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Mahler: Symphony No. 9 / Boulez: Rituel / Notations I-IV, VII ~ Gielen

Pierre Boulez , Gustav Mahler , Michael Gielen , SWR Baden-Baden and Freiburg Symphony Orchestra Audio CD
4.5 out of 5 stars  See all reviews (2 customer reviews)

Price: $30.56 & FREE Shipping on orders over $35. Details
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 : Includes FREE MP3 version of this album.
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Song Title Time Price
listen  1. Symphony No. 9 in D Major: I. Andante comodo29:16Album Only
listen  2. Symphony No. 9 in D Major: II. Im Tempo eines gemachlichen Landlers. Etwa tappisch und sehr derb17:53Album Only
listen  3. Symphony No. 9 in D Major: III. Rondo: Burleske - Allegro assai - Sehr trotzig14:42Album Only

Disc 2:

Song Title Time Price
listen  1. Symphony No. 9 in D Major: IV. Adagio: Sehr langsam und noch zuruckhaltend22:47Album Only
listen  2. Rituel: in memoriam Bruno Maderna: Rituel - In Memoriam Bruno Maderna27:43Album Only
listen  3. Notations I-IV, VII: I. Modere: Fantasque 3:09$0.99  Buy MP3 
listen  4. Notations I-IV, VII: II. Tres vif: Strident 2:14$0.99  Buy MP3 
listen  5. Notations I-IV, VII: III. Tres modere 4:04$0.99  Buy MP3 
listen  6. Notations I-IV, VII: IV. Rythmique 1:58$0.99  Buy MP3 
listen  7. Notations I-IV, VII: VII. Hieratique: Lent 6:01$0.99  Buy MP3 

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Product Details

  • Orchestra: SWR Baden-Baden and Freiburg Symphony Orchestra
  • Conductor: Michael Gielen
  • Composer: Pierre Boulez, Gustav Mahler
  • Audio CD (August 1, 2004)
  • Number of Discs: 2
  • Label: Hanssler Classics
  • ASIN: B0009I7OG6
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #193,351 in Music (See Top 100 in Music)

Editorial Reviews

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2 of 3 people found the following review helpful
Format:Audio CD
I have been as guilty as anyone in hauling out the same adjectives for Michael Gielen -- cool, objective, modernist, analytical -- but I've tried to temper my knee-jerk reflex by noting whenever he displays what is best in his Mahler: real ideas, personal feeling, a flexible beat, and a borad conception. The best certainly comes out in this Ninth Sym.,, and perhaps it's no coincidence that Gielen was relatively young (67) when he made the recording in 1994.

Because he enters the field with a second-tier radio orchestra situated in Baden-Baden, Gielen needs a strong conception to compete with the likes of the Berlin and Vienna Phil., not to mention that the Ninth has received many great readings(from Bernstein, Levine, Bruno Walter, Abbado, Barbirolli, and Karajan, just to mention some personal favorites). To my amazement, really, Gielen stands up to the best in strength, vision, and ability to handle Mahler's most complex technical writing. In fact, he's so inspired that the SWR SO musicians rise far higher in their execution than in any other installment in Gielen's Mahler cycle.

The litmus test in the Ninth is the first movement, where every detail of tempo, balance, and contrasted moods is tricky. But also, this music is as wrenching as any ever written, and so the more overwhelming your conception, the more successful you will be. Gielen is as overwhelming as Bernstein, which gives you the measure of the controlled chaos that he rules over. I was immensely moved.

Pointing to the satirical element in the clomping Scherzo, Simon Rattle said that this movement represents everything Mahler hated about the country, while the Rondo-Burleske that follows stands for everything he hated about the city.
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2 of 4 people found the following review helpful
4.0 out of 5 stars A truly great Ninth - just shy of reference December 11, 2010
Format:Audio CD
Gielen's Ninth is just shy of the greatness achieved by the trio of great Ninths from Ancerl, Bernstein, and Chailly. Part of this rests on the fact that the orchestra's in Prague and Amsterdam have Mahler in their blood, at least more so than their counterparts in Friedberg. This means that last ounce of fervor in the Rondo and color in the dance are missing. However, Gielen's interpretation is a real winner because it has such a distinctive point of view. Few conductors have so convincingly tied Mahler's disparate parts together with such convincing clarity. For example, Gielen's very drab and plain-faced opening to the dance makes total sense after the dark resignation of the first movement's coda and he uses this straightforward beginning to make the successive returns of the slow dance all the more dramatic when clothed in brighter colors. This also has the effect of making the fast dance all the more grotesque, with Gielen's players making some appropriately revolting and vulgar sounds, just as Mahler would have intended. Another example is the central section of the Rondo, where Gielen slows the tempo down so as to build a better anticipatory relationship with the finale. It's just very smart and well done because so many conductors - Tilson Thomas, Zinman, Abbado, Rattle to name a few - sometimes loose track of the big picture.

While the interpretation itself is a real winner and is certainly necessary in any Mahler collection, there are some less-than-ideal moments. Gielen's first movement opens and closes excellently, the orchestra's rougher timbre creating some dark and heavy sounds leading up to the first big climax and throughout the entirely of the recapitulation and coda.
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