Symphony No 8 Symphony of
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|1. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Veni, creator spiritus|
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|3. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Infirma nostri corporis|
|4. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Accende lumen sensibus|
|5. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Veni, creator spiritus|
|6. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Gloria sit Patri Domino|
|1. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Poco adagio - Waldung, sie schwankt heran (Chor und Echo)|
|2. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Ewiger Wonnebrand (Pater Ecstaticus)|
|3. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Wie Felsenabgrund mir zu Fuben (Pater Ecstaticus)|
|4. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Gerettet ist das edle Glied (Engel)|
|5. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Uns bleibt ein Erdenrest - Hier ist die Aussicht frei (Die vollendeteren Engel - Doctor Marianus, die jungeren Engel)|
|6. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Hochste Herrscherin der Welt (Doctor Marianus)|
|7. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Dir, der Unberuhrbaren (Chor)|
|8. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Bei der Liebe, die den Fuben (Magna Peccatrix)|
|9. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Neige, neige, du Ohnegleiche (Una Poenitentium, Gretchen)|
|10. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': Komm! Hebe dich (Mater Gloriosa)|
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With this stunningly recorded account of Mahler's Symphony No.8, Riccard o Chailly and his Concertgebouw forces provide a clear modern recommendation for this gigantic piece. Chailly's strength lies in his ability for long-range thought, and he projects Mahler's vast canvas with the utmost clarity and conviction. The impressive opening is taken broadly and expansively: one is aware of the import of the journey that follows. Throughout the performance, Chailly's clear analytical approach to texture and musical flow only serves to accentuate the text and its meaning. This means, for example, that the final reappearance of the opening cry of "Veni Creator spiritus" can be truly climactic. Perhaps Chailly is at his most successful in the long second movement. He keeps the extended opening section at a slight remove, so that the disembodied, fragmentary world he creates reflects the scale of the experience to come. For once, the vocal soloists make for a well-integrated team. For the Mahler collector, this issue will ideally complement Kubelík and the ever-impressive Tennstedt. As a bonus, Mahler scholar Donald Mitchell's booklet notes are authoritative and thought-provoking. --Colin Clarke
Top Customer Reviews
Yes. The much-heralded richness of the Concertgebouw orchestra sound continues to delight and amaze, almost regardless of who stands at the helm as conductor in a particular recording. But in his free-wheeling approach to Mahler, my complaint is that Chailly appears to gloss over many of the ... admittedly painstaking... performance indications that Mahler actually took the trouble to write into the score. These multiple swells from extremely soft (ppp or pppp) to extremely loud (ff, even ffff), these micro-dynamics are often allied, to my ear, with the characteristic sense of Weltschmerz that marks the music.
Mahler, after all, grew up in a family headed by a physically limited mother and a drunk, physically abusive father. Several of the many siblings died before reaching adulthood. Mahler and his sister were so familiar with the rituals of death that they would light candles and play funeral. To fail to observe these markings, in my view, tends to deprive the music of one of its crucial, universal stylistic signatures. Romantically considered, this means that the core of nostalgia for childhood innocence, combined with the nearly universal betrayal and violation of that trust (which I hear as making Mahler so accessible, finally, to the 20th century)are lessened, just when they should be heightened.Read more ›
I have always loved Mahler. He is in fact my favorite composer. I love all of his other symphonies. Yet this symphony--supposedly his grandest musical statement of all--has continually left me cold.
I have tried Solti. I've checked out Abbado (whose 5th is still my favorite and whose first recording of the 7th is mighty fine). I even went to Tennstedt (who conducted a VERY good 1st). I just wasn't moved.
But now, thanks to Maestro Chailly, his old outfit in Amsterdam and four BLAZING choirs...I have seen the light!!!
This recording of Mahler's 8th grips you from the first moment. It can blow you away. It can overwhelm you with its lyricism and beauty. The best compliment I have to give is to say that this recording is Mahlerian in the very best sense.
Perfect love casts out fear. Don't be afraid to try this recording. You will love it even if you've never enjoyed the 8th or listened to Mahler before.
The Royal Concertgebouw Orchestra has more than enough technique and power for this piece, and when you really think about it, it's amazing that Chailly was able to control the whole orchestra, the soloists, and the several choirs. The combination of Decca's recording and the stunning acoustics of the Concertgebouw hall convey all this in faithful, clear sound.
This symphony is practically an oratorio, so a good set of vocalists is very important. This recording gathers some of the most talented dramatic voices singing today. Ben Heppner and Jane Eaglen stand out in particular. Nobody hoots or yells here, and they make a great ensemble too.
Mahler's eighth is a monument of classical music--in fact, the hugest work in the standard repetoire, and probably ought to be approached after getting familiar with the more well known symphonies. But if you like Mahler even a little, or enjoy your music BIG and sonically breathtaking--and ideally performed, then the buck stops here, with this recording of the eighth.
It is Chailly, however, whose natural dramatic instincts serve him so well, in this most "operatic" of all of Mahler's works. Interestingly, he proceeds at a fairly deliberate pace from the outset, as opposed to say, Solti, whose Eighth is beautifully played by the Chicago Symphony Orchestra but much more driven. I was startled initially by Chailly's tempo, but with each hearing, his concepts seem to make more and more sense. Mahler's orchestration is complex, and this deliberate, majestic approach reveals every bit of the textures and counterpoint - and as someone else noted, only increases the work's cumulative power. The ending of Part One, with the combined orchestral and vocal forces at full blast, is pretty jaw-dropping.
Part Two opens with an orchestral interlude, and the playing here is just exquisite. The movement proceeds through gorgeous set pieces for the vocalists (all excellent), not to mention the charming contribution of the children's choir. The chorus is also outstanding, and the orchestra - let's face it - is incomparable in this score.Read more ›
Most recent customer reviews
Truthfully, I haven't given the CD-audio version of Chailly's rendition of Mahler's 8th a good listen (and don't intend to), since I've opted for the DVD-audio version - so I can't... Read morePublished on Feb. 29 2004 by Philip Smith
I don't profess to be some kind of expert on this symphony but I am reasonably familiar with it and if nothing, this recording is a bargain. Read morePublished on April 4 2003 by L. Courcelles
Condemned by many music experts, since Chailly does not follow the score to every little detail, but what the hack!? Read morePublished on Aug. 7 2002 by E. VAN DER GIESSEN
This symphony always strikes me as a little odd. Mahler must have had a lot of gall to gather together such a massive choir for his "Symphony of a Thousand" and then use... Read morePublished on May 30 2002 by D. Seymour
If this no.8 is THE best version is up too you to decide but for me it is one of the great recordings of Mahlers no. Read morePublished on April 8 2002
A recording of Mahler 8 is only as a good as the sound quality, and Decca missed the mark this go-round. Read morePublished on April 8 2002 by B. MacGilvray
Well, to begin with it weren't a Thousand, it were 350 at best, as usual in modern recordings of this work. Read morePublished on April 2 2002 by MartinP
Imagine for a moment sitting in a huge cathedral, with its immense structure and majesty so overwhelming and stunning that you feel that you've experience something entirely new:... Read morePublished on June 10 2001 by David Anthony Hollingsworth