Mahler - Das Klagende Lied - Heather Harper, Norma Procter, Werner Hollweg - ConcertGebouw.Orch. & Nederlands Omroep Koor, Bernard Haitink, Philips : 無料・フリー素材/写真
Mahler - Das Klagende Lied - Heather Harper, Norma Procter, Werner Hollweg - ConcertGebouw.Orch. & Nederlands Omroep Koor, Bernard Haitink, Philips / Piano Piano!
| ライセンス | クリエイティブ・コモンズ 表示 2.1 |
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| 説明 | No Backside1 of 3 copies, not identical. www.discogs.com/Mahler-Heather-Harper-Norma-Procter-Werne...Gramophone Review 1974:Mahler's symphonic ballad, a Gothic tale of fratricide in a forest glade and a singing flute fashioned by a minstrel from a stray bone of the murdered knight, has a special claim on the attention of Mahlerians. Written when Mahler was barely out of his teens, it is a telling prelude to the achievement of the symphonies—the early Wunderhorn symphonies and symphonies as far distant as the Seventh and Eighth. Orchestrally it introduces us, brilliantly and precociously, to the Mahler language (Mahler's revisions of 1899-1901 involved more tidying than re-working). Emotionally and psychologically, too, it is echt Mahlerisch: potent, allusive, and neither redundantly pictorial nor unconsciously naive, Indeed it is difficult to see the relevance of Professor Redlich's stricture that the work suffers from its association with "the threadbare costumes of obsolescent romantic conventions". From the first, Mahler's musical imagination (like Elliot's poetic imagination a decade or two later) was a modifying and transforming one. "The instruments Mahler played", Sir Neville Cardus once observed, in a felicitous aside on Das klagende Lied, "were always revealing to him buried bones".Haitink, having completed his integral recording of the symphonies, now busies himself adding the coping stones to the edifice (one wonders whether Solti will give us Das klagende Lied too). To have Haitink's Mahler cycle made genuinely complete in this way will obviously please those collectors who have invested in the symphonies; and the new performance, scrupulously judged, poised and beautifully alert certainly doesn't disappoint. Whether it outclasses either of the rival versions, the Morris now on the mid-price Ace of Diamonds label or the Boulez, which has the passing advantage of a recording of Waldmiirchen, the work's discarded first section, on a complementary CBS/Boulez disc (72865, 10/70), is a matter that needs finely weighing.The first point to stress is that to catch the full bloom of the Philips recording and the special quality of the Concertgebouw acoustic one does need to play the recording at a fairly high level—something that presents no problems with finished pressings as beautifully engineered as these. Played at a generous level the sound, spacious, warm and cleanly focused, mirrors a performance which is similarly spacious and unclaustrophobic. Where with Wyn Morris one is struck by the immediacy of the sound, the rich solid New Philharmonia horn tone and (at fig. 2) the first sinister flurry of fff tremolando strings (shades of the corybantic happenings at the start of the Third Symphony), with Haitink it is the steady tread of the march rhythm which catches the attention; and later the restrained, stylish shaping of the minstrel's wayfaring motif (fig. 6), with Haitink eschewing that touch of roughness in the string tone which Morris uses (most beguilingly, you might argue) to point up the music's ambling, carressive, rustic mood.By and large Haitink's fine-grained attention to orchestral detail does pay off. Little (apart from a subdued and sinister drum roll just before fig. 17) escapes his notice. As it happens, Morris brings that drum roll up to a distant yet menacingly explicit mp. But it's not individual details which are relevant in making one's comparisons (one could counter the fig. 17 example by pointing to Haitink's uniquely atmospheric balancing of voice and solo trumpet at the flute's eerie "Ach Spielmann, lieber Spielmann mein"). More important is the way that shifts of detail point to major shifts in the dramatic presentation of the work. In the coda to Part 1, for instance, one notices the extreme care with which Haitink terraces the quiet choral entries and the lines of the orchestral texture itself. Where Morris is less obviously sensitive, deliberately urging the music on and drawing on its haunted, phantasmagoric mood, Haitink (the shape of the movement as a whole beautifully perceived) stresses the pathos of the mood. With Morris it is the minstrel's fearfulness which we experience, with Haitink his sense of loss.To complicate matters further, though, it is Boulez who is most commanding at the start of Part 2—the wedding feast evoked with an irresistible splendour (one would like to hear Boulez in the festive finale of the Seventh Symphony). Haitink is initially a shade disappointing, but the big maestoso climax and the ghostly diminution of the music (shades of Wagner and Der fliegende Hollander) is strongly brought off and the balance between the off-stage band and the on-stage band and solo voices—an extraordinarily sophisticated juggling with spatial perspectives by the 19 year-old Mahler—is both subtler and more coherent in the Philips recording than in either of its rivals. And good as the placing of the off-stage band is on the Decca/Delyse and CBS recordings (the CBS closer than Mahler indicates but compensatingly brilliant and bizarre) the Philips, very distant yet beautifully definite, is arguably the most atmospheric of all.But increasingly as the tension mounts in Part 2 the contribution of the soloists and the chorus becomes more and more crucial. And it's here that Boulez is rather let down, both by Grace Hoffman and Evelyn Lear. Haitink is better served. When the flute first reveals the murder to the astounded court Norma Procter, who is splendidly in command throughout the recording, handles the cruel leap of a tenth on "wonnig Weib" almost as adeptly as Decca's Anna Reynolds (arguably the finest of the contralto soloists) and Haitink's control of the slow, swirling climax— marked Vorwiirts, and beautifully timed— is equally satisfying. Yet when the flute, now blown by the newly-wed murdered king, repeats the tale two verses later Haitink is oddly restrained and Heather Harper, though she gets the notes, is no match for Morris's gloriously sure-toned Teresa Zylis-Gara.Ultimately I find it is the choral contributions which fairly unequivocally tip the balance back in Morris's favour. In the brilliant choral description of the king, like Claudius in Hamlet, rising frenzied from his stool (the choral writing itself distantly predicting the surging motion of the Eighth Symphony's first movement) the Dutch choir strains on the high notes in a way that neither Boulez's LSO Chorus nor Morris's Ambrosian Singers do. Then in the description of the destruction of the palace Morris alone does what Mahler asks. Restraint is essential here (the critic, quoted in Kurt Blaukopf's new book on Mahler, who sneered that "compared with the collapse of the castle in this ballad the twilight of the gods is a purely local event" must have been totally innocent of the final pages of Gotterdammerung). Except for a final, towering six-bar crescendo Mahler asks for a long, sustained pianissimo line from the chorus; only the second and third flutes, and a single clarinet, marked if and f respectively, are asked to play louder. On the records, Haitink's choir sing with imperfect tone and on a long crescendo; Boulez also allows the crescendo, though the Arthur Oldham-trained LSO Chorus does sing with exemplary clarity. It is Wyn Morris, though, with the Ambrosian Singers who vividly and movingly reveals the rightness of Mahler's own intentions; and he caps this with an intensely beautiful (and daringly slow) reading of the work's profoundly desolate coda. Andor Kaposy and Teresa Zylis-Gara are tellingly sensitive here too. Kaposy's soaring rise into the words "Die Lichter verlosen" is more memorable even than Stuart Burrows's on CBS, and is richer by far than Werner Hollweg's detached, rather cool and obviously expert encompassing of the phrase on the Haitink.A long review, then, but as both EG and AB indicated in their miller reviews of the Morris and the Boulez this is an enthralling and rewarding work to write about. All three performances deserve the closest attention, and if in the process of working through my comparisons I am left in little doubt that the bargain-priced Wyn Morris recording is still the one to have, it is equally clear that the Boulez and the Haitink each offers us a distinctive, workmanlike reading—and an exemplary recording—of this important early score.R.O. |
| 撮影日 | 2009-05-26 19:11:29 |
| 撮影者 | Piano Piano! |
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| カメラ | FinePix F31fd , FUJIFILM |
| 露出 | 0.012 sec (1/85) |
| 開放F値 | f/2.8 |
| 焦点距離 | 8 mm |