{"product_id":"mahler-symphonie-nr-2","title":"Mahler: Symphonie Nr. 2","description":"\u003cb\u003eIn my experience nothing beats this remarkable Haitink account.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e On those very special occasions the excellence of the music and the quality of the playing and live atmosphere can combine to produce something quite special. So it is with this Profil disc.\u003cbr\u003e   \u003cbr\u003e  Every year on 13 February a memorial concert is given in the German city of Dresden to commemorate the anniversary of the terrible World War Two allied air raid carried out in 1945. The night bombing left large tracts of the city in ruins and thousands of people dead. Traditionally a requiem mass has been given at the memorial concert. However, in 1995 to mark the 50th anniversary of the Dresden devastation Mahler’s  \u003cem\u003eResurrection\u003c\/em\u003e was presented. Performed at the Dresden Semperoper this massive score was considered to have the appropriate character to complement the solemn occasion. At these Dresden anniversary concerts it has been the tradition for the audience not to applaud before or after the performance. Instead the audience stand in quiet remembrance before leaving the hall. Incidentally, Haitink also performed the same Mahler score at Rotterdam in 1990 to mark the 50th anniversary of the destruction of the Dutch city by German bombers.\u003cbr\u003e   \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e  The opening movement originated as a symphonic poem entitled  \u003cem\u003eTotenfeier\u003c\/em\u003e (Funeral Rites). It was composed in 1888. Between 1888 and 1894 Mahler laboured hard on his five movement symphony undertaking revisions in 1905. At the time Mahler was still carving out a name for himself as a conductor so work on the score was confined to his spare time, mainly during his summer holidays. Owing to the progressive nature of the writing, its unconventional design, the extended length and the massive forces Mahler must have hardly dared to imagine that he would ever hear it performed during his lifetime.\u003cbr\u003e   \u003cbr\u003e  The first performance was given at Berlin in 1895 with the composer conducting the Berlin Philharmonic Orchestra. In this score Mahler attempts to explore the existence of humanity in its entirety using sung text in the final two movements. In the fourth movement the text is from the collection of German folk poetry known as  \u003cem\u003eDes Knaben Wunderhorn\u003c\/em\u003e (Youth’s Magic Horn), The fifth movement uses text from Friedrich Gottlieb Klopstock’s ode  \u003cem\u003eDie Auferstehung\u003c\/em\u003e (The Resurrection). Then Mahler uses his own words beginning with  \u003cem\u003eO glaube\u003c\/em\u003e,  \u003cem\u003emein Herz\u003c\/em\u003e (O believe, my heart). It was the composer’s friend Oskar Fried who first recorded the symphony in 1924 with the Berlin State Opera. The complete version of the  \u003cem\u003eResurrection\u003c\/em\u003e was introduced in Dresden in 1901 by conductor Ernst von Schuch, general music director of the Staatskapelle Dresden. Maestro Haitink’s stunning live account which was broadcast on the radio has so much going for it. The persuasive Haitink fashions the architecture and space of Mahler’s vast symphony splendidly, avoiding any sense of affectation. This reading feels completely spontaneous. Born in Amsterdam, maestro Haitink brought with him to Dresden a pair of renowned Dutch singers, Margiono and van Nes.\u003cbr\u003e   \u003cbr\u003e  Right from the opening  \u003cem\u003eAllegro maestoso\u003c\/em\u003e the weight, bite and sheer power of the Dresden orchestra is striking. There’s impressive pacing throughout with beautiful playing especially in the more lyrical passages. Although all sections impress I found the stunning playing of the brass and woodwind highly dedicated and perfectly in unison. The exquisitely scored second movement  \u003cem\u003eAndante moderato\u003c\/em\u003e with its gentle  \u003cem\u003eLändler\u003c\/em\u003e feels so light, poised and elegant. It feels like a mid-nineteenth century dance hall in Vienna. As the music briskly develops in weight the sound produced is remarkable especially from the golden-hued Dresden strings. Towards the conclusion of the movement the swirling strings can make the listener dizzy. When attending a concert I love to watch as well as hear the section with guitar-like strumming by the violins and violas, and the delightful  \u003cem\u003epizzicato\u003c\/em\u003e from the cellos. Sounding like gunshots the timpani strokes announce the opening of the third movement  \u003cem\u003eScherzo\u003c\/em\u003e. The writing draws on the captivating melody from  \u003cem\u003eDes Antonius von Padua Fischpredigt\u003c\/em\u003e ( \u003cem\u003eSt. Anthony’s Sermon to the Fishes\u003c\/em\u003e). I love the way that Haitink underlines the acerbic sarcasm. In the section reminiscent of a  \u003cem\u003eklezmer\u003c\/em\u003e band the schmoozing clarinet solo has the patina of Jewish folk music. The angry brass outburst is especially striking as is the potency of the pent-up energy released in Mahler’s agonised thrust. This puts a brisk halt to the bucolic frolicking.\u003cbr\u003e   \u003cbr\u003e   \u003cem\u003eUrlicht\u003c\/em\u003e (Primeval Light) from one of Mahler’s own  \u003cem\u003eWunderhorn\u003c\/em\u003e songs is the title of the fourth movement. A real highlight is the entrance of Jard van Nes, rich and mellowed toned, commencing with the words  \u003cem\u003eO Röschen Rot!\u003c\/em\u003e ( \u003cem\u003eO red rose!\u003c\/em\u003e). It’s a yearning declaration for respite from world weariness. I believed every word, such was her expressive power and clear diction. Van Nes also has an attractive timbre and supple projection. Following on closely is the rather brief and spiritually affecting  \u003cem\u003echorale\u003c\/em\u003e. This is intoned splendidly on the brass with woodwind playing of an elevated quality. The final movement  \u003cem\u003eIm Tempo des Scherzos\u003c\/em\u003e, opening with Mahler’s terrible scream of anguish, is given such tremendous weight it feels terrifying before it decays into mere dust. In the ‘wilderness’ section the off-stage brass make a sure impression with the  \u003cem\u003eDies irae chorale\u003c\/em\u003e followed by blazing brass. The great drum-rolls at 10:06-10:24 are striking and shook me right down to my boots. A distinct martial quality to the brass fanfares is interrupted only by tetchy woodwind and angry percussion. Off-stage brass lingers in a lament interspersed with a flurry of birdsong on flute and piccolo. At 20:39 the Dresden chorus enter with the words  \u003cem\u003eAufersteh’n\u003c\/em\u003e,  \u003cem\u003eja aufersteh’n\u003c\/em\u003e  \u003cem\u003ewirst du\u003c\/em\u003e ( \u003cem\u003eRise again, yes rise again you will\u003c\/em\u003e). It feels mellow and tender and makes a spellbinding impact. The text  \u003cem\u003eO glaube\u003c\/em\u003e,  \u003cem\u003emein Herz\u003c\/em\u003e ( \u003cem\u003eO believe, my heart\u003c\/em\u003e) is sung at 27:28 to magical effect by Charlotte Margiono with her secure technique and appealing tone. Both Margiono and van Nes combine with the heavenly Dresden chorus for the words  \u003cem\u003eO Schmerz! Du Alldurchdringer!\u003c\/em\u003e ( \u003cem\u003eO suffering! All pervading\u003c\/em\u003e or  \u003cem\u003eO all-piercing pain!\u003c\/em\u003e). With singing of such quality from the impeccably matched soloists and chorus one might be excused for thinking they - and we - had been transported to paradise. The final section begins with the familiar Viennese string sound that soon develops in sheer weight. The massed forces, including organ and percussion battery, combine in a thunderous climax; the most remarkable that I have heard on disc.\u003cbr\u003e   \u003cbr\u003e  Recorded live in 1995 for radio broadcast at the Dresden Semperoper the engineers have produced a warm sound that is clear and well balanced. Although a live recording I struggled to hear any significant audience noise and as I explained earlier there is no applause after the conclusion of the score. I found the substantial Profil booklet notes exemplary being especially highly detailed.\u003cbr\u003e   \u003cbr\u003e  At this poignant 50th anniversary concert the magnificent playing was outstanding right from the high strings playing the softest pianissimo to climaxes of sonically massive proportions.\u003cbr\u003e   \u003cbr\u003e  I have numerous recommended versions of the  \u003cem\u003eResurrection\u003c\/em\u003e but nothing beats this remarkable Haitink account.\u003cbr\u003e   \u003cbr\u003e  -- Michael Cookson, MusicWeb International\u003cbr\u003e","brand":"Profil","offers":[{"title":"CD","offer_id":49634174271768,"sku":"881488704051","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1973793.jpg?v=1777671300","url":"https:\/\/hbdirect.com\/products\/mahler-symphonie-nr-2","provider":"HBDirect","version":"1.0","type":"link"}