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Mahler: Symphony No. 3 - LSO / Gergiev (SACD Hybrid) [Hybrid SACD, Live]

Your Works, Gergiev Audio CD
3.0 out of 5 stars  See all reviews (2 customer reviews)
Price: 13.75 & FREE Delivery in the UK. Details
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Product details

  • Audio CD (27 Oct 2008)
  • Number of Discs: 2
  • Format: Hybrid SACD, Live
  • Label: LSO Live
  • ASIN: B001EBSVHI
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 178,708 in Music (See Top 100 in Music)

Disc: 1
1. Kraeftig. Entschieden
Disc: 2
1. Tempo di Menuetto. Grazioso
2. Comodo. Scherzando. Ohne Hast
3. Sehr Langsam. Misterioso
4. Lustig Im Tempo Und Keck Im Ausdruck
5. Langsam. Ruhevoll. Empfunden

Product Description

Product Description

Following his principle that "the symphony must be like the world. It must embrace everything", Mahler's all-encompassing Third Symphony is his attempt to give all aspects of nature a voice. At its premiere it generated both praise and outrage from critics, some of whom were bewildered by its enormity.

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews
14 of 16 people found the following review helpful
1.0 out of 5 stars Third rate 16 Sep 2011
By rjmcr
Format:Audio CD
My word, this is bad.

Each to their own opinion, of course, but how the newspaper reviewers quoted above can talk of `long-breathed phraseology', `spiritual wholeness' and `a compelling view... played with such total beauty' is utterly beyond me.

This is, without a shadow of a doubt, the most flat-footed, uninvolved and charmless account of any Mahler symphony I've heard. Not once do I get the sense that Gergiev has any kind of vision of this piece or empathy with what Mahler was trying to express. The whole performance strikes me as terribly episodic, such as one would expect from a studio recording made in very short takes. This robs the difficult first movement of any accumulation of tension and excitement; a failing that will always put any performance of this work on the back foot. If the emotional pay-off of the last movement also fails, well, you really are in trouble.

In between, the second and third movements offer plenty of opportunity for an orchestra to demonstrate rhythmic panache and instrumental virtuosity (listen to what Bernstein, Levine, Abbado or Tennstedt can conjure up here). Gergiev doesn't seem to be able or willing to inspire his London players to do either. Tempo changes in the second movement are awkward and clunky, and the playing - whilst acceptably competent - is simply anonymous and disengaged. Credit where it's due though; the `posthorn' solo in the third movement is faultless and well-placed.

The fourth movement finds Gergiev too eager to press on, and attentive listeners will notice him moaning and groaning along in an unwanted and deeply distracting vocal accompaniment! I was not especially impressed by Anna Larsson's contribution, either.
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0 of 2 people found the following review helpful
Format:Audio CD
Kent Nagano's recording of Mahler's 3rd Symphony is one of the best recordings I have ever heard of Mahler's 3rd Symphony. The key to its excellence is I think how coherent the first movement sounds.Nagano really is brilliant in this symphony and he brings a unity of emotions to the first movement that other conductors of this work fail to do.Even Bernstein's recording for DG just sounds so bland to me.Nagano brings out the senselessness of Nature's cruelty in the first movement and the pastoral calm is most affecting.The second movement is charming and delightful as it should be and the third movement is very good in the way it builds up the tension between animal life and spiritual faith and the way the scene changes to some creature diving into the water and the distant mountains at the end of the movement is wonderful. The fourth movement is exciting and the singing is really lovely and the atmosphere of wonder and sadness is very nice indeed as is the joyful playfulness of the fifth movement. The sixth movement is also a success because it doesn't drag like some recordings of this movement do; nor does it sound too rushed. It captures the pain and incomprehension that people and creatures feel towards life's awful side along with a inner constant faith in God and it therefore unifies the entire work.Nagano seems to suggest that a faith in God is how this symphony ends and the powerful ending is poignant without being too rushed (as in Rattle's unforgivably awful CBSOending) and is full of blazing faith and it really powerfully conveys this.I love this recording of Mahler's 3rd and rate it one of the best ever along with Mitropoulos' recording from October 1960 and Abravanel's colourful account.
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Amazon.com: 4.0 out of 5 stars  10 reviews
12 of 12 people found the following review helpful
5.0 out of 5 stars Mahler 3, Gergiev, LSO: Fierce, Driving, Bit Distant Posthorn Mvmt 3 Alas 19 Oct 2008
By drdanfee - Published on Amazon.com
Format:Audio CD
So far along, Gergiev is right in the process of giving us a full Mahler symphonies cycle. So far, these musicians/label have released the first, sixth, and seventh symphonies - each derived in live sessions mixed from several concerts at London's Barbican home for the band. I have auditioned each one so far in multichannel super audio. My choices so far in this series are the first and the seventh. I was fully prepared to welcome and embrace the whole series if the results persuaded me, but alas, I do not so far find the sixth symphony to be completely persuasive, vivid and successful as it no doubt is when taken solely on its own Toscanini-like terms. To my ears, this sixth is strong, but so devoted to relentless forward drive that I feel the contrasting lyrical dimensions of the sixth are compromised. Toscanini supposedly said of Bruno Walter, Oh Walter, when he hits something nice he melts and goes all to pieces. Gergiev can relax, certainly. Though nobody would ever accuse him of doing a Bruno Walter when it comes to melting, floating textures or lyricisms. So far in Gergiev and Mahler readings I miss the incredibly deft genius touches of, say, a Jascha Horenstein who could somehow mystically combine high lush sweetness with heart-aching, bone chilling Late Romantic Weltschmerz.

So we come to this third symphony. Again it is mixed from live concerts in the Barbican, from just about a year ago in 2007. The sound is accurate and vivid, with kudos going to veteran James Malinson and his technical team. I again am listening in multichannel. Let's go movement by movement.

The first movement is impressive. The opening fanfare does not quite scare the daylights out of me, as the famous Horenstein Third fanfare somehow still does every time I play it. (Good thing I lucked out by getting Horenstein to the fav shelf way back, when still available, as I think now he is out of print. Worth the effort to go hunting, I still think. I also sometimes still wish Wyn Morris had recorded the third symphony.) Yes, Gergiev is typically forward moving through the whole first movement. He does allow pauses and plenty of space to breathe at times. His drive does not to me compromise getting at some potentially raw, chilling sense of the deep, mysterious, fearsome shadows that the Nature God Pan casts in the deep heart of the mountains and forests, even at noonday.

The second movement is well nigh musically priceless. Gergiev gets his band to float and dance, charm and reminisce, and hard forward rhythmic or overall tempo drive never for even a fleeting mini-second intrudes or glosses over or rushes too hurriedly. This movement genuinely captures a chamber music lightness and intimacy that has not exactly been plentiful in the Gergiev Mahler series discs to date. The brief episodes which prefigure the posthorn to come are supple and tender and emphasize the third's through line of evolving continuity to an extent that other conductors do not always convey.

Hearing all these wonderful touches in the second movement, I began to really get my hopes up for this third. I thought that maybe Gergiev was going to end up being Horenstein's interpretive equal after all, albeit in his own typical way, even taking account of the forward drive that strikes me as a sort of hat tip to Arturo Toscanini.

My first audition of this reading was on portable player with ear phones. That time, in red book CD stereo, I could hardly hear the beautiful posthorn solos of the third movement - if at all. Touches of the solo phrases still dimly remained in passing, but listening on the portable with earphones, the counterpoint and accompaniments to the solo - which eventually garland and ground its wistfulness - giving the whole episodes a structural impact in addition to the expressive touches - were too loud, too prominent, imagining the solo my only recourse. Uncomfortably so. This reminded me of the aural distance problem of the solo as captured in Benjamin Zander's otherwise authoritative Telarc super audio recording of the third symphony. Count dim this hearing of the posthorn solo, a troubling failure, then. In fairness I knew I needed to listen again on the home rig, in multichannel, to see if the dimness and distance of the posthorn solo stayed consistent.

In the home rig round, the surround sound did a much improved job of allowing the all-important posthorn solo to be present, coming through. Gergiev starts off the scherzo-like third movement with the intimate touches with which he so endearingly played the second movement. Even when the tempo speeds up and woodwinds squeak garishly or brass bray, he can return to the mood and color of the earlier music. So Gergiev and band layer mountain meadows posy charms with folk tales and fireside hearthside country warmth. Although now aurally present, the posthorn solo hovers just on the ghostly ethereal brinks of disappearing, and to tell the truth, I still hear this as a passing minor musical flaw. Distancing and dimming the solo player may well have served in the live concert, given the real physical acoustics of the hall. Yet I do not hear that it all quite works in recorded home listening. In portable red book stereo listening, the posthorn solo may as well not exist at all, and this detracts from what Gergiev and band are no doubt trying to offer us. By the end of the movement, with the remainder of the orchestra joining in, the Nature God Pan and minions are reappearing, though the uncanny chill is markedly diminished. It is as easy to feel that maybe we have imagined it all in a Grimm Brothers fairy tale reverie, instead of a frightening live encounter with some raw and deified animal nature that would just as soon eat us as look at us unmoved, impassive, impervious to our humanity. The brash, toothsomely grinned coda however might remind us otherwise, of Pan in the first movement.

In the Nietzsche text movement that follows, alto Anna Larsson is lovely and steady. She is supposed to be singing of deep mysteries, glimpsed and felt and heard right at the stroke of musical midnight, after all. Now Ms. L does not quite eclipse sung memories of, say, Jesseye Norman, or Dame Janet Baker - but she is herself very nicely, and her singing renders comparisons more odious than not. Woods, brass, and strings nicely inflect and counterpoint her solo song - again with a transparent chamber music intimacy that is closer to string quartet or string sextet than to symphony. Tief ist ihr Weh. Lust, tiefer noch aus Herzeleidt.

Next comes the brighter bim-bamm sonics of the Lustig Wunderhorn song movement, livened up with that enchanting - even arch - combination of boys choir, women, and the alto soloist doing another musical scene all together. It is inevitably part and parcel of the composer's controversial musical genius that he can draw upon folk poetry texts set to folkish music as a way of giving us a homespun interlude after the deep longing and pain of Nietzsche's midnight, invisibly opening the doors to God.

So the final movement follows right upon the Wunderhorn song. Gergiev and band start it off with much of the same delicacy and chamber transparency that they have shown in the second and third and fourth movements, especially. A seemingly facile, ineffable flow of folksy and intimate string band textures somehow adds to the listener's imperceptibly accumulating grasp of the third - all of one piece, not a disconnected parade of externally-derived program music. The last movement proceeds with a masterly growth, evolving magically into the reaches of the large orchestra entire. Woodwind and brass entries do not at first perturb the music's intimate touch, though wrenching enharmonic string and brass perorations soon reveal to us how profoundly all personal tragedies are suffered and survived by being human tragedies. First the strings then the rest of this large orchestra, more and more come to embody what human love embodies and reveals of God - just pretty much as Mahler told others who talked with him in letters and conversations about what made this new third symphony tick.

By the end of the symphony, I count this Gergiev release as among his most successful overall, as well as being a clear high point in his ongoing Mahler cycle. Indeed, to my ears, Gergiev could well have used the same genius to further improve his worthwhile reading of the first symphony, both in regards to the nature picture painting and in regards to the multiple meanings and functions of the folk roots.

I still prize Horenstein. I'm adding Gergiev to the fav shelf.
7 of 8 people found the following review helpful
5.0 out of 5 stars Among the finest Mahler 3rd Symphony recordings 25 April 2004
By John Kwok - Published on Amazon.com
Format:Audio CD
American conductor Kent Nagano's debut recording for Teldec is still acclaimed as one of the finest recordings of Mahler's 3rd symphony, holding its own against recent releases from the likes of Abbado and Boulez. Nagano's instincts as a Mahlerian show that he is more akin to Abbado than perhaps Bernstein, emphasizing the melodic aspects of the score, while not losing sight of its intricate sonic architecture. Although his Deutsches Berlin Sinfonie Orchester may not be as technically proficient as the Berliner Philharmoniker, the musicians in Berlin's second symphony orchestra offer a performance that is as vibrant and warm as those I have heard from their more illustrious peers under the batons of Abbado and Karajan. This is an emotionally intense, gut-wretching performance that is simply unforgettable, noted for the splendid horn solos and brilliant string playing, to name but a few. Mahler intended originally for this symphony to be a sonic evocation of biological evolution; a task which Nagano and his orchestra are well suited. I am not surprised that the Penguin Guide to Classical CDs has singled out this recording as among the finest of this symphony currently available.
6 of 7 people found the following review helpful
5.0 out of 5 stars I like this 3rd a lot, here's why . . . 14 Nov 2008
By B. Guerrero - Published on Amazon.com
Format:Audio CD
Funny, I had almost the exact opposite reaction to this performance as that of [...]. Yet, I respects David's Mahler reviews tremendously. Anyway, he felt that the first movement - and most of the other fast bits - were pretty darn good, but that it was the slower movements (and slower bits) that held this performance back. I feel almost the opposite.

The first movement goes off well enough. The "southern storm" fantasy passage that caps the development section, as well as the movement's coda passage (the ending) - those are both excellent. But the first "happy" march passage (in major) is hustled along a tad too quickly. The music isn't allowed to build on its own accord, something that Abbado has always done so well. Still, it's a solid first movement.

II - the slower parts are a tad perfunctory, but the quicker sections go like the wind. I like the really loud rute rolls (birch branches struck against the bass drum shell) - a very "rude" sounding rute. Good stuff.

III - Yes, the posthorn solo - played on a dark sounding flugelhorn - is a tad too slow, and tad too distant. But the slightly strange sounding LSO woodwinds play with such character in this movement. They mimic birds; insects; strange, small creatures. The oddly syncopated rhythms on the descending scales are slightly exaggerated, so that one can actually imagine the forest animals sort of dancing and leaping about. Everything sounds animated, and that's exactly what Mahler spoke of. The fast development section -leading into the reprise of the posthorn solo (lullying the roudy animals back to sleep) - is fast and exciting as all get-up. Yes, the coda is just a tad too fast.

IV - Larsson is Larsson, which is good, and Gergiev clocks this baby in at less than 9 minutes. The final stanza, where joy ("lust", in German) conquers over deep sadness ("Herzeleid"), is permitted to move forward with some genuine passion. Imagine that!

V - This is one of best choral "bim-bam" movements ever. The tempo moves; everyone is happy, and just listen to how the boys really shout out "liebe nur Gott" ("love only god") near the end.

VI - I like this last movement a lot, and not just because it clocks in at less than 22 minutes. Listen to how the entire, long brass chorale is handled. When the trombones take over the main theme from the upper strings, Gergiev really moves forward with the tempo. But listen to how he approaches the climax of the long chorale, which is where the final cymbal crash is located. Gergiev really pushes forward, so that the emphasis is on the ascending half-notes in the trumpets, and not with the pious sounding quarter-notes in the horns (as is nearly always the case). Thus, when we reach the final cymbal crash, Gergiev is actually backing the tempo off a bit, rather than continuing to push forward. It lends the feeling of having truly arrived at a "cosmic" or holy destination. Checks this out! Granted, Gergiev is a bit fast where the two sets of timpani go back-and-forth on the tonic and dominant notes. If he had simply made a bigger ritard in the final few measures, the effect would have worked much better. But again, listen to how he handles the long brass chorale, which normally get treated as one big, long chunk of stasis. Gergiev pours some life and musical logic on to it, instead. Imagine that!
1 of 1 people found the following review helpful
2.0 out of 5 stars Less than enough 24 July 2012
By George Masi - Published on Amazon.com
Format:Audio CD
This 3rd is, oddly, a smaller piece in this recorded performance by Gergiev. Speed-reading should not be applied to poetry and in this case
the fast tempi work to minimize the scale of this very expansive song to nature. The literal, rather metronomic phrasing does not permit the lushness of color which
is native to this work.

Get the Bernstein.
5 of 7 people found the following review helpful
4.0 out of 5 stars Propulsive, at times feverish, always riveting -- but Gergiev isn't a complete Mahlerian here 5 Nov 2008
By Santa Fe Listener - Published on Amazon.com
Format:Audio CD
A listener's reaction to Gergiev's new Mahler Third may turn on what the Guardian newspaper critic heard at the live performances from which the recording is taken: "raw energy and white-hot climaxes." Rawness reflects the fact that Gergiev comes to Mahler as a new voice (at least on records), little influenced by tradition. That works for good and ill. The opening of the massive first movement is thrusting, almost crude, with startling, hard-edged thwacks on the timpani and almost no regard for nuanced phrasing. This thrusting style continues relentlessly for over 16 min., through a hectoring trombone solo, before we get relief. I was kept on the edge of my seat, nerves fraying, but the absence of atmosphere and change-ups in mood was discouraging. Only Michael Gielen in his version on Hanssler adopts a similar bluff, abrupt approach, but he seems half-hearted by comparison with Gergiev's episdoes of wild scrambling.

The second movement recollects a milder, more refined past, but this minuet takes place in a forest glade, not a perfumed ballroom. Gergiev is often best when he can find new highlights in quiet, unassuming music, and that proves true here. So many conductors play this movement straight (i.e., dully) so Gergiev's mercurial, imaginative way is refreshing. The LSO adapts beautifully from the unnerving first movement. Still, there's no time to dawdle -- one gets a sense of forward-moving purpose, which is common to all of Gergiev's Mahler so far.

The third movement begins in the fairy-tale faux naivete of Mahler's 'Des Knaben Wunderhorn' world (the first theme copies an even earlier song). Gergiev remains subdued, without much contrast from the civilized pastoral mood of the preceding music. He moves quickly but not with as much intensity as I like. The famous posthorn solo is faint but not mysterious -- maybe the conductor should have slowed down and gazed longer into the deep woods. All this isn't to detract from the LSO's work, which is as good as all but the very best orchestras in the past. Given more breathing space, I think the wind soloists would have been even more expressive.

Timings can be illusory, as the fourth movement shows: Gergiev takes 8:35 min., within a few seconds of Bernstein and Salonen (both on Sony), but he feels a touch impatient. Mezzo Anna Larson, who also sang for Salonen, has the kind of deeper, more plummy tone that adds gravity to Nietzsche's prophetic declamation. She's too neutral emotionally, however, seeming to care about tone more than meaning. The mixed chorus of boys and women in the fifth movement blends beautifully, with the boys' timbre predominating as it should. Larson sings well here but doesn't find any particular point of view; neither does Gergiev, who is also scanty about rubato and other expressive gestures. He finds satisfying menace in the climax, however.

So far, I felt that I was listening to a performance more notable for propulsion than insight. Seeing the fast timing of the finale -- 20 min. -- I wondered how Gergiev could obey Mahler's direction of "Very slow. Mysterious." The good news is that the pacing doesn't sound impatient; this conductor knows how to sustain a long line and sahpe tender melodies. The serenity of the strings is captivating, and better still, no tension is lost in the quietest passages. I wish the great climaxes wre more visceral, or to put it another way, I wish they meant more to Gergiev. He's reluctant to look deeper than the immediate effect he's making. Yet it must be said that the immediate effect is often ravishing.

Overall, I may be expecting too much in wanting the Mahler Third to embrace a complete, complex world. Gergiev has a right to his fairly narrow, intense perspective. There's no denying his mastery over the orchestra or his drive from beginning to end. I will have to keep thinking about this recording, mindful that I recently gave five stars to Haitink and the Chicago Sym. for a reading that lacked ideas but was broad and majestic, with superlative playaing that even the gifted Londoners can't match. Maybe ideas should trump execution, even when those ideas aren't all to your liking?
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