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Symphony 8 Import

3.8 out of 5 stars 5 customer reviews

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Audio CD, Import, June 14, 2005
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Track Listings

Disc: 1

  1. I. Come Creator Spirit
  2. II. Fill With Heavenly Grace
  3. III. Our Bodies' Weakness
  4. IV. Tempo I. Allegro
  5. V. Our Bodies' Weakness
  6. VI. Inflame Our Senses With Thy Light
  7. VII. Thou That Art Called Paraclete
  8. VIII. Weider Frisch

Disc: 2

  1. I. Poco Adagio-Something Moved-Piu Mosso
  2. II. Choir
  3. III. Pater Ecstaticus
  4. IV. Pater Profundus
  5. V. Angels
  6. VI. The More Perfect Angels
  7. VII. The Younger Angels
  8. VIII. Adagissimo
  9. VIIII. Magna Peccatrix (St. Luke 7,36)
  10. X. Una Poenitentium
  11. XI. Mater Gloriosa
  12. Doctor Marianus And Choir
  13. VIII. Lagsam


Product Details

  • Performer: Detlef Roth, Sigurd Brauns, Lynne Dawson, Sylvia Greenberg, Robert Gambill
  • Orchestra: Deutsches Symphony Orchestra Berlin
  • Conductor: Kent Nagano
  • Composer: Gustav Mahler
  • Audio CD (June 14, 2005)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Import
  • Label: Harmonia Mundi Fr.
  • ASIN: B0007LXPD6
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #746,685 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Format: Audio CD
First of all the playing of the orchestra: I think it is polished and very sweet, and very refined also, relishing in all the gorgeous tone-colours, but I like that in Mahler's Eighth Symphony, so it is just great. This may for a part be the result of the very clear, very well defined but never harsh (rather the opposite!) recording here - the best recording ever of this symphony up to now, for as far as I know and for as far as I am concerned. This must be the most sensually (even sensuously) beautiful Mahler 8 I ever heard. But the conductor finds a way to never make the music sound syrupy or sentimental; but indeed full of (love) sentiment - and loads of it! (Remember that his wife Alma was the dedicatee of this symphony - the sentiments expressed in the music must surely also be a reflection of Gustav Mahler's love for this 'musa inspiratrice', Alma.)
The orchestral playing on this (studio) recording is in my view he result of a real overarching vision: not to read to much into the music beforehand - no 'hineininterpretieren', no 'pushing the issue' too much - to let the music unfold itself, like a celestial phenomenon that we see evolving before us. All instrument groups - together with (beautiful!) instrument solos clearly defined (just revel in that luxuriously beautiful sound of the organ here) - are perfectly balanced so as to make an impression of what I would like to describe as 'intimacy' (how very unlike Sir Georg Solti's hectic, somewhat episodic vision; or how very different from Sir Simon Rattle's very lean and nimble Mahler 8). This is a very personal and (yes!) involved Mahler 8 which not everybody might like. You may find it too detached-sounding (as in 'uninvolved') or slow or undercharacterized, or whatever.
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Format: Audio CD
Mahler's epic Symphony No. 8 is becoming as frequently recorded as the 2nd and 4th and 1st. It seems every conductor wants to effect the definitive recording of this massive work that calls for large orchestra, mixed choirs, children's choir, and soloists. The curious finding in listening to each of the many recordings now available is the degree of different tempi, the amount of time for the various performances, the importance of the quality of the choral and solo parts, and the impact of the overall reading.

Kent Nagano is an opera conductor, soon to depart as principal conductor of the Los Angeles Opera, as well as a symphonic conductor and these two roles should serve him well in conducting the many forces involved in the Mahler 8th. The orchestra is grand - the Deutscher-Symphonie-Orchester Berlin -and his choices in dynamics utilize the aid of creating this CD in the recording studio as opposed to the usual 'live performance' amalgam on other recordings. And that may be the problem with this performance on CD that just somehow doesn't catch fire.

The soloists are competent if generally unremarkable and the choral singing is adequate yet never thrilling. Nagano loves to allow the organ parts of this symphony to shake the universe and that is a welcome change. The recording is sound and the Nagano's concept is in keeping with his reputation for clarity, if not sweep. For this listener Part Two suffers from slow tempi, slow to the point of losing the anticipated climax. It is as though Nagano see this symphony as two individual works rather than finding the seeds in Part One that flower in Part Two.

With so many other available recordings of the "Symphony of a Thousand" this version serves as a remarkably well-recorded achievement. Others just have more soul. Grady Harp, July 05
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Format: Audio CD
I'm late hearing this 2005 recording of Mahler's 8th Symphony which is masterfully conceived and conducted by Kent Nagano. I think you either take to Nagano's approach to Mahler's 8th or you do not. It is highly individualistic and quite inspired. If you do not agree with his approach it will not matter in the least that this is one of the most beautifully recorded and sonically pleasing releases of this symphony, or that the orchestral detail and balances between vocal solos, chorus and orchestra are quite literally eye opening. Maybe even jaw dropping in places, especially the finale which is overwhelming in its intensity, clarity and emotion.

What might sound like slow and sluggish tempos to some are, in my mind, very effective in creating the tension, and even more so, the mystery that Mahler intended. Just listen to the opening of Part 2 as the low strings pluck a central theme from Part 1 into something magical and eerie. Mahler wanted his 8th symphony to be accessible to everyone and filled it with wonderful melodies and motives, inspirational passages, and some theatrics to go along with everything else in Part 2. Nagano's intense reading of this work brings out these qualities in fabulous detail; it becomes truly uplifting and exquisite.

Some reviewers have faulted the soloists for not being of the highest caliber. It's true that they might not reach the same heights as Chailly's, Solti's or selected others, but I found them all to be quite beautiful and effective, especially Jan-Hendrik Rootering's performance of Pater profundis, which is notoriously difficult to sing. The choirs are wonderfully placed and create a soundstage that highlights the different choral sounds.
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