Gustav Mahler: Symphonie Nr. 4 G-dur - Leonard Bernstein, Royal Concertgebouw Orchestra, Helmut Wittek (boy-soprano)
Gustav Mahler: Symphonie Nr. 4 G-dur - Leonard Bernstein, Royal Concertgebouw Orchestra, Helmut Wittek (boy-soprano)
XLD | FLAC (tracks) | No Log/cue-sheet | Frontcover embedded, High-def JPEG | ~253 MB
Classical | DDD | DGG 423 607-2 (1988)
The Symphony No. 4 in G major was written between 1899 and 1901 - though it incorporates a song originally written in 1892. The presence of this song means that the four-movement orchestral work features a solo soprano in the finale. The song, "Das himmlische Leben", presents a child's vision of Heaven. Mahler's first four symphonies are often referred to as the "Wunderhorn" symphonies because many of their themes originate in earlier songs by Mahler on texts from Des Knaben Wunderhorn (The Youth's Magic Horn). The fourth symphony is built around a single song, "Das himmlische Leben." It is prefigured in various ways in the first three movements and sung complete by a solo soprano in the fourth movement. "Das himmlische Leben" was composed as a free-standing piece by Mahler in 1892. A year later Mahler considered using the songs in the fifth and seventh movement, which would be the finale, of his Third symphony. Motifs from "Leben" are threaded throughout the Third symphony, but Mahler eventually decided to use the song (in revised form) as the seed for his fourth. The Fourth symphony thus presents a thematic fulfilment to the musical world of the Third.
Leonard Bernstein's earlier recording of this symphony for Sony was, and remains, one of the best. This new one, however, really is something special. As in his recording of the First with this orchestra, Bernstein's tempos have markedly speeded up, especially in the slow movement. He seems to have really discovered the secret of the music's essential innocence, and he now knows exactly when to make a point and when to just let the music speak naturally. The use of a boy soprano in the finale is unique but not unexpected. Mahler himself thought about it but opted for an adult soprano because he believed that this would prove less limiting to future performances of the work. He was right, of course, but so is Bernstein for letting us hear the composer's original thoughts in such a pure and enjoyable form.
-David Hurwitz (amazon.com)
Enjoy!
Track listing:
1. Bedächtig. Nicht eilen - Recht gemächlich
2. In gemächlicher Bewegung. Ohne Hast
3. Ruhevoll (Poco adagio)
4. Sehr behaglich: "Wir genießen die himmlischen Freuden"
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