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Sym 9 Import
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|1. Symphonie No.9: 1. Andante comodo|
|2. Symphonie No.9: 2. Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb|
|3. Symphonie No.9: 3. Rondo - Burleske. Allegro assai. Sehr trotzig|
|4. Symphonie No.9: 4. Adagio. Sehr langsam und noch zuruckhaltend|
J'ai relu une fois de plus la Neuvième Symphonie de Gustav Mahler. Le premier mouvement est la chose la plus merveilleuse qu'il ait écrite. C'est l'expression d'un amour inouï de ce monde, l'aspiration à y vivre en paix, à y savourer la nature jusque dans ses plus intimes profondeurs, avant que la mort ne vienne. Car elle arrive inexorablement.Voilà ce qu'écrivait Alban Berg quelques années après la création de la Neuvième Symphonie de Mahler, en 1912, à Vienne, par Bruno Walter. Comme dans la dernière symphonie de Tchaïkovski les quatre parties sont encadrées par deux mouvements aux tempos lents. Mahler, qui vient d'apprendre sa grave maladie de coeur, signe là (comme dans le Chant de la Terre, du reste) un bouleversant adieu à vie. À la tête de l'Orchestre symphonique de Chicago, Pierre Boulez unifie de manière magistrale les différences entre les diverses parties de la symphonie, et rapproche le final de la musique minimale de Webern. --Pierre Massé
Top Customer Reviews
he rejects mahler as the representative of romanticism in it's last violent death throes and instead looks to mahler as the father to shoenberg, berg, and webern and all that followed.
and, he is correct.
webern and schoenberg both wrote much of mahler and so, boulez has all the ammunition necessary to back him up.
boulez's recordings of the 6th and the 7th are revelations.
his recordings of both the 5th and the 9th seem (on the surface)to give his critics credence.
in comparing his 9th to karajan's, boulez's recording is an artisitc dissapointment.
karajan too approached mahler from the same view that boulez has.
karajan also rejected the unavoidable pessimism associated with mahler from the romantic's viewpoint and instead saw mahler as the first step to webern.
karajan and boulez also shared this view point in their approach to wagner; cooler toned, transparent and modernism with a vengenace.
but karajan's recording of the ninth bears out weberns claim that the mahler ninth is the most beautifl thing in all of music, where boulez's recording is simply dry.
in approaching the ninth boulez simply overlooked mahler's own description of his music as being 'music of cool spirituality'.
however, the boulez ninth is indeed still one to own.
while his mahler and later debussy lack the razor sharp clarity of his earlier debussy, his attention to detail is still present and his recordings all bear the stamp of this being 'artmusic'. if this is not a perfect example of twentieth century mahler, it is an important one.
Boulez's version is the perfect 'sounding score' (or call it 'score text book')you can ever find in the market.I can hear you laughing, but do you think it's easy to do a recording to make you feel : yes, the tempi is just right, the structure just clear, phrasing just natural,the dynamic-range,logic-accent,the expression,all the details,inner-voices etc..shortly: evey thing is just right in this recording.(VERY probaly: in every recording of Boulez's Mahler cycle)Let the music do the talking, when every thing is rightly in its place, the music of Mahler will shine by itself. Boulez seemas totally unforced,and he is truelly a Maestro.
weakness: the playing is not that good. Don't take me wrong, the playing is very fine,proffesional, and you can hear all those half-million valued instruments thanks to cristal clean 4D recording.
After learning the sounding score of this symphony,you may want to experience it in live. Just try Abbado's last one. The choice of tempi in first movement is little fast,it could even sound a little 'confused',don't worry,you will eventually find out that Abbado's choice is more than reasonable,(i mean: compare to the Boulez's to find out what should be the 'correct structrue',how the climatix should be distributed in sections, etc.) very suitble for Berliners' playing.oh,the Berliner's playing,is, more than beyond beautiful,more than breathtaking...(now you know why i cant enjoy the Chicago's playing) I own 400 classical recordings, no one comes nearly close to this one.
So, buy this one for the natural power of the muisc from Mahler,and later go to Abbado for what the power of the music could be transformed to power of playing.
Highlight is def. the Andante comodo I find very moving, sensitive played, conducted so forget about Boulez as "cold".
Scherzo (Im tempo eines... etc.) is grim and fun as it should be and the very difficult Rondo-Burleske is extremly well played.
My only doubt is last movement (Adagio) but it is def. NOT bad at all. Maybe its lack a bit of contrasts here and there but that manner doesnt ruin this disc... not at all and string section do a wonderful piece of art (music) with it (even if I like RCO Amsterdam string section and sound better overall).
There is a lot of good Mahler no.9 out there but my advice is that you get this one as a first choise because of Boulez handle Mahler not as a "primal scream" therapy but as one of the greatest composers ever.
Anyway... you cant def. NOT go wrong with this one and sound is excellent.
Boulez has done a good Mahler AGAIN and Chicago do this better than I thought they could do and this is a pleasent surprise... or surprise... Boulez know (his?) Chicago so well and mayby thats it?
Most recent customer reviews
Maestro Boulez's conducting is pro-modern. Even though Mahler's music is not really a modern, Boulez is demonstrating us Mahler symphony 9 can be approached as modern. Read morePublished on Dec 3 2005 by jung-won choi
I was stunned by the brisk pace of the Rondo when I first heard it. I generally prefer faster tempos in conductors' interpretations of most musicians, but almost thought Boulez was... Read morePublished on Nov. 25 2003 by S. J. Snyder
Though Boulez version is bit mechanical and less emotional, however the control on the orchestra by maestro is superb while every contributions by instruments could be audible... Read morePublished on June 27 2003
What a waste of money. I'm as big a CSO fan there is, but not even they can rescue Boulez's stale conducting. Read morePublished on June 3 2003 by J. Kim
I agree with another reviewer that the technical merits of this performance are hindered by some lack of urgency. Read morePublished on Jan. 15 2003 by W. Crone
I very much enjoy what conductor Pierre Boulez brings to any Mahler party. I feel that his penchant for technical precision reigns in Mahler's slightly schizophrenic, stream of... Read morePublished on May 26 2002 by D. Seymour
I have been waiting all my life for a performance of Mahler's Ninth such as this. The "over-interpretation" of Mahler is a sticky argument that we could spend the rest... Read morePublished on Dec 16 2001 by Amazon Customer
If you appreciate the Mahler 9th primarily as a musical experience, you will love this performance. If you approach Mahler for vicarious primal-scream therapy, as so many do, then... Read morePublished on Feb. 2 2001 by Richard Branyan