Gustav Mahler (1860-1911) Symphony No. 7 "Das Lied Der Nacht" by Bruno Maderna 🎧 Qobuz bit.ly/3UsSuwS Apple Music apple.co/3m2Mzn7 🎧 Amazon Music amzn.to/3VvVlX2 Tidal bit.ly/3B1rNsj 🎧 Spotify spoti.fi/3VS0XLf Deezer bit.ly/3VvA8wq 🎧 RU-vid Music bit.ly/3FqxwdT SoundCloud - 🎧 LineMusic日本, Awa日本, Napster, Pandora, Anghami, QQ音乐 … Symphony No. 7 "Das Lied Der Nacht" 00:00 I. Langsam, Etwas weniger langsam, Nicht schleppen, Allegro con fuoco (Remastered 2022, Version 1967) 19:10 II. Nachtmusik I, Allegro moderato (Remastered 2022, Version 1967) 34:35 III. Scherzo, Schattenhaft, Fliessend, Aber nicht zu schnell (Remastered 2022, Version 1967) 43:12 IV. Nachtmusik II, Andante amoroso (Remastered 2022, Version 1967) 58:19 V. Rondo, Finale, Tempo I (Allegro ordinario) (Remastered 2022, Version 1967) Wiener Symphoniker Conductor: Bruno Maderna Live recording in 1967 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Among the number of composer directors who in this sense have played an important role one should place the Venetian Bruno Maderna, who, perhaps because he was the student of Hermann Scherchen, one of the greatest interpreters of Mahler, has throughout his career demonstrated the greatest attention for the composer. Born in 1920, dying prematurely at the age of only 53 years in 1973, Bruno Maderna was, together with his friends Boulez and Stockhausen, one of the European standard bearers of all that was knew in music after the 2nd World War. Taking up residence in Darmstadt, West Germany in 1951, Maderna began giving a series of famous summer courses and seminars, founding and conducting the Internationales Kammerensemble from 1961. Becoming a German citizen in 1963 he often conducted the great orchestras of the central European area, favouring contemporary works but not forgetting also to dedicate his own insight as an interpreter to the classics. The recording of the Symphony no. 7 presented in this record is of a Mahler - Zyklus which the Wiener Symphoniker performed in the spring summer of 1967 during the Wiener Festwochen (recording captured on the spot without a real technical installation), the capital's annual Festival of music and theatre. For the occasion some of the greatest conductors of the international scene, from Georges Pretre to Leonard Bernstein, from Karl Bohm to Carlos Kleiber alternated on the podium. It is significant that on this occasion the Seventh was entrusted to the Venetian musician: a work which was considered to be one of the most elusive of those written by Mahler and only rarely performed in those years. Begun at Maiernigg (Tyrolese Alps) in the summer of 1904, the Symphony in E Minor was completed only during the following summer and had it's first performance four years later in Prague, on the 19th of September, 1908, under the direction of it's author, receiving what Alma Mahler describes in her memoirs as a simple "succès d'estime". Aiming at the most consistent interpretation possible under the structural profile, Maderna seems to be intent on contradicting the English musicologist Deryck Cooke who in one of his essays defined the Seventh as the Cinderella of Mahler's symphonies. In the summer of 1905, Mahler left for the Dolomites (a mountain range in the Pre-Alps) in search of inspiration and was unable to complete his Symphony No. 7. Back in the Alps, he found a boat to take him back to Maiernigg, a village in Carinthie where he spent his summers. Immediately, the rhythm and character of the beginning of the first movement became apparent to him. Within four weeks he had composed the first, third and fifth movements: the symphony was complete. Schoenberg admired the symphony, probably for its brilliant instrumentation, its melodic richness and its original harmony. Some commentators have seen in this work the Fantastic Symphony of the Austrian composer. Mahler's Symphony No. 7 includes two bewitching nocturnal pieces: the first was inspired by Rembrandt's "The Night Watch" and for the second, the conductor Mengelberg evoked "a lover singing under the windows of his beloved". It is characterized by the presence of the harp, the guitar and the mandolin.. Gustav Mahler PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nRgwYrkRsPc.html
Among the number of composer directors who in this sense have played an important role one should place the Venetian Bruno Maderna, who, perhaps because he was the student of Hermann Scherchen, one of the greatest interpreters of Mahler, has throughout his career demonstrated the greatest attention for the composer. Born in 1920, dying prematurely at the age of only 53 years in 1973, Bruno Maderna was, together with his friends Boulez and Stockhausen, one of the European standard bearers of all that was knew in music after the 2nd World War. Taking up residence in Darmstadt, West Germany in 1951, Maderna began giving a series of famous summer courses and seminars, founding and conducting the Internationales Kammerensemble from 1961. Becoming a German citizen in 1963 he often conducted the great orchestras of the central European area, favouring contemporary works but not forgetting also to dedicate his own insight as an interpreter to the classics. The recording of the Symphony no. 7 presented in this record is of a Mahler - Zyklus which the Wiener Symphoniker performed in the spring summer of 1967 during the Wiener Festwochen (recording captured on the spot without a real technical installation), the capital's annual Festival of music and theatre. For the occasion some of the greatest conductors of the international scene, from Georges Pretre to Leonard Bernstein, from Karl Bohm to Carlos Kleiber alternated on the podium. It is significant that on this occasion the Seventh was entrusted to the Venetian musician: a work which was considered to be one of the most elusive of those written by Mahler and only rarely performed in those years. Begun at Maiernigg (Tyrolese Alps) in the summer of 1904, the Symphony in E Minor was completed only during the following summer and had it's first performance four years later in Prague, on the 19th of September, 1908, under the direction of it's author, receiving what Alma Mahler describes in her memoirs as a simple "succès d'estime". Aiming at the most consistent interpretation possible under the structural profile, Maderna seems to be intent on contradicting the English musicologist Deryck Cooke who in one of his essays defined the Seventh as the Cinderella of Mahler's symphonies. In the summer of 1905, Mahler left for the Dolomites (a mountain range in the Pre-Alps) in search of inspiration and was unable to complete his Symphony No. 7. Back in the Alps, he found a boat to take him back to Maiernigg, a village in Carinthie where he spent his summers. Immediately, the rhythm and character of the beginning of the first movement became apparent to him. Within four weeks he had composed the first, third and fifth movements: the symphony was complete. Schoenberg admired the symphony, probably for its brilliant instrumentation, its melodic richness and its original harmony. Some commentators have seen in this work the Fantastic Symphony of the Austrian composer. Mahler's Symphony No. 7 includes two bewitching nocturnal pieces: the first was inspired by Rembrandt's "The Night Watch" and for the second, the conductor Mengelberg evoked "a lover singing under the windows of his beloved". It is characterized by the presence of the harp, the guitar and the mandolin.. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Indeed an exceptional beautiful, touching and to cherish performance of the conductor and the orchestra of the captivating "Night" symphony of Mahler. Thank you very much for the New Mastering !
Wunderschöne und detaillierte Interpretation dieser spätromantischen und perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente, insbesondere seidigen Tönen aller Sreicher. Der relativ unbekannte doch geniale Dirigent leitet das ausgezeichnete Orchester im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Wahrlich tiefempfunden!
I believe I have all the previous releases of this unusual recording. The sound quality is bad across the board. Your remastering reveals many details and nuances I’ve never heard before. Thank you so much for your effort and for making the high resolution version available on Qobuz!
"The Song of the Night", the most underrated of all Mahler symphonies and the one that took the longest to be recorded (1953), the 7th is military and jubilant as it is usual in Mahler symphonies, but mysterious and supernatural as the deep night which reminds to the Symphonie Fantastique by Berlioz, it is very unusual but beautiful to hear a guitar and a mandolin in the Nachtmusik 2 (4th movement), the last movement is said to have satirized Wagner's Meistersinger of Nuremberg Overture, but I don't think that Mahler took that as an offense since he admired Wagner and also conducted some of his works, so he probably took inspiration from it, is one of the greatest apotheosis in music, is like celebrating before going to heaven, which is the most significant part of living in Earth. Maybe it's the custom but one thinks that with that title there would be a choir or soloist like in the 2nd, 3rd, 4th or 8th symphonies, I was waiting to the finale, but that doesn't stop me from loving this symphony like all Mahler's and being one of my favorites, his is a marvelous recording and and an excellent mastering, Bruno Maderna proved to be an excellent Mahler conductor and he was also has brilliant works as a composer. Also MERRY CHRISTMAS, seems like this upload was appropiated for holidays.
J'aime beaucoup Mahler, mais ne connaissais pas cette pièce. Je vs suis infiniment reconnaissante de me la faire connaître. C'est magnifique. Merci beaucoup et sincères salutations de Montréal, Qc, Canada
Not a bad performance and nice mastering, but Bruno Maderna did a livelier, better played and clearer sounding recording with the Orchestra della RAI Milano, where, in my opinion, his intentions (tempi, balances, form) are better executed. It is available here on RU-vid.
We think that both versions are excellent and worth owning. The climate and atmosphere are different on the two recordings. This one is more introverted than the other one. We prefer the night music I & 2 of this version.
I don't know how you define this as a reference recording. Your defnintion seems to diverge quite strongly from what a reference recording usually is. A referencere recording is, by critical consensus, usually a widely commercially available recording of a work, against which all recordings of the same work are judged. One of the most important aspects: Flawless execution, achieved in a studio recording. This here is not it. One minute in and already two major fuck ups from the orchestra.
