosed by brackets **_[ ]_** was written, and ultimately withdrawn, by Mahler.*
@@jacobbass6437: *Thanks, I decided to add more time stamps within these enormously long movements.* *Reminds me of the good old days when some classical CDs would include extra tracking so you could access favorite sections quickly.* *And yes, it is a bit labor intensive, especially when you don’t have a copy of the score. It’s helpful for me, and I’m glad others find it useful, too.* 😎🎹
It simply doesn't get any better than this. I was fortunate to live in Chicago while Maestro Abbado was principal guest conductor of the CSO, and I saw him lead many concerts at what was then Orchestra Hall. It was such a privilege to see him in so many performances.
I prefer this version more by a lot just listen to the first movement and you might agree ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jVT94orN01o.html
Bei jedem Hören einer Mahler-Symphonie denke ich dies ist die Schönste von allen. Ich bin glücklich beim Zuhören. Wenn dann noch ein gutes Orchester und ein überaus sympathischer Dirigent musizieren ist das Glück vollkommen. Ich hatte als Student Gelegenheit Claudio Abbado als Dirigent kennenzulernen. Das ist nun über 50 Jahre her. Ich bin immer noch dankbar für diese Begegnung.
Oh this music is of of the most beautiful I have ever heard. It is one of the music I would have liked to compose. Anytime my heart feels something deep, powerful and loving, this music starts playing inside me... I met this symphony for the first time in another recording of Abbado ! With Jessie Norman. The spirit of this symphony is stunning... It begins with the external world, nature, material elements and it ends with love... Do you know the name of the last movement ? "What love tells me..." It is a beautiful and powerful way to embrace the person you love, to embrace yourself to and finaly to embrace this very thing that makes us so human and so connected... I think I'll have this music inside me until my last breath. Thank you for posting this video and rediscover another Abbado version... The beginning for instance is less harsh than the 1980 version, it has some differences. Abbado is my favorite director in this masterwork... Wow ! Enjoy, and please, let yourself get lost in this deep and overwhelming ocean...
There's another one by Abbado, with the Berlin Philharmonic, recorded in concert at the Royal Festival Hall by the BBC and issued by Deutsche Grammophon, with Anna Larsson. It's pretty doggone stunning. At the end, there's a moment of stunned silence, then the audience erupts.
I prefer this version more by a lot just listen to the first movement and you might agree ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jVT94orN01o.html
Wonderful performance! Abbado succeeds in making this music never sound bombastic, a tour de force! And what a de luxe-all stars-orchestra! 1st violin, Kolja Blacher, 1st viola, Wolfram Christ, 1st cello, Natalia Gutman, 1st clarinet, Sabine Meyer - to say nothing of the great wind and brass. Thank you for uploading this!
We are deeper than the day can hold, yet we are mired in the everyday at odds with one another. We are unable to consort with the deeper layers of the universe - perhaps that is what symphonic music and poetry/ painting allow us to do, ever so briefly. C Abbado seems to treat the symphonies he conducts as 'deeper, sacred layers of life'. Today I have come to love Mahler (and C Abbado).
I sometimes find myself listening this sublime performance, as a need. Especially for the final part but I mostly start to listen from the very beginning. What an epic finale Maestro Abbado & L.F.O! Ofcourse there are more to say, well, Mahler says and states them all. Viva!
6 movements that are the 6 orders of the Creation , minerals, vegetals, animals, humans, angels and then at the very top The very High Charity of God... absolute beauty... certainly the very final note of Philharmonic History that is played for eternity in the Sky. Thank you Mahler.
The performance is wonderful and, for an orchestra musician, the fantastic camera work makes it even more enjoyable. You can see nuances in articulation--bells up, glissandi in the basses--that you haven't noticed before.
Claudio, knowing that he had only a few days left to live, chose Mahler No. 3. And in the sixth movement, he becomes a pilgrim who has completed the pilgrimage to his hometown, and moves toward the gate of heaven to finally reach heaven. Look at his expression at the end of this sublime performance. It is the expression of a person who has found a sanctuary after finishing all the things to do in life. The listeners knew this, and the orchestra players sympathized with the conductor. Watching the orchestra decide to play this 6th movement at the memorial concert testifies to what a great moment this concert was on this day. Rest in Heaven!!! claudio!!!!! You were truly a great musician, a great conductor!!!!
The principal trombonist plays a mean solo. Trying not to exaggerate, but that's simply the best version of those solos in first movement I've ever heard, and I'm a trombone player myself.
Fantastique interprétation de cette 3eme Symphonie de Mahler. Certainement la plus belle avec ma référence, celle de Bernstein. Abbado semble littéralement habité par cette musique. Ses mains, ses doigts dessinent la musique et il communique cet amour à tous les musiciens (soigneusement choisis, je remarque la clarinette de Sabine Meyer..)Il se donne, s'abandonne complètement. Peut-être est ce son testament, Abbado savait-il que la maladie allait l'emporter ?En tout cas cet enregistrement est le plus bel acte d'amour. Amour pour cette musique de Mahler qui devient sa musique. Amour pour ses musiciens (ses regards en disent long...) Amour pour la vie, en forme d'adieu déchirant...Le public est subjugué, gardant le silence longtemps après la dernière note. C'est bouleversant.
I prefer this version more by a lot just listen to the first movement and you might agree ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jVT94orN01o.html
Superb Mahler 3 performance. One of the greatest Mahler maestros leading a truly wonderful orchestra. I have always felt the first movement of this symphony to be one of the most evocative and massively stirring pieces of music Mahler composed. Abbado nails it here as he did in all the M3's I've heard him conduct.
Excellent performance! It's always a dream of mine to see this symphony performed live someday. Also as I was listening to the last movement, I couldn't help but think of this quote said by Van Gogh; "What is done in love, is done well". Thank you for this video!
I keep coming back to this performance. Mahler's 3rd speaks to us in so many ways, perhaps more than ever in 2022. Abbado especially moulds every nuance, from the pianissimi to the fortissimi , giving every phrase its exact weight. Anna Larsson's O Mensch is beautiful, and the finale is overwhelming.
Imho, Abbado is the only conductor who constitently gets what Mahler meant by the many directions of "Fliessend". Any tension/excitement is thus created by letting it flow--always! Too many conductors try to gain musical tension by,...well, being tense.
Mahler certainly knew how to compose long endings, didn't he!? Spectacular, as always with Maestro Abaddo. I wonder how Ms. Larsson and the choirs felt, having to sit through all music in order to sing for a relatively short period of time.
