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Symphony 5 [Hybrid SACD - DSD]

G. Mahler Audio CD
4.0 out of 5 stars  See all reviews (1 customer review)

Price: $21.71 & FREE Shipping on orders over $35. Details
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Symphony 5 + Symphony No 8
Price for both: $42.45

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Product Details

  • Audio CD (June 26, 2007)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Hybrid SACD - DSD
  • Label: Pentatone
  • ASIN: B000Q7ZKK2
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #452,421 in Music (See Top 100 in Music)

1. Symphony No. 5 in C sharp minor: Adagietto (Sehr langsam)
2. Symphony No. 5 in C sharp minor: Rondo - Finale (Allegro)

Editorial Reviews

Review

It is a must-have for Mahler collectors - so assured, so carefully paced, so aware of what is going on in this symphony and of how to bring it to listeners' comprehension that it stands head and shoulders above practically anyone's later recording. -- Infodad.com, Mark Estren

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8 of 9 people found the following review helpful
4.0 out of 5 stars Haitink's 1970 Concertgebouw recording in SACD July 26, 2007
Bernard Haitink's Mahler tends to divide listeners. There are those who feel he is too restrained and those who feel that, unlike say Bernstein, his moderation is precisely what Mahler requires. This release is as far as I know the third incarnation of this recording. It was originally made in 1970 and issued on quadraphonic LP. Later it came out as a plain-vanilla CD in pretty good sound. This one, as you can see, is a hybrid SACD disc, playable on both SACD and plain CD players. It has four recorded channels and when played back on a SACD player it presents the listener with sumptuously detailed sound and a very wide dynamic range.

As for the interpretation itself, this earliest of Haitink's three studio recordings (later he recorded the Fifth with the Berlin Philharmonic and with the Orchestre National de France) seems to me the most assured of the three. The first movement gets off with a somewhat hesitant trumpet fanfare but soon acquires the agonized (and agonizing) sound of a monumental funeral march. The second movement, for all its being a fairly classic sonata allegro, has a wildness that we have not heretofore encountered in Mahler. Here we leave the Wunderhorn era behind. Haitink and the Concertgebouw play it brilliantly without going over the top. The Scherzo is clearly the centerpiece of the work, both symmetrically and musically, with its extraordinary contrapuntal density, brilliant orchestration and its two Trios and it is given an invigorating performance. The Adagietto takes about ten minutes, considerably quicker than Haitink's Berlin recording, and benefits from that. It is neither a self-indulgent wallow nor a maudlin love song. The silken sheen and depth of the strings of the Concertgebouw are at their best here.
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