De Billy, Merbeth, Van Den Heever, Grigorian, Henschel, Botha - Mahler: Symphony No 8 (2011)
De Billy, Merbeth, Van Den Heever, Grigorian, Henschel, Botha - Mahler: Symphony No 8 (2011)
EAC Rip | Flac (Image + cue + log) | 1 CD | Full Scans | 345 MB
Genre: Classical | Label: Oehms | Catalog Number: 768
EAC Rip | Flac (Image + cue + log) | 1 CD | Full Scans | 345 MB
Genre: Classical | Label: Oehms | Catalog Number: 768
This CD is a live recording of a concert in March 2010, given in the Vienna Konzerthaus. It is particularly attractive due to the outstanding group of soloists, which includes Johan Botha, Jane Henschel and Kwangchoul Young. Bertrand de Billy also proves his ability to ring out the finest, subtlest music-making from even the largest orchestral and choral bodies.
Composer: Gustav Mahler
Performer: Kwangchul Youn, Stella Grigorian, Ricarda Merbeth, Elisabeta Marin, …
Conductor: Bertrand De Billy
Orchestra/Ensemble: Vienna Singakademie, Vienna Radio Symphony Orchestra, Vienna Boys' Choir, …
Reviews: This disc presents part of the cycle of Mahler’s works that Bertrand de Billy led in Vienna. The recording makes available his acclaimed performances of the Eighth Symphony. This particular release includes a number of current or new soloists, who offer fresh and exciting interpretations of the family parts of this work, along with several choirs in Vienna and the environs and the ORF Radio Symphony Orchestra. Taken as a whole, the musicians involved are quite impressive, and Bertrand de Billy and Oehms have taken the opportunity to release a solid recording of Mahler’s Eighth Symphony.
In shaping the performance, de Billy is sensitive to the texts that are essential to both parts of the work. His tempos never compromise the presentation of the words, an aspect of de Billy’s efforts with opera, an aspect of Mahler’s score that one would also expect of its composer. The first part, the Latin hymn Veni creator spiritus has the sense of a cantata, with a blended choral sound supporting the solo voices. The pacing, sense of line, and clarity of presentation are in place from the start, with the recording capturing well the voices, although sometimes at the expense of the orchestral accompaniment. The orchestra can sometimes sound overbalanced in the treble, and while the bass instruments are not absent, it is, at times, difficult to hear the inner parts distinctly. This is not to fault the performance, which is effective for the sense of immediacy that emerges readily. The passage at the phrase “Qui Paraclitus diceris” is a good example of the way in which de Billy brings the performing forces together well, to give a sense of the musical space and vocal delivery that Mahler created. The interpretation is effective through to the conclusion, even though the brass can sometimes be strident.
De Billy meets the challenges of the second part well, and gives an equally fine reading of the final scene from Goethe’s Faust, the passage in which the transcendent elements found in the Latin text are expressed in the salvation of the eponymous character of the German drama. In this section of the Eighth de Billy allows the principals to bring out their solo lines, with Boaz Daniel notable for his interpretation of the character of Pater Ecstaticus in the passage “Ewiger Wonnebrand”, in which the diction and line resound vibrantly. Johan Botha is similarly effective as he expresses the passage near the conclusion, “Blicket auf”, with fine intensity. Here, the choral textures are particularly rich, with the voices nicely unified and never straining. The women are also effective, as found in the passage “Bei der Liebe, die den Füßen” in which the solo voices are prominent. All these forces come together with authority in the conclusion, the mystic Chorus “Alles Vergängliches ist nur ein gleichnis,” and de Billy gives the opening the same quiet beginning that characterizes the final chorus of the Second Symphony, a similar point of expression that did not escape the conductor. By allow the volume to swell after the harmonic tension crests, de Billy respects Mahler’s intentions in the score and creates an aural tableau in which the lines of the Mater Gloriosa emerge powerfully.
This is a fine recording which merits attention as a rare performance of Mahler by Bertrand de Billy. That stated, this is a live take, and it is possible sometimes to hear audience sounds; the ear quickly accommodates such small imperfections. The result is what matters. What we have here is an impressive interpretation of this extroverted work in a festival-quality performance. This is borne out by the respectful silence before the applause at the end of the final track.
Tracklisting:
1. Part I, Veni, creator spiritus: Veni, creator spiritus - 00:01:21
2. Part I, Veni, creator spiritus: Imple superna gratia - 00:03:29
3. Part I, Veni, creator spiritus: Infirma nostri corporis - 00:01:58
4. Part I, Veni, creator spiritus: Tempo I: Allegro, etwas hastig - 00:01:15
5. Part I, Veni, creator spiritus: Infirma nostri corporis - 00:02:43
6. Part I, Veni, creator spiritus: Accende lumen sensibus - 00:05:10
7. Part I, Veni, creator spiritus: Qui Paraclitus diceris - 00:03:05
8. Part I, Veni, creator spiritus: Gloria sit Patri Domino 00:02:42
9. Part II, Final Scene from Faust: Poco adagio - 00:07:06
10. Part II, Final Scene from Faust: Piu mosso: Allegro moderato - 00:03:48
11. Part II, Final Scene from Faust: Waldung, sie schwankt heran - 00:04:46
12. Part II, Final Scene from Faust: Ewiger Wonnebrand - 00:01:15
13. Part II, Final Scene from Faust: Wie Felsenabgrund mir zu Fussen - 00:04:39
14. Part II, Final Scene from Faust: Gerettet ist das edle Glied - 00:00:57
15. Part II, Final Scene from Faust: Jene Rosen, aus den Handen - 00:01:47
16. Part II, Final Scene from Faust: Uns bleibt ein Erdenrest - 00:01:53
17. Part II, Final Scene from Faust: Ich spur' soeben nebelnd um Felsenhoh' - 00:05:19
18. Part II, Final Scene from Faust: Dir, der Unberuhrbaren - 00:03:02
19. Part II, Final Scene from Faust: Bei der Liebe, die den Fussen - 00:05:36
20. Part II, Final Scene from Faust: Er uberwachst uns schon - Vom edlen Geisterchor umgeben - 00:04:07
21. Part II, Final Scene from Faust: Blicket auf zum Retterblick, alle reuig Zarten - 00:05:55
22. Part II, Final Scene from Faust: Alles Vergangliche ist nur ein Gleichnis 00:06:18
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 28. January 2015, 22:42
ORF RSO Wien / B. de Billy / Mahler Symphony No. 8
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Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
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==== Log checksum FA3ACD6E9F036DD77D2E668AE74BF543F922D17C733A1F429821503E3FDDDBE0 ====
EAC extraction logfile from 28. January 2015, 22:42
ORF RSO Wien / B. de Billy / Mahler Symphony No. 8
Used drive : HL-DT-STDVDRAM GE20NU10 Adapter: 0 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
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Track | Start | Length | Start sector | End sector
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3 | 4:49.66 | 1:58.11 | 21741 | 30601
4 | 6:48.02 | 1:15.06 | 30602 | 36232
5 | 8:03.08 | 2:43.18 | 36233 | 48475
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7 | 15:56.37 | 3:05.07 | 71737 | 85618
8 | 19:01.44 | 2:42.29 | 85619 | 97797
9 | 21:43.73 | 7:05.70 | 97798 | 129742
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End of status report
==== Log checksum FA3ACD6E9F036DD77D2E668AE74BF543F922D17C733A1F429821503E3FDDDBE0 ====
Thanks to the original releaser