Czech Philharmonic Orchestra, Vaclav Neumann - Mahler: Complete Symphonies (2006)
BAND/ARTIST: Czech Philharmonic Orchestra, Vaclav Neumann
- Title: Mahler: Complete Symphonies
- Year Of Release: 2006
- Label: Supraphon a.s.
- Genre: Classical
- Quality: flac lossless
- Total Time: 11:23:02
- Total Size: 2.59 gb
- WebSite: Album Preview
Tracklist
CD1
01. Symphony No. 1 in D-Sharp Major, .: I. Langsam. Schleppend. Wie ein Naturlaut
02. Symphony No. 1 in D-Sharp Major, .: II. Kräftig bewegt
03. Symphony No. 1 in D-Sharp Major, .: III. Feierlich und gemessen, ohne zu schleppen
04. Symphony No. 1 in D-Sharp Major, .: IV. Stürmisch bewegt
05. Symphony No. 10, .
CD2
01. Symphony No. 2 in C-Sharp Minor, .: I. Allegro maestoso
02. Symphony No. 2 in C-Sharp Minor, .: II. Andante moderato
03. Symphony No. 2 in C-Sharp Minor, .: III. In ruhig fliessender Bewegung
04. Symphony No. 2 in C-Sharp Minor, .: IV. Urlicht /aus Des Knaben Wunderhorn/
05. Symphony No. 2 in C-Sharp Minor, .: V. In tempo des Scherzo
CD3
01. Symphony No. 3 in D-Sharp Minor, .: I. I. Teil: Kräfting. Entschieden
02. Symphony No. 3 in D-Sharp Minor, .: II. 2.Teil: Tempo di menuetto. Sehr mässig
03. Symphony No. 3 in D-Sharp Minor, .: III. Comodo. Scherzando. Ohne Hast
CD4
01. Symphony No. 3 in D-Sharp Minor, .: IV. Sehr langsam. Misterioso
02. Symphony No. 3 in D-Sharp Minor, .: V. Lustig im Tempo und keck in Ausdruck
03. Symphony No. 3 in D-Sharp Minor, .: VI. Langsam. Ruhevoll. Empfunden
CD5
01. Symphony No. 4 in G-Sharp Major, .: I. Bedächtig-Nicht eilen (Moderately, Not Rushed)
02. Symphony No. 4 in G-Sharp Major, .: II. In gemächlicher Bewegung-Ohne Hast (Leisurely Moving-Without Haste)
03. Symphony No. 4 in G-Sharp Major, .: III. Ruhevoll-Poco adagio (peacefully-somewhat slowly)
04. Symphony No. 4 in G-Sharp Major, .: IV. Sehr behaglich-Gedicht aus Des Knaben Wunderhorn
CD6
01. Symphony No. 5 in C-Sharp Minor, .: I. Trauermarsch. In gemessenem Schritt. Wie ein Kondukt
02. Symphony No. 5 in C-Sharp Minor, .: II. Stürmisch bewegt. Mit grösster Vehemenz
03. Symphony No. 5 in C-Sharp Minor, .: III. Scherzo. Kräftig, nicht zu schnell
04. Symphony No. 5 in C-Sharp Minor, .: IV. Adagietto. Sehr langsam
05. Symphony No. 5 in C-Sharp Minor, .: V. Rondo. Finale. Allegro
CD7
01. Symphony No. 6 in A-Sharp Minor, .: I. Allegro energico, ma non troppo. Heftig, aber markig
02. Symphony No. 6 in A-Sharp Minor, .: II. Scherzo. Wuchtig
03. Symphony No. 6 in A-Sharp Minor, .: III. Andante moderato
04. Symphony No. 6 in A-Sharp Minor, .: IV. Finale. Sostenuto
CD8
01. Symphony No. 7 in E-Sharp Minor, .: I. Langsam (Adagio)
02. Symphony No. 7 in E-Sharp Minor, .: II. Nachtmusik. Allegro moderato
03. Symphony No. 7 in E-Sharp Minor, .: III. Schattenhaft. Fliessend, aber nicht schnell; in den Anfangstakten noch etwas zögernd
CD9
01. Symphony No. 7 in E-Sharp Minor, .: IV. Nachtmusik. Andante amoroso
02. Symphony No. 7 in E-Sharp Minor, .: V. Rondo-Finale. Tempo I. (Allegro ordinario)
03. Symphony No. 8 in E-Flat Major, .: I. Hymnus: Veni, creator spiritus. Allegro impetuoso
CD10
01. Symphony No. 8 in E-Flat Major, .: II. Schlusszene aus Faust. Poco adagio
CD11
01. Symphony No. 9 in D-Sharp Major, .: I. Andante comodo
02. Symphony No. 9 in D-Sharp Major, .: II. Im Tempo eines gemächlichen Ländlers
03. Symphony No. 9 in D-Sharp Major, .: III. Rondo. Burleske. Allegro assai
04. Symphony No. 9 in D-Sharp Major, .: IV. Adagio
Vaclav Neumann's Mahler credentials were impeccable; indeed, had he not been trapped in communist-controlled Europe for much of his career, he might well have been recognized in the West as a figure as important as Bernstein as an advocate of his countryman's symphonies. He produced noteworthy recordings of some of them as many as three times, beginning with the Gewandhaus recordings of symphonies Nos. 5, 6, 7, and 9 in the mid to late 1960s, just when the "Mahler boom" was really getting started in the hands of Bernstein, Solti, Haitink, Kubelik, and Abravanel. Certainly Neumann consistently offered more persuasive recordings of this music than Barbirolli and Horenstein, two conductors who, despite occasional flashes of excellence, receive far more credit than they deserve as Mahler advocates simply because they happened to reside and work in England, the recording center of post-War Europe.
Neumann's interpretations of these works vary markedly over time, and if he had a fault, it was that he sometimes showed a certain stiffness of tempo similar to that which afflicted Horenstein's performances, though it's less frequently encountered. You find it here in the excruciatingly slow and monotonous second Nachtmusik of the Seventh Symphony and in parts of the first movement of the Ninth. Neumann's Gewandhaus recording of the former, and his Canyon Classics remake of the latter, are clearly preferable in these cases. Otherwise, these performances find the Czech Philharmonic in excellent form and well recorded (this reissue has not been remastered to any significant degree, and did not need to be). In any case, this ensemble unquestionably is one of the great Mahler orchestras. Its rhythmic acuity, tangy winds and brass, precise percussion, and transparency of texture seem made for these symphonies, and listening to the playing is a pleasure in and of itself.
As far as individual performances go, there are splendid versions here of Symphonies Nos. 2-4, 6, and 8. Symphony No. 1 is good but a touch faceless, and No. 5 is a fine conception but it uses a strange edition of the score (listen to the timpani at the end and you'll hear the difference immediately). As mentioned previously, No. 7 dies both in the second Nachtmusik and, to a lesser extent, in the finale. And if you want the Czech Philharmonic in No. 9, aside from Neumann's later recording there is the harrowing Ancerl version, also on Supraphon. Symphony No. 2 gets a swift, dramatic performance with a particularly fine first movement. No. 3 is the one work this orchestra plays better than just about anyone, probably due to the huge amount of wind- and brass-dominated textures (but avoid Neumann's Canyon remake, dating form the very end of his life when his control over the orchestra was slipping). It also has the incomparable Christa Ludwig as alto soloist in the fourth and fifth movements.
Symphony No. 4 benefits hugely from the rustic freshness of the orchestral playing and has real (neo)classical poise. Oddly, the hammer blows in No. 6 go "plink" instead of "thud", exactly the opposite of what Mahler intended--but it's still an extremely exciting performance, very well played. You can, if you wish, find the "thuds" on Neumann's Canyon Classics recording, which is also superb. Neumann does a surprisingly good job in Symphony No. 8; it's a relaxed interpretation but very well sung and recorded, with impressively caught climaxes and plenty of ear-catching detail in Part Two. The Adagio from Symphony No. 10, by the way, also is movingly done. So if you're looking for a single complete set of Mahler symphonies, this one doesn't outclass Bertini (EMI) or Gielen (Hänssler), but no self-respecting Mahler collection is complete without Neumann's take on at least some of these works, and there's no denying the overall high standard of achievement here.
Gustav Mahler Symphonies Nos 1- 9, No. 10 (Adagio) Soloists, choruses, Czech Philharmonic, conducted by Vaclav Neumann In the years 1976-1982 the Czech Philharmonic recorded the complete symphonies of Gustav Mahler (1860-1911) with conductor Vaclav Neumann (1920-1995), outstanding soloists Gabriela Benackova, Magdalena Hajossyova, Eva Randova, Inge Nielsen, Daniela Sounova, Vera Soukupova, Libuse Marova, Thomas Moser, Richard Novak and Karel Berman, plus the Kühn's Children's Choir, Prague Radio Choir and Prague Philhamonic Choir. In his time, Vaclav Neumann was a great propagator of Mahler's symphonic works. His recordings are convincing evidence of the quality of the Czech Philharmonic even today. These 11 CDs capture Mahler's gigantic symphonic repertoire, which has attracted the special attention of conductors, orchestras and audiences since the 1960s. Box 11 CD Slogan Mahler's monument in the outstanding rendition by the Czech Philharmonic and Vaclav Neumann.
CD1
01. Symphony No. 1 in D-Sharp Major, .: I. Langsam. Schleppend. Wie ein Naturlaut
02. Symphony No. 1 in D-Sharp Major, .: II. Kräftig bewegt
03. Symphony No. 1 in D-Sharp Major, .: III. Feierlich und gemessen, ohne zu schleppen
04. Symphony No. 1 in D-Sharp Major, .: IV. Stürmisch bewegt
05. Symphony No. 10, .
CD2
01. Symphony No. 2 in C-Sharp Minor, .: I. Allegro maestoso
02. Symphony No. 2 in C-Sharp Minor, .: II. Andante moderato
03. Symphony No. 2 in C-Sharp Minor, .: III. In ruhig fliessender Bewegung
04. Symphony No. 2 in C-Sharp Minor, .: IV. Urlicht /aus Des Knaben Wunderhorn/
05. Symphony No. 2 in C-Sharp Minor, .: V. In tempo des Scherzo
CD3
01. Symphony No. 3 in D-Sharp Minor, .: I. I. Teil: Kräfting. Entschieden
02. Symphony No. 3 in D-Sharp Minor, .: II. 2.Teil: Tempo di menuetto. Sehr mässig
03. Symphony No. 3 in D-Sharp Minor, .: III. Comodo. Scherzando. Ohne Hast
CD4
01. Symphony No. 3 in D-Sharp Minor, .: IV. Sehr langsam. Misterioso
02. Symphony No. 3 in D-Sharp Minor, .: V. Lustig im Tempo und keck in Ausdruck
03. Symphony No. 3 in D-Sharp Minor, .: VI. Langsam. Ruhevoll. Empfunden
CD5
01. Symphony No. 4 in G-Sharp Major, .: I. Bedächtig-Nicht eilen (Moderately, Not Rushed)
02. Symphony No. 4 in G-Sharp Major, .: II. In gemächlicher Bewegung-Ohne Hast (Leisurely Moving-Without Haste)
03. Symphony No. 4 in G-Sharp Major, .: III. Ruhevoll-Poco adagio (peacefully-somewhat slowly)
04. Symphony No. 4 in G-Sharp Major, .: IV. Sehr behaglich-Gedicht aus Des Knaben Wunderhorn
CD6
01. Symphony No. 5 in C-Sharp Minor, .: I. Trauermarsch. In gemessenem Schritt. Wie ein Kondukt
02. Symphony No. 5 in C-Sharp Minor, .: II. Stürmisch bewegt. Mit grösster Vehemenz
03. Symphony No. 5 in C-Sharp Minor, .: III. Scherzo. Kräftig, nicht zu schnell
04. Symphony No. 5 in C-Sharp Minor, .: IV. Adagietto. Sehr langsam
05. Symphony No. 5 in C-Sharp Minor, .: V. Rondo. Finale. Allegro
CD7
01. Symphony No. 6 in A-Sharp Minor, .: I. Allegro energico, ma non troppo. Heftig, aber markig
02. Symphony No. 6 in A-Sharp Minor, .: II. Scherzo. Wuchtig
03. Symphony No. 6 in A-Sharp Minor, .: III. Andante moderato
04. Symphony No. 6 in A-Sharp Minor, .: IV. Finale. Sostenuto
CD8
01. Symphony No. 7 in E-Sharp Minor, .: I. Langsam (Adagio)
02. Symphony No. 7 in E-Sharp Minor, .: II. Nachtmusik. Allegro moderato
03. Symphony No. 7 in E-Sharp Minor, .: III. Schattenhaft. Fliessend, aber nicht schnell; in den Anfangstakten noch etwas zögernd
CD9
01. Symphony No. 7 in E-Sharp Minor, .: IV. Nachtmusik. Andante amoroso
02. Symphony No. 7 in E-Sharp Minor, .: V. Rondo-Finale. Tempo I. (Allegro ordinario)
03. Symphony No. 8 in E-Flat Major, .: I. Hymnus: Veni, creator spiritus. Allegro impetuoso
CD10
01. Symphony No. 8 in E-Flat Major, .: II. Schlusszene aus Faust. Poco adagio
CD11
01. Symphony No. 9 in D-Sharp Major, .: I. Andante comodo
02. Symphony No. 9 in D-Sharp Major, .: II. Im Tempo eines gemächlichen Ländlers
03. Symphony No. 9 in D-Sharp Major, .: III. Rondo. Burleske. Allegro assai
04. Symphony No. 9 in D-Sharp Major, .: IV. Adagio
Vaclav Neumann's Mahler credentials were impeccable; indeed, had he not been trapped in communist-controlled Europe for much of his career, he might well have been recognized in the West as a figure as important as Bernstein as an advocate of his countryman's symphonies. He produced noteworthy recordings of some of them as many as three times, beginning with the Gewandhaus recordings of symphonies Nos. 5, 6, 7, and 9 in the mid to late 1960s, just when the "Mahler boom" was really getting started in the hands of Bernstein, Solti, Haitink, Kubelik, and Abravanel. Certainly Neumann consistently offered more persuasive recordings of this music than Barbirolli and Horenstein, two conductors who, despite occasional flashes of excellence, receive far more credit than they deserve as Mahler advocates simply because they happened to reside and work in England, the recording center of post-War Europe.
Neumann's interpretations of these works vary markedly over time, and if he had a fault, it was that he sometimes showed a certain stiffness of tempo similar to that which afflicted Horenstein's performances, though it's less frequently encountered. You find it here in the excruciatingly slow and monotonous second Nachtmusik of the Seventh Symphony and in parts of the first movement of the Ninth. Neumann's Gewandhaus recording of the former, and his Canyon Classics remake of the latter, are clearly preferable in these cases. Otherwise, these performances find the Czech Philharmonic in excellent form and well recorded (this reissue has not been remastered to any significant degree, and did not need to be). In any case, this ensemble unquestionably is one of the great Mahler orchestras. Its rhythmic acuity, tangy winds and brass, precise percussion, and transparency of texture seem made for these symphonies, and listening to the playing is a pleasure in and of itself.
As far as individual performances go, there are splendid versions here of Symphonies Nos. 2-4, 6, and 8. Symphony No. 1 is good but a touch faceless, and No. 5 is a fine conception but it uses a strange edition of the score (listen to the timpani at the end and you'll hear the difference immediately). As mentioned previously, No. 7 dies both in the second Nachtmusik and, to a lesser extent, in the finale. And if you want the Czech Philharmonic in No. 9, aside from Neumann's later recording there is the harrowing Ancerl version, also on Supraphon. Symphony No. 2 gets a swift, dramatic performance with a particularly fine first movement. No. 3 is the one work this orchestra plays better than just about anyone, probably due to the huge amount of wind- and brass-dominated textures (but avoid Neumann's Canyon remake, dating form the very end of his life when his control over the orchestra was slipping). It also has the incomparable Christa Ludwig as alto soloist in the fourth and fifth movements.
Symphony No. 4 benefits hugely from the rustic freshness of the orchestral playing and has real (neo)classical poise. Oddly, the hammer blows in No. 6 go "plink" instead of "thud", exactly the opposite of what Mahler intended--but it's still an extremely exciting performance, very well played. You can, if you wish, find the "thuds" on Neumann's Canyon Classics recording, which is also superb. Neumann does a surprisingly good job in Symphony No. 8; it's a relaxed interpretation but very well sung and recorded, with impressively caught climaxes and plenty of ear-catching detail in Part Two. The Adagio from Symphony No. 10, by the way, also is movingly done. So if you're looking for a single complete set of Mahler symphonies, this one doesn't outclass Bertini (EMI) or Gielen (Hänssler), but no self-respecting Mahler collection is complete without Neumann's take on at least some of these works, and there's no denying the overall high standard of achievement here.
Gustav Mahler Symphonies Nos 1- 9, No. 10 (Adagio) Soloists, choruses, Czech Philharmonic, conducted by Vaclav Neumann In the years 1976-1982 the Czech Philharmonic recorded the complete symphonies of Gustav Mahler (1860-1911) with conductor Vaclav Neumann (1920-1995), outstanding soloists Gabriela Benackova, Magdalena Hajossyova, Eva Randova, Inge Nielsen, Daniela Sounova, Vera Soukupova, Libuse Marova, Thomas Moser, Richard Novak and Karel Berman, plus the Kühn's Children's Choir, Prague Radio Choir and Prague Philhamonic Choir. In his time, Vaclav Neumann was a great propagator of Mahler's symphonic works. His recordings are convincing evidence of the quality of the Czech Philharmonic even today. These 11 CDs capture Mahler's gigantic symphonic repertoire, which has attracted the special attention of conductors, orchestras and audiences since the 1960s. Box 11 CD Slogan Mahler's monument in the outstanding rendition by the Czech Philharmonic and Vaclav Neumann.
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