Gustav Mahler (1860-1911) - Symphony No.3 in D Minor: Ein Sommermorgentraum. 🎧 Qobuz bit.ly/30UBppp Tidal bit.ly/3CmcOHR 🎧 Spotify spoti.fi/3bf7I4p RUclips Music bit.ly/3nvkCkp 🎧 Apple Music apple.co/3nzCKK8 Amazon Music amzn.to/3mjxdYF 🎧 Deezer bit.ly/3BjevVn Soundcloud - 🎧 Napster bit.ly/3cvMi3t Awa日本 mf.awa.fm/3CovmHB 🎧 LineMusic日本 bit.ly/3blQKkJ QQ音乐 bit.ly/3H7pmWD *Click to activate the English subtitles for the presentation* (00:00-04:10) 00:00 I. Kräftig. Entschieden 37:04 II. Tempo di Menuetto. Sehr mässig Ja nicht eilen ! 46:17 III. Comodo. Scherzando. Ohne Hast. 1:04:20 IV. Sehr langsam. Misterioso. Durchaus ppp. 1:13:13 V. Lustig im Tempo und keck im Ausdruck. 1:18:02 VI. Langsam. Ruhevoll. Empfunden. Alt: Hilde Rössel Majdan Wiener Sängerknaben / Vienna Boys Choir Frauenchor des Wiener Staatsopernchores Wiener Symphoniker Conductor: F. Charles Adler Recorded in 1952, at ORF Studio (error, not 1953) New mastering in 2021 by AB for CMRR Painting: Gustav Klimt (1862-1918) Gertrude "Mäda" Primavesi 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 F. Charles Adler was born in London on July 2, 1889. He studied at the Royal Academy of Music in Munich and then conducting with Felix Mottl and Gustav Mahler. From 1908 to 191 1 he was Mottl's assistant at the Royal Opera of Munich and conducted for Max Reinhardt (191 1 and 1913). In 191 1, he was assistant at the Bayreuth Festival. From 1913 to 1914 he conducted at the Dusseldorf Opera House and from 1924 to 1933, at the East Berlin Radio. In Berlin he founded the publishing company Adler Editions. With the coming of the Nazis he emigrated to the United States. After the war, he conducted the New York Chamber Orchestra (1944-1947) and was Artistic Director for the company SPA Records Inc. He was awarded the medal of the Brucknergesellschaft and the Schoenberg medal. He wrote several articles on music for different American magazines (New Enterprise, Woman's Day). In 1936, he married Hannah Moriarta with whom he had a daughter, Annemarie. He died on February 16, 1959. Even though he was not very widely known, Adler conducted the first recordings of works such as Mahler's Third Symphony, Ives' Second Symphony (and others) with the Vienna Symphony Orchestra for labels such as Alpha, Composers Recordings, SPA, Vanguard, etc. The orchestra's name varied from Vienna Orchestral Society to Vienna Philharmonia Orchestra, Vienna Orchestra or Vienna Festival Orchestra. Gustav Mahler PLAYLIST (reference recordings): ruclips.net/video/BXtnkgELVTM/видео.html
F. Charles Adler was born in London on July 2, 1889. He studied at the Royal Academy of Music in Munich and then conducting with Felix Mottl and Gustav Mahler. From 1908 to 191 1 he was Mottl's assistant at the Royal Opera of Munich and conducted for Max Reinhardt (191 1 and 1913). In 191 1, he was assistant at the Bayreuth Festival. From 1913 to 1914 he conducted at the Dusseldorf Opera House and from 1924 to 1933, at the East Berlin Radio. In Berlin he founded the publishing company Adler Editions. With the coming of the Nazis he emigrated to the United States. After the war, he conducted the New York Chamber Orchestra (1944-1947) and was Artistic Director for the company SPA Records Inc. He was awarded the medal of the Brucknergesellschaft and the Schoenberg medal. He wrote several articles on music for different American magazines (New Enterprise, Woman's Day). In 1936, he married Hannah Moriarta with whom he had a daughter, Annemarie. He died on February 16, 1959. Even though he was not very widely known, Adler conducted the first recordings of works such as Mahler's Third Symphony, Ives' Second Symphony (and others) with the Vienna Symphony Orchestra for labels such as Alpha, Composers Recordings, SPA, Vanguard, etc. The orchestra's name varied from Vienna Orchestral Society to Vienna Philharmonia Orchestra, Vienna Orchestra or Vienna Festival Orchestra. Click to activate the English subtitles for the presentation (00:00-04:10) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
Thank you so much for the info LIKE A FORMER COMMENTATOR ALL I CAN SAY IS WOW ONE FEELS ALL THE IMMENSE TRAGEDY OF WHAT OUR POOR EUROPEAN ANCESTORS WENT THROUGH IN TWO UTTERLY HORRIFYING WORLD WARS
This is one of the most beautiful recordings of this magnificent symphony. The remastering is so clear and precise; Adler's approach to the work is filled with such depth and attention to Mahler's extraordinary sonics -- in both the thrilling Adagio's soft and deep yearning notes, to the vivid choral movements. The Alto deeply integrates her interpretation of every note -- especially beautiful are her two representations of the repeated 'O Mensch!' entries -- one a soft call to attention, and the other a melancholic appeal to acceptance and revelation. Absolutely one of the finest recordings. The chorus and orchestra are superb.
I've heard them all, and can't imagine which other one(s) you are referring to when you call this one "one of the most beautiful recordings of this magnificent symphony"? The only other one that I think about at all is Swarowsky's, but it is extremely different, and I don't yet know whether its tragic character is authentic to Mahler's intention. I still think that the Adler is the truest communication of Mahler's intention.
@@easy1253 Though listening is subjective, the others I find are excellent are Bernstein's, Abbado's, Horenstein, and Tennstedt's. I did not know of the Swarowsky, and could only find a recording of Mahler's 4th with him -- which was beautiful. But after hearing Adler, he is now on the top of my list. Thank you for your comment.
There is more harmonic clarity in this mono recording than most of the new ones. I say most only because I haven't heard them all. Gorgeous performance.
Do not get me wrong - the Adler is extraordindary, and this remastering is amazing. It is an important part of Mahler performance history. But, if you haven't yet, stroll on over to Andres Orozco-Estrada/Frankfurt, and see what you think.
Wunderschöne und spannende Interpretation dieser spätromantischen und großartigen Sinfonie mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente sowie tiefer Stimme der genialen Solistin und gut harmonisierten Stimmen beider ausgezeichneten Chöre. Der intelligente und ebenso geniale Dirigent leitet das ausgezeichnete Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine originale Aufnahme von fast siebzig Jahren vor. Wundervoll und atemberaubend zugleich!
Taken by surprise. Gave me goose pimples. And I'm listening to it through a simple computer with a good pair of headphones. And, it hurts me to say that it is moving me more than when I hear it (any of the 3 recordings I own of it) through my ultra expensive high fidelity system.
Dans son passionnant petit livre ( petit juste par le format) dans la série Solfège, Marc Vignal caractérisait déjà de légendaire la version d'Adler. ( je me l'étais procurée). Mais cette version "remastérisée" est une absolue réussite, qui permet de mieux apprécier encore cette extraordinaire interprétation, celle que personnellement je préfère ( impossible de l'interrompre)...
I love how Mahler developed a theme and reached climax again and again with differences in layers which made his music hard to listen but when you reach depth nothing is comparable with that ❤❤
When I was 17, Klaus Tennstedt brought this symphony to Tanglewood. I remember searching frantically for my Kauffman translation of Zarathustra for the Midnight Song during the broadcast over WGBH fm. Teeth gnashing still.
Oh! Este registro está plenamente a altura desta magnífica sinfonia. Uma interpretação sublime, detalhista, revelando nuances antes por mim insuspeitadas. Só tenho a agradecer a este canal, Classical Music/ /Reference Recording, por esta gentileza em disponibilizar tamanha maravilha para o nosso deleite S2
If I get a situation to choose only one movement among all symphonies of all composers allowed to listen during the rest of my life, that would be the 6th movement of Gustav Mahler No.3 without any hesitation.
Realización absolutamente excepcional de la tercera mahleriana, de intenso y, a veces, lacerante expresionismo sin que a este apostol de Mahler ( no pionero, pues era el más joven de la generación de los Mengelbert-1871-, Walter -1876-, o Klemperer -1885-, y que llegó a estudiar dirección con el compositor), se le desboque nada... un auténtico portento que se encarama, a mi juicio, a lo más alto de la discografía, junto a Horenstein (éste sí, un auténtico pionero), Abbado y Haitink. Gran respuesta orquestal de la Sinfónica de Viena (orquesta de Karajan entonces), que por aquellos años hizo Mahler en disco con Klemperer y con Horenstein y seguramente tuvo una dedicación más intensa con la obra del bohemio que la misma Filarmónica vienesa.
An indubitable very impressive performance by the conductor, musicians and artists of this overwhelming and sublime symphony. Again a magical New Mastering ! The first time that I hear this recording, thank you very much CM/RR ! Is there hope for the Bruckner performances ?
Amazing. So heavy and charged with expressiveness and as important as Mengelberg's 4th. You can hear Adler moving into unknown territories with this recording. Just listen to 21:46, you'll never hear again some instruments to this extent. Still,by the way, 1 minute shorter than Klemperer's 7th!!
A mind-expanding experience of this wonderful symphony. The recording sounds as if someone (or several someones) were carrying a microphone around the studio and focusing attention on this section of the orchestra, then that section, with the result that one hears instrumental voices that are normally integrated into the orchestra as a whole. Sometimes, the main voices sound as if they are coming from a distance. Tremendously alive throughout! Get a newer recording, however, to hear how the symphony might have sounded to a conductor.
Très étonnant d'entendre cet enregistrement du passé. On imagine ce que donnerait cette interprétation pleine de conviction avec les moyens techniques d'aujourd'hui. Merci pour cet envoi. Adler a t'il dirigé une intėgrale ?
Une intégrale de Mahler ? Pas à ma connaissance hélas. Ce qui est fort regrettable... Il est parmi la poignée des chefs qui ont le mieux compris ce compositeur.
A POX on record companies for failing to credit the trombone soloist in so many recordings of this work!!! They always credit the post horn, but rarely the trombonist. Damn them!!! Does anyone out there know who the trombonist was at the time? He did quite well!!! This, the first commercial recording of the work, pretty much held the day until Bernstein’s first NY recording was issued. And this has NEVER sounded better than it does here!
The record company that was selling this in America in the mid-1960s apparently ran out of album covers and sold it as music by a fellow named Zeisl (if memory serves) who must have had a some extra covers available for the taking. Fortunately for me, someone had scrawled Mahler 3 across poor Zeisl's name-or maybe I did that later, that after I'd had the luck to look inside to see what a Zeisl disc looked like and found Mahler instead. The Zeisl hadn't been a double album, so the two discs of Mahler's Third had to be sold separately, and rarely met up with their missing sibling. I thought this just applied to my own copy of the music, but I later learned that Zeisl got mixed up regularly. with Adler's great Mahler recording. I'm now hearing the first record of that set for the first time, 55 years late-and a great performance it is! I usually despise the gargantuan first movement, but this guy brings it to life is a totally unique and outlandish way, more Mahlerian than anyone! In the Schwann catalogue of all classical recordings, there was only Adler probably from the first pressings until 1966-67 when Leinsdorf/Boston showed up, immediately followed by many more. There was also just one (or two?) Sixths, maybe also Adler, and I think Eduard Flipse's Dutch record had the Eighth to itself. The other symphonies were not so scarce. (My grandmother swooned over an LP of the Fourth, I played for her and waxed rhapsodic over her vivid memories of hearing Mahler lead he NY Philharmonic.)
Esecuzione discreta ma datata, dopo l'esecuzione di Bernstein con i Wiener Philarmoniker è difficile, se non impossibile, trovare un'altra esecuzione che emoziona, che coinvolge...semplicemente
Gustav Mahler (1860-1911) - Symphony No.3 in D Minor: Ein Sommermorgentraum.
🎧 Qobuz bit.ly/30UBppp Tidal bit.ly/3CmcOHR
🎧 Spotify spoti.fi/3bf7I4p RUclips Music bit.ly/3nvkCkp
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🎧 Deezer bit.ly/3BjevVn Soundcloud -
🎧 Napster bit.ly/3cvMi3t Awa日本 mf.awa.fm/3CovmHB
🎧 LineMusic日本 bit.ly/3blQKkJ QQ音乐 bit.ly/3H7pmWD
*Click to activate the English subtitles for the presentation* (00:00-04:10)
00:00 I. Kräftig. Entschieden
37:04 II. Tempo di Menuetto. Sehr mässig Ja nicht eilen !
46:17 III. Comodo. Scherzando. Ohne Hast.
1:04:20 IV. Sehr langsam. Misterioso. Durchaus ppp.
1:13:13 V. Lustig im Tempo und keck im Ausdruck.
1:18:02 VI. Langsam. Ruhevoll. Empfunden.
Alt: Hilde Rössel Majdan
Wiener Sängerknaben / Vienna Boys Choir
Frauenchor des Wiener Staatsopernchores
Wiener Symphoniker
Conductor: F. Charles Adler
Recorded in 1952, at ORF Studio (error, not 1953)
New mastering in 2021 by AB for CMRR
Painting: Gustav Klimt (1862-1918) Gertrude "Mäda" Primavesi
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
F. Charles Adler was born in London on July 2, 1889. He studied at the Royal Academy of Music in Munich and then conducting with Felix Mottl and Gustav Mahler. From 1908 to 191 1 he was Mottl's assistant at the Royal Opera of Munich and conducted for Max Reinhardt (191 1 and 1913). In 191 1, he was assistant at the Bayreuth Festival. From 1913 to 1914 he conducted at the Dusseldorf Opera House and from 1924 to 1933, at the East Berlin Radio. In Berlin he founded the publishing company Adler Editions. With the coming of the Nazis he emigrated to the United States.
After the war, he conducted the New York Chamber Orchestra (1944-1947) and was Artistic Director for the company SPA Records Inc. He was awarded the medal of the Brucknergesellschaft and the Schoenberg medal. He wrote several articles on music for different American magazines (New Enterprise, Woman's Day). In 1936, he married Hannah Moriarta with whom he had a daughter, Annemarie. He died on February 16, 1959.
Even though he was not very widely known, Adler conducted the first recordings of works such as Mahler's Third Symphony, Ives' Second Symphony (and others) with the Vienna Symphony Orchestra for labels such as Alpha, Composers Recordings, SPA, Vanguard, etc. The orchestra's name varied from Vienna Orchestral Society to Vienna Philharmonia Orchestra, Vienna Orchestra or Vienna Festival Orchestra.
Gustav Mahler PLAYLIST (reference recordings): ruclips.net/video/BXtnkgELVTM/видео.html
A day without Mahler is like a day wasted.
Exactly! 👍
F. Charles Adler was born in London on July 2, 1889. He studied at the Royal Academy of Music in Munich and then conducting with Felix Mottl and Gustav Mahler. From 1908 to 191 1 he was Mottl's assistant at the Royal Opera of Munich and conducted for Max Reinhardt (191 1 and 1913). In 191 1, he was assistant at the Bayreuth Festival. From 1913 to 1914 he conducted at the Dusseldorf Opera House and from 1924 to 1933, at the East Berlin Radio. In Berlin he founded the publishing company Adler Editions. With the coming of the Nazis he emigrated to the United States.
After the war, he conducted the New York Chamber Orchestra (1944-1947) and was Artistic Director for the company SPA Records Inc. He was awarded the medal of the Brucknergesellschaft and the Schoenberg medal. He wrote several articles on music for different American magazines (New Enterprise, Woman's Day). In 1936, he married Hannah Moriarta with whom he had a daughter, Annemarie. He died on February 16, 1959.
Even though he was not very widely known, Adler conducted the first recordings of works such as Mahler's Third Symphony, Ives' Second Symphony (and others) with the Vienna Symphony Orchestra for labels such as Alpha, Composers Recordings, SPA, Vanguard, etc. The orchestra's name varied from Vienna Orchestral Society to Vienna Philharmonia Orchestra, Vienna Orchestra or Vienna Festival Orchestra.
Click to activate the English subtitles for the presentation (00:00-04:10)
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
Thank you so much for the info LIKE A FORMER COMMENTATOR ALL I CAN SAY IS WOW ONE FEELS ALL THE IMMENSE TRAGEDY OF WHAT OUR POOR EUROPEAN ANCESTORS WENT THROUGH IN TWO UTTERLY HORRIFYING WORLD WARS
Is this performance available on CD or can anyone burn me a copy it one of the best no3 I have heard ?
This is one of the most beautiful recordings of this magnificent symphony. The remastering is so clear and precise; Adler's approach to the work is filled with such depth and attention to Mahler's extraordinary sonics -- in both the thrilling Adagio's soft and deep yearning notes, to the vivid choral movements. The Alto deeply integrates her interpretation of every note -- especially beautiful are her two representations of the repeated 'O Mensch!' entries -- one a soft call to attention, and the other a melancholic appeal to acceptance and revelation. Absolutely one of the finest recordings. The chorus and orchestra are superb.
I've heard them all, and can't imagine which other one(s) you are referring to when you call this one "one of the most beautiful recordings of this magnificent symphony"? The only other one that I think about at all is Swarowsky's, but it is extremely different, and I don't yet know whether its tragic character is authentic to Mahler's intention. I still think that the Adler is the truest communication of Mahler's intention.
@@easy1253 Though listening is subjective, the others I find are excellent are Bernstein's, Abbado's, Horenstein, and Tennstedt's. I did not know of the Swarowsky, and could only find a recording of Mahler's 4th with him -- which was beautiful. But after hearing Adler, he is now on the top of my list. Thank you for your comment.
@@PhilipFClark I would add Kubelik to the mix.
Best.
There is more harmonic clarity in this mono recording than most of the new ones. I say most only because I haven't heard them all. Gorgeous performance.
Do not get me wrong - the Adler is extraordindary, and this remastering is amazing. It is an important part of Mahler performance history. But, if you haven't yet, stroll on over to Andres Orozco-Estrada/Frankfurt, and see what you think.
@@nerowolfe736 Yes, I will, thank you!
@@nerowolfe736AOE is literally mediocre at best. Why listen to him when you have Adler, Bernstein, Mitropolous, etc.
Wow, just wow!
:)
Wonderfull interpretation! Great version and exellent sound.
Wunderschöne und spannende Interpretation dieser spätromantischen und großartigen Sinfonie mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente sowie tiefer Stimme der genialen Solistin und gut harmonisierten Stimmen beider ausgezeichneten Chöre. Der intelligente und ebenso geniale Dirigent leitet das ausgezeichnete Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine originale Aufnahme von fast siebzig Jahren vor. Wundervoll und atemberaubend zugleich!
Gracias por esta versión que fue pionera y está entre mis favoritas.
con mucho gusto :)
Taken by surprise. Gave me goose pimples. And I'm listening to it through a simple computer with a good pair of headphones. And, it hurts me to say that it is moving me more than when I hear it (any of the 3 recordings I own of it) through my ultra expensive high fidelity system.
Bellissima registrazione direzione di Adler grandiosa,documento preziosissimo.Grazie per la pubblicazione.
Thanks for sharing! It’s so rarely presented to the younger generations! Hope there would be more Presentations like this! Bravo!
:)
Magnifique version d'Adler... Ma préférée, particulièrement dans cette remasterisation puissante... Très impressionnant.
Merci pour le commentaire :)
Dans son passionnant petit livre ( petit juste par le format) dans la série Solfège, Marc Vignal caractérisait déjà de légendaire la version d'Adler. ( je me l'étais procurée). Mais cette version "remastérisée" est une absolue réussite, qui permet de mieux apprécier encore cette extraordinaire interprétation, celle que personnellement je préfère ( impossible de l'interrompre)...
The best performance ever! Thank you again dear CM/RR.
I love how Mahler developed a theme and reached climax again and again with differences in layers which made his music hard to listen but when you reach depth nothing is comparable with that ❤❤
When I was 17, Klaus Tennstedt brought this symphony to Tanglewood. I remember searching frantically for my Kauffman translation of Zarathustra for the Midnight Song during the broadcast over WGBH fm.
Teeth gnashing still.
A great performance. One of the best M3s, no question.
Thank you so much for sharing!
Thanks for this: this recording give an unique and clare vision of the symphony: it is so inspirate.
Wow, amazing.
Oh! Este registro está plenamente a altura desta magnífica sinfonia. Uma interpretação sublime, detalhista, revelando nuances antes por mim insuspeitadas. Só tenho a agradecer a este canal, Classical Music/ /Reference Recording, por esta gentileza em disponibilizar tamanha maravilha para o nosso deleite S2
marvelous! this is my favorite recoridng.
If I get a situation to choose only one movement among all symphonies of all composers allowed to listen during the rest of my life, that would be the 6th movement of Gustav Mahler No.3 without any hesitation.
The Brass is outstanding in the final moments of the last movement. Blazing away!!!
Realización absolutamente excepcional de la tercera mahleriana, de intenso y, a veces, lacerante expresionismo sin que a este apostol de Mahler ( no pionero, pues era el más joven de la generación de los Mengelbert-1871-, Walter -1876-, o Klemperer -1885-, y que llegó a estudiar dirección con el compositor), se le desboque nada... un auténtico portento que se encarama, a mi juicio, a lo más alto de la discografía, junto a Horenstein (éste sí, un auténtico pionero), Abbado y Haitink. Gran respuesta orquestal de la Sinfónica de Viena (orquesta de Karajan entonces), que por aquellos años hizo Mahler en disco con Klemperer y con Horenstein y seguramente tuvo una dedicación más intensa con la obra del bohemio que la misma Filarmónica vienesa.
An indubitable very impressive performance by the conductor, musicians and artists of this overwhelming and sublime symphony. Again a magical New Mastering ! The first time that I hear this recording, thank you very much CM/RR ! Is there hope for the Bruckner performances ?
Bruckner is for tomorrow :)
Thank you.
すばらしい！ありがとう。
楽しみながら
Amazing. So heavy and charged with expressiveness and as important as Mengelberg's 4th. You can hear Adler moving into unknown territories with this recording. Just listen to 21:46, you'll never hear again some instruments to this extent. Still,by the way, 1 minute shorter than Klemperer's 7th!!
POWERFUL
💜💜💜
Boys' choir - apostrophe comes after the "s". 😉
A mind-expanding experience of this wonderful symphony. The recording sounds as if someone (or several someones) were carrying a microphone around the studio and focusing attention on this section of the orchestra, then that section, with the result that one hears instrumental voices that are normally integrated into the orchestra as a whole. Sometimes, the main voices sound as if they are coming from a distance. Tremendously alive throughout! Get a newer recording, however, to hear how the symphony might have sounded to a conductor.
Con esta obra de Mahler descubrí toda su inmensa OBRA. Descubrí a Jessye Norman...........
Très étonnant d'entendre cet enregistrement du passé. On imagine ce que donnerait cette interprétation pleine de conviction avec les moyens techniques d'aujourd'hui. Merci pour cet envoi. Adler a t'il dirigé une intėgrale ?
Une intégrale de Mahler ? Pas à ma connaissance hélas. Ce qui est fort regrettable... Il est parmi la poignée des chefs qui ont le mieux compris ce compositeur.
感谢让我知道了这位上世纪的指挥家，他的马勒很有味道
谢谢你用你的语言发表的评论。我们感谢
A POX on record companies for failing to credit the trombone soloist in so many recordings of this work!!! They always credit the post horn, but rarely the trombonist. Damn them!!! Does anyone out there know who the trombonist was at the time? He did quite well!!! This, the first commercial recording of the work, pretty much held the day until Bernstein’s first NY recording was issued. And this has NEVER sounded better than it does here!
14:23 The best!
Congratulations on another successful remastering. Is this the SPA studio recording or from the live performance?
41:51
42:03
T H E G E N I U S ! ( A S T I , ITALIA )
The record company that was selling this in America in the mid-1960s apparently ran out of album covers and sold it as music by a fellow named Zeisl (if memory serves) who must have had a some extra covers available for the taking. Fortunately for me, someone had scrawled Mahler 3 across poor Zeisl's name-or maybe I did that later, that after I'd had the luck to look inside to see what a Zeisl disc looked like and found Mahler instead. The Zeisl hadn't been a double album, so the two discs of Mahler's Third had to be sold separately, and rarely met up with their missing sibling. I thought this just applied to my own copy of the music, but I later learned that Zeisl got mixed up regularly. with Adler's great Mahler recording. I'm now hearing the first record of that set for the first time, 55 years late-and a great performance it is! I usually despise the gargantuan first movement, but this guy brings it to life is a totally unique and outlandish way, more Mahlerian than anyone! In the Schwann catalogue of all classical recordings, there was only Adler probably from the first pressings until 1966-67 when Leinsdorf/Boston showed up, immediately followed by many more. There was also just one (or two?) Sixths, maybe also Adler, and I think Eduard Flipse's Dutch record had the Eighth to itself. The other symphonies were not so scarce. (My grandmother swooned over an LP of the Fourth, I played for her and waxed rhapsodic over her vivid memories of hearing Mahler lead he NY Philharmonic.)
Bernstein's Columbia Recording appeared in 1962. Then came Haitink in '66 and Leinsdorf a bit later. Adler had the field to himself for ten years.
Hilde Roessel-Majdan - Alt (not Sopran)...
:)
What a shame the last chord is so short, despite Mahler's instructions to the contrary, in the form of both a fermata sign PLUS the word 'lange'.
Esecuzione discreta ma datata, dopo l'esecuzione di Bernstein con i Wiener Philarmoniker è difficile, se non impossibile, trovare un'altra esecuzione che emoziona, che coinvolge...semplicemente
Try Martinon with Chicago. Not better but I think it's comparable.
@@kennirobertokristianto8550 Thank you!
It all goes haywire around 21:30 - schade!
52:40
That part is very beautiful 🥰
the lethargic tempo puts me off
Reference recording?????Rather a first try.
Maybe I don't like the symphony , so my favorite recording of it is the incredibly virtuositic and zippy Martinon and Chicago recording 😶
The Martinon performance is only a few minutes quicker than this performance.
Der Frauenchor klingt furchtbar!