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Mahler: Symphony No.4/Lieder eines fahrenden Gesellen/Des Knaben Wunderhorn (highlights)
 
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Mahler: Symphony No.4/Lieder eines fahrenden Gesellen/Des Knaben Wunderhorn (highlights)
~ Gustav Mahler (Composer), Benjamin Britten (Conductor), London Symphony Orchestra (Orchestra), English Chamber Orchestra (Orchestra), Joan Carlyle (Performer), et al.
5.0 out of 5 stars 1 customer review (1 customer review)

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1. Symphony No.4: Bedachtig. Nicht eilen Listen
2. Symphony No.4: In gemachlicher Bewegung. Ohne Hast Listen
3. Symphony No.4: Ruhevoll Listen
4. Symphony No.4: Sehr behaglich Listen
5. Lieder eines fahrenden Gesellen: Wenn mein Schatz Hochzeit macht Listen
6. Lieder eines fahrenden Gesellen: Ging heut morgen uber feld
7. Lieder eines fahrenden Gesellen: Ich hab ein gluhend Messer
8. Lieder eines fahrenden Gesellen: Die zwei blaue augen
9. Zwei Lieder aus Des Knaben Wunderhorn: Das Irdische Leben
10. Zwei Lieder aus Des Knaben Wunderhorn: Wer hat dies liedien erdacht?

On this CD:
  1. Symphony No. 4 in G
    Composed by Gustav Mahler
    with Joan Carlyle
    Conducted by Benjamin Britten

  2. Lieder eines fahrenden Gesellen
    Composed by Gustav Mahler
    Performed by English Chamber Orchestra
    with Anna Reynolds
    Conducted by Benjamin Britten

  3. Lieder aus 'Des Knaben Wunderhorn'
    Composed by Gustav Mahler
    Performed by English Chamber Orchestra
    with Elly Ameling
    Conducted by Benjamin Britten


 
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10 of 10 people found the following review helpful:
5.0 out of 5 stars Revelatory performance of one great composer by another, 16 Jun 2005
By Klingsor Tristan (Suffolk) - See all my reviews
(TOP 500 REVIEWER)   
The wonderful treasure-trove of recordings now appearing on this label has produced few things more exciting than this. Britten was a lifelong devotee of Mahler. Long before the latter became popular, he made his own arrangement of the 'What the Flowers Tell Me' movement from the Third Symphony. And if you want evidence of the fruitful influences at work, just compare the Storm Interlude from Peter Grimes with the second movement of the Fifth Symphony.

So it is absolutely fascinating to have the one composer's interpretive view of the other's Fourth Symphony. Britten was no amateur conductor, even though nerves often made him physically sick before a performance. Whenever he conducted other composers' works, his performances were never less than elucidating, and often revelatory. So it is here. Tempi are always judiciously chosen. The Slow Movement, for example, always keeps moving where some conductors seem to grind to a halt; the textures are kept clear so that contrapuntal lines make sense; and the whole movement is so well paced that, when the vision of a child's heaven finally bursts through, the moment is truly cathartic. Joan Carlyle sings the final movement beautifully without any affected child impersonations. And, at the end, the whole symphony gently rocks to a close in a way that reminds me of the end of Britten's own Sinfonia da Requiem.

The fill-ups of Mahler songs with Anna Reynolds and the lovely Elly Ameling show the skills of a master songwriter as accompanist. All in all, an enthralling and revelatory disc.

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