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  • Mahler: Symphony No. 2 'Resurrection'
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Mahler: Symphony No. 2 'Resurrection' Import

15 customer reviews

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Product details

  • Performer: CBSO Chorus
  • Orchestra: City of Birmingham Symphony Orchestra
  • Conductor: Simon Rattle
  • Audio CD (21 Nov. 2000)
  • Number of Discs: 2
  • Format: Import
  • Label: EMI Classics
  • ASIN: B000002RPF
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Bestsellers Rank: 97,575 in Music (See Top 100 in Music)

Disc: 1
1. Allegro maestro
Disc: 2
1. I Andante moderato
2. II In ruhig fliebender Bewegung
3. III Urlicht. Sehr feierlich, aber schlicht
4. IV Im tempo des Scherzos. Wild herausfahrend
5. Wieder Sehr Breit
6. Ritardando... Maestoso
7. Wieder zuruckhaltend
8. Langsam. Misterioso
9. Etwas Bewegter
10. Mit Aufschwung Aber Nicht Eilen

Customer Reviews

4.7 out of 5 stars
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Most Helpful Customer Reviews

15 of 16 people found the following review helpful By Ralph Moore TOP 100 REVIEWER on 21 May 2009
Format: Audio CD
A swift survey of the many reviews of this version of Mahler's mighty "Resurrection" symphony reveals a bewildering range of responses, utterly unhelpful to anyone looking for guidance in how to pick a recording. The truth is that there are many successful recordings of this work out there, and many will give satisfaction, be it Mehta, Solti, Bernstein or - my favourites - either of the two Klemperer versons, one live, one studio, but this is a worthy addition.

To dispense with the more obvious absurdities I have read: first, the sound. Some complain of too great a dynamic range; I do not have the best equipment but neither do I play these discs on cheap tat, and to my ears the recording quality is incomparably spacious, full, rich and detailed. It strikes me that it's sometimes the same reviewers who recommend harsh, faded historical recordings who then take a self-aggrandising delight in finding imaginary flaws in a wonderful modern version such as this. Secondly, the quality of orchestral playing: you will read cutting criticism of the CBSO - that they are "ragged" and "amateur". Complete rubbish. I heard them many times when I lived in the Midlands, and they were very fine indeed - as they are here. Thirdly, we hear that Rattle is self-consciously "arty" and deliberately, perversely "different". Well, I note that it's the same reviewers who moan elsewhere about the bland, homogenous state of modern conducting who have taken umbrage that Rattle has imposed a clear interpretation upon the music. You can't have it both ways and Rattle is to be commended for having an identifiable, individual overview of the work, even if you don't like it.
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22 of 24 people found the following review helpful By L. Johan VINE VOICE on 25 Nov. 2003
Format: Audio CD
This performance is, as many critics long have noted, a great Mahlerite testimony from Simon Rattle. It is so good and convincing that he probably never will be able to repeat it. The orchestra plays as good as any other, and Rattle's interpretation is personal, interesting, and deeply moving. It has both drama and impetus. It is nice having such a good studio performance caught on record, which is very much like the live experience of this work.
Together with Otto Klemperer's best recordings - the one with Philharmonia and the live take from Bavaria - and Bruno Walter's with NYPO, I think this is one of the very best recordings of Mahler's 2nd symphony. Perhaps one could include Zubin Metha's Vienna account in that list, and even Rafael Kubelik's underrated studio version. But Klemperer-Walter-Rattle will satisfy most needs, including the HiFi one.
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2 of 2 people found the following review helpful By Jon Chambers VINE VOICE on 1 Jun. 2008
Format: Audio CD
'Resurrection' represents the creative peak of Mahler's first symphonic trilogy - the so-called Wunderhorn symphonies. It has been described, by Henry Louis de la Grange, as 'one of the most impressive, most original creations ever to spring from the mind of man.' Huge claims, but Symphony No2 in c is an epic work, with the ability to captivate the listener through, amongst other things, hypnotic repetition of subtly varied phrases (in a way that anticipates minimalism), through immense dynamic contasts, colour, melody and pattern.

What makes Rattle so accomplished a Mahlerian is his great sense of colour and contrast. Despite the monumental forces assembled for occasionally awesome exhibitions of power (six horns and six trumpets for most of the work, becoming ten of each for the finale!), it is the contrasting moments of reduced, even solo, sound (solo violin, harp etc.) that provide the necessary counterbalance and tonal interest. Even when everything is at full stretch, clarity rather than power is the hallmark of a successful recording, as here. In terms of tempo, Rattle is not as rushed as Solti, for example. The descending scale at the end of the first movement is weightier and more deliberate than in any other interpretation I've heard. It works. The sound he creates, meanwhile, isn't as mannered as in the excellent Wyn Morris recording of 1977 - spoilt, for me, by excessively sliding strings.

Rattle is thoroughly acquainted with this music after practically a lifetime's experience. Alongside its solemnity, eccentricity and brute force, 'Resurrection' is also lyrical, subtle, folk-inspired and whimsical, and such multi-dimensionality isn't lost on the performers in this recording.
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23 of 26 people found the following review helpful By Klingsor Tristan VINE VOICE on 9 Jun. 2005
Format: Audio CD
This is an outstanding disc, even by the consistently high standards set by the rest of Simon Rattle's (now complete) Mahler series. He has lived with this symphony since his teenage years when he organised his own performance of the work. Clearly time has not staled it for him.
He sets out his distinctive stall from the very first notes - an electrically intense tremolo and then a dramatic accelerando on the rising figure in the lower strings. This is the real voice of musical argument, not a mere statement of musical fact. And so it carries on right through the high dramas of the first movement. How often one catches an individual inflection to a phrase or an inner voice one had never quite seen fit into the argument. But turn to the score and you will always find an authorial justification in the text for what may surprise you.
It continues like this through the whole work. The andante has a lightness of touch that makes of it the real interlude it is supposed to be - rather than the elephantine galumphing of a Klemperer or the hyped urgency of a Solti. The scherzo acknowledges its Wunderhorn origins, but retains it symphonic cogency - and the first Trio is a wonderfully supported piece of levitation. Janet Baker brings a lifetime's experience to a profound Urlicht. And the vast final movement, which can so easily reveal its episodic nature and fall apart at the seams, is sustained and controlled with a fierce intellectual coherence. Which takes nothing away from the splendours of the choral finale.
The playing is always committed and thrilling. I always have the feeling in this series that Rattle's Birmingham band love Mahler's music in a way that the Berliners, for all their superior technique, don't.
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