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  • Mahler: Symphony No. 9
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Mahler: Symphony No. 9 Import


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Audio CD, Import, November 22, 1994
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$31.57 $2.22

Product Details

  • Orchestra: Chicago Symphony Orchestra
  • Conductor: Carlo Maria Giulini
  • Composer: Gustav Mahler
  • Audio CD (November 22, 1994)
  • Number of Discs: 2
  • Format: Import
  • Label: Deutsche Grammophon / Polygram
  • ASIN: B000001GHX
  • Average Customer Review: 3.4 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #566,263 in Music (See Top 100 in Music)

Disc: 1
1. Symphonie No. 9: 1er Mouvement - Andante Comodo
2. Symphonie No. 9: 1er Mouvement - Etwas Frischer
3. Symphonie No. 9: 1er Mouvement - (Cors)
4. Symphonie No. 9: 1er Mouvement - Mit Wut. Allegro Risoluto
5. Symphonie No. 9: 1er Mouvement - Leidenschaftlich
6. Symphonie No. 9: 1er Mouvement - Tempo I. Andante
7. Symphonie No. 9: 1er Mouvement - Wie Von Anfang
8. Symphonie No. 9: 2e Mouvement - Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb
9. Symphonie No. 9: 2e Mouvement - Poco Piu Mosso Subito
10. Symphonie No. 9: 2e Mouvement - Tempo III
See all 15 tracks on this disc
Disc: 2
1. Symphonie No. 9: 3e Mouvement - Rondo-Burleske. Allegro Assai. Sehr Trotzig
2. Symphonie No. 9: 3e Mouvement - L'istesso Tempo
3. Symphonie No. 9: 3e Mouvement - Sempre l'istesso Tempo
4. Symphonie No. 9: 3e Mouvement - L'istesso Tempo
5. Symphonie No. 9: 3e Mouvement - (Violons, flutes)
6. Symphonie No. 9: 3e Mouvement - (Clarinets)
7. Symphonie No. 9: 3e Mouvement - Tempo I. Subito
8. Symphonie No. 9: 3e Mouvement - Piu Stretto
9. Symphonie No. 9: 4e Mouvement - Adagio. Sehr langsam und noch zuruckhaltend
10. Symphonie No. 9: 4e Mouvement - Plotzlich wieder langsam (wie zu Anfang) und etwas zogernd
See all 16 tracks on this disc

Editorial Reviews

Amazon.com

In certain respects Carlo Giulini's 1977 Mahler Ninth is a sonically and orchestrally upgraded counterpart to Bruno Walter's valedictory remake from the early '60s. The Italian conductor's lovingly nuanced first movement and genuine feeling for the Ländler's bumptious gait recalls the older conductor, although Giulini's slower pace for the former allows the more sparsely scored portions more time to breathe. The Chicago brass section truly shines in the Rondo- Burlesque, while the strings dominate Giulini's anguished yet dignified Adagio. While Herbert van Karajan's Berlin Ninths stand alone for surface sheen, DG's closer microphone work in Chicago brings out more detail without detracting from the big picture. A moving souvenir of the Giulini/Chicago partnership. --Jed Distler

Customer Reviews

My youthful impressions didn't come out of nowhere.
Discophage
I suspect many people "listen" to music, but don't really listen.
Michael R. Leghorn
I generally do not buy older recordings because I cannot stand tape warble.
Alex

Most Helpful Customer Reviews

6 of 6 people found the following review helpful By George John on December 13, 2002
Format: Audio CD
Having been long frustrated with the recording/engineering problems of my LP version of the 1977 DG Mahler 9th with Giulini and the CSO, I rejoiced when I learned on this forum that the DG "Originals" release had fixed these problems. My local classical shop was able to special order it from Europe, and while it took time to get it and it was not cheap, I'm delighted to report that the wait and the expense were well worth it. In short, a truly outstanding performance has been finally unveiled.

Initially, I was concerned because the vibrato of the first violins at the beginning of the first movement is very wide and the section is closely miked. However, either the wide vibrato decreased and the sound stage moved away from the firsts or I adapted, because what was soon presented with was a very nice, well-balanced sound stage, neither too close, nor too far away. But even more important than the recording balance, is Giulini's balanced approach to the music, which reveals more of the detail, especially the inner voices.

Some of the solo work is just wonderful. Most memorable is the concertmaster's and especially the 1st horn player who nails all of his (her?) solo's with the most gorgeous tone, and what seems to me perfect execution. Unlike the Solti/Decca performances/recordings, the brass are neither closely miked nor do they too frequently overwhelm the other sections except where appropriate, for example, the "collapse" at around 21:31 into the 1st movement which is appropriately shattering and complete. The sense of loss of meter and time at the end of the 1st movement is simply magical.

The orchestra sounds extraordinarily well-rehearsed. Everyone seems completely comfortable with their parts. There seems to be no hesitation anywhere.
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4 of 5 people found the following review helpful By Discophage TOP 500 REVIEWER on November 27, 2011
Format: Audio CD
The 1960s and the advent of stereo had been exceptionally favorable to Mahler's 9th, as far as recordings went. The decade opened with Bruno Walter's Columbia recording from 1961 (Walter's stereo remake, afer his premiere recording live with the Vienna Philharmonic from 1938; it wasn't the first stereo version either: that prize came to Leopold Ludwig on Everest, recorded in 1959 but released the year later and a version better than its - non-existent, when not negative - reputation). Then followed (to mention only the best and/or more significant) Barbirolli and Kondrashin in 1964, Bernstein in 1965, Ancerl in 1966, Klemperer, Solti and Kubelik in 1967. Haitink closed the decade in 1969 (the product links to these versions in the comments section).

After that, record companies seem to have considerered that the needs of the market were satisfied, and much less of significance came out in the 1970s: only Giulini in 1976 and Levine in 1979 (Mahler: Symphony No. 9), in fact. Of these, Giulini got glowing reviews back then, and was placed by the critics directly at the top of the pile. I hadn't listened to it in years, but I approched hearing it again with an extremely favorable bias: it is the version by which I discovered the work, and back then I believed the critics, or agreed with them. Not that I knew any better, but it seemed perfect, and whenever I heard another version - Horenstein, Mitropoulos, Walter, Barbirolli, Ancerl, Klemperer were those that subsequently entered my collection in the LP days - something or the other always seemed amiss, although I probably wasn't quite able to analyze what it was.
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4 of 5 people found the following review helpful By Thomas Hengeveld on May 7, 2001
Format: Audio CD
Inexplaineble why this brilliant recording is never mentioned as one of the greatest Mahler Nines ever. Although he's not the only important Italian Mahler-conductor (don't forget Abbado, Sinopoli, Chailly and the semi-Italian Barbirolli), he's is the only one with a true understaning of the Austrian tradition that is so important and evident in Mahler's music. The reason, ofcourse, is that Giulini grew up in Northern-Italy, near the Austrian border, near Tirol where Mahler composed his last symphonies, in Toblach (now Dobacio, Italy) to be exact. In other words: the young Giulini grew up with Beethoven and Mahler, instead of Verdi and Puccini. This interpretation of Mahler last completed and probably his greatest symphony is in the vein of Walter (his 1962 recording that is!) and Karajan (his 1982 live-recording). The tempi are slow and the sound is beautiful, well shaped, never harsh or sharp like in the Vienna live recording from Rattle (a true "angry young man's" Mahler). The adagio is almost regal, stoic and profoundly moving, unlike Bernsteins tear-jerking aproach.
But why does is work exactly? There is something missing in this music, something that's also missing is Das Lied von der Erde, something that sometimes makes the earlier symphonies seem unbearebly mondain and forever imprisoned in their typical fin-de-siecle world. Mahler is missing, his deceased daughter is missing, his impotent marriage, his heart-condition, his debacle with the Vienna Court opera are missing.. Mahler is long gone and so are all the aesthetics, neurosis, progammes, deeper meanings and signifigances. Giulini, like Karajan and (to a lesser extent, Haitink), understands this and lifts the music to a higher platform by just playing the notes as Mahler wrote them.
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