Classical | MP3 CBR 320 kbps | 02:28:04 | 339 MB
For years, admitted Sir Georg Solti to High Fidelity magazine in January 1967, ‘Mahler bored me. He came to me, or I came to him, eight or nine years ago. Up to then his symphonies were all pieces and bits. Now I see their form. I love them. It is not enough to like music. You must love. And love means change.’ By the time he was to record the First Symphony, with the London Symphony Orchestra, by modern standards he did so at a comparatively ripe age of 52. But the critics were immediately struck by the youthful dynamism of Solti’s conception, which was entirely apt to a work conceived by a composer in his early twenties. When High Fidelity came to survey all the Mahler symphony recordings on record in September 1967, this version of the First was declared ‘probably the best both in interpretation and in recording’, even up against stiff competition from more experienced Mahlerians such as Jascha Horenstein and Rafael Kubelík.
So began one of the defining Mahler cycles on record. To begin with, it was an international affair, made with the principal orchestras of London (Nos. 1-3 and 9), Amsterdam (No.4), and Chicago (Nos. 5-8). The London and Amsterdam recordings were later remade in Chicago, during the digital era, but Solti’s initial interpretations retain a special freshness. They are mostly swifter than the remakes, though not rushed. Slow movements such as the Third Symphony’s final, glorious Adagio unfold naturally, with a sweeping passion that may be closer to the composer’s original conception than the dirge-like tread of many later interpreters. The Ninth has also been reissued by Eloquence on a complementary issue (482 7163).
In the mid-1960s, too, the LSO was the perfect orchestra for the job: a virtuoso ensemble with a brass section famed the world over. It was the British orchestra of choice for the world’s Mahler interpreters, playing the symphonies in concert far more frequently than their rivals and making recordings such as these of phenomenal accuracy and intensity.
01. Mahler: Symphony No.3 in D minor / Part 1-1. Kräftig. Entscheiden – Sir Georg Solti & London Symphony Orchestra
02. Mahler: Symphony No.3 in D minor / Part 2-2. Tempo di minuetto. Sehr mäßig – Sir Georg Solti & John Georgiadis & London Symphony Orchestra
03. Mahler: Symphony No.3 in D minor / Part 2-3. Comodo. Scherzando. Ohne Hast – Sir Georg Solti & London Symphony Orchestra & William Lang
04. Mahler: Symphony No.3 in D minor / Part 2-4. Sehr langsam. Misterioso: "O Mensch! Gib acht!" ‘O Mensch! Gib acht’ – Sir Georg Solti & London Symphony Orchestra & Helen Watts
05. Mahler: Symphony No.3 in D minor / Part 2-5. Lustig im Tempo und keck im Ausdruck: "Bimm Bamm. Es sungen drei Engel" – Wandsworth School Boys Choir & London Symphony Orchestra & Helen Watts & Sir Georg Solti & Ambrosian Opera Chorus
06. Mahler: Symphony No.3 in D minor / Part 2-6. Langsam. Ruhevoll. Empfunden – Sir Georg Solti & London Symphony Orchestra
07. Mahler: Symphony No.1 in D-1. Langsam. Schleppend – Sir Georg Solti & London Symphony Orchestra
08. Mahler: Symphony No.1 in D-2. Kräftig bewegt – Sir Georg Solti & London Symphony Orchestra
09. Mahler: Symphony No.1 in D-3. Feierlich und gemessen, ohne zu schleppen – London Symphony Orchestra and Sir Georg Solti
10. Mahler: Symphony No.1 in D-4. Stürmisch bewegt – Sir Georg Solti & London Symphony Orchestra
London Symphony Orchestra & Wandsworth School Boys Choir & Helen Watts – Mahler: Symphonies Nos. 1 & 3 (2017) Download, Warez, DDL, Free, Full Album, Torrent, Legal.