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Symphony 2 Sacd Hybrid SACD

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Product Details

  • Performer: David Zinman
  • Composer: Mahler Gustav
  • Audio CD (May 15 2007)
  • Number of Discs: 2
  • Format: Hybrid SACD
  • Label: Sony Music Canada
  • ASIN: B000NA20LO
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #178,293 in Music (See Top 100 in Music)
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Disc: 1
1. Symphony no 2 in C minor 'Resurrection': 1st movement, Todtenfeier
Disc: 2
1. Symphony no 2 in C minor 'Resurrection': 2nd movement, Andante moderato
2. Symphony no 2 in C minor 'Resurrection': 3rd movement, In ruhig fliessender Bewegung
3. Symphony no 2 in C minor 'Resurrection': 4th movement, Urlicht
4. Symphony no 2 in C minor 'Resurrection': 5th movement, O glaube, mein Herz

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Amazon.com: HASH(0xa1abd990) out of 5 stars 13 reviews
3 of 3 people found the following review helpful
HASH(0xa1acb54c) out of 5 stars Professional and proficient April 19 2010
By Prescott Cunningham Moore - Published on Amazon.com
Format: Audio CD
I'm not wild about this second. Zinman and his Tonhalle band deliver an approach that is somewhere between Haintink's first "Resurrection" with the Concertgebouw (he has recorded this symphony at least four times) and Chailly's "Resurrection," both with the far superior sounding Concertgebouw. Chailly's second lacked tension in the outer movements because the playing was too polished, too easy. Haintink's was better in the playing department, but was emotionally cramped and particularly four-square. Zinman's has both Haitink's emotional reticence and Chailly's tensionless playing, resulting in a really sophomoric effect in the first three movements. The funeral march lacks that visceral energy that makes the seconds from Tilson Thomas, Gielen, or Tennstedt all the more successful. Couple this emotional glass ceiling with some particularly lack-luster playing and you get an emasculated, unenergetic funeral march. This further robs the andante of its calming effect. It's played beautifully (as it always is) but isn't particularly moving. The third movement is equally drab. The scherzo proper is neither grim nor craggy, polished and proficiently played though it is. The trio is fine, but the return of the scherzo is bumbling, failing to flow naturally from the sweet, but tongue-in-cheek, trio. The "cry of despair" is more inevitable than eruptive and the disintegration into the lied is uneventful. Things pick up with the fourth movement. Anna Larson's voice is not particularly suited to this music, being somewhat breathy, but Zinman has always been a dutiful accompanist and really shines in his supporting role. The finale erupts rigidly, sounding particularly blocky, but it goes smoothly enough, and the final passages are appropriately grand and impressive in their own right.

There are too many impressive Second's in the catalogue, from the aforementioned recordings to those from Bernstein, Bertini, Walter, and Kaplan, all of which render this particular outing from Zinman irrelevant. The soundstage is spacious and well documented, but the Tonhalle's long reverberation renders some of the climaxes, particularly in the first movement, muddy and diffuse. The quality of the final peroration leads me to believe Zinman's strengths will suit the Eighth well, which requires a "traffic-cop" conductor who balances the various forces and propels the music forward. We'll find out soon enough if that will be the case in reality.

While not as terrible as his Fifth or Seventh, this second does not rise to the same level as some of the more successful installments of this cycle, particularly the fine Third and Sixth, and, even as a SACD, is not competitive in today's Mahler market.
3 of 3 people found the following review helpful
HASH(0xa1acb5a0) out of 5 stars An extraordinary Resurrection, top-of-the-list stuff Jan. 30 2010
By MartinP - Published on Amazon.com
Format: Audio CD
I heard this Mahler 2 by Zinman and his Zurich team right after the new recording by Haitink and the CSO. I admired the latter for its silvery, fluid quality, the amazing solowork from the Chicago players, the singing by Christianne Stotijn, and a great number of beauties in the quieter passages - yet I also found it way too polite, almost wilfully underplayed, and I came away asking myself where the drama and the joy of it all was. I found it in plenty in this RCA recording, which for reasons I cannot fathom has been qualified as lightweight and faceless by reviewers here and elsewhere. It seems a cliché has been affixed to Zinman's style and is now being deployed with such vigour that it interferes with unbiased listening. Well, if faceless means `true to the score', give me a faceless performance anytime. Zinman hardly sets a foot wrong in the 80 minutes of this huge symphonic collage. All the accents are in the right place, there are no attempts at originality by ignoring Mahler's tempos, and the entire range from pppp to fff is encompassed (even though like just about everyone else Zinman can't resist to let the double basses come in ff at #4 in the Andante instead of at the written pp). Like in the Seventh, another recording from this cycle that I liked very much, his sense of balance is unerring, and the ear is tantalized by details rarely heard. Zinman is of course helped by a terrific recording, true and clear, with ample space around the instruments and a tremendous dynamic range.

The start of the first movement for once sounds truly `wild' (quite unlike Haitinks perfunctory opening). Throughout the piece momentum is never lost, and while the climaxes are perfectly realized and have tremendous weight, the lovely, quiet secondary material is played with a great sense of poetry and mystery. The great Pesante just before the reprise, where the whole funereal machine runs aground in searingly dissonant triplets, might have come across yet more powerfully at a somewhat slower tempo, but that's just about the only quibble I can think of.

The Andante is all loveliness and is played with great refinement. The left-right division of first and second violins pays off here. So does Zinman's detailed ear for Mahler's accents (here and elsewhere he scrupulously articulates the many ^ marks). The Scherzo has just he right, fleeting tempo, and I was relieved to hear that the Zurich e-flat clarinet player knows what `mit Humor' means. The well-defined timps and bass drum are a particular delight in this movement, that moves towards a beautifully realized climax.

Anna Larsson sings Urlicht stylishly and with feeling; all the more pity that she was miked too close and therefore sounds too loud. Nor is her contribution, wonderful as it is, quite as distinctive as some (Petra Lang for Chailly and Stotijn for Haitink come to mind). The Finale crashes in with all requested noise. Zinman holds the disjointed piece together very well. The first appearance of the Resurrection theme, with beautifully powerful horns, is memorable to say the least. The Fernorchester is ideally distanced, though I don't understand why no more trouble was taken to realize the antiphonal and echo effects indicated by Mahler - a studio recording makes that easy. Still, the Ivesian marching band that appears at #22 gets a better outing than on most recordings. In the final Grosse Appel the flute solos are phrased in a way that turns them into pure birdsong, a touching effect.

The fact that a chamber choir was involved in the recording may seem worrying to some. However, not only does the group sing beautifully, there is also ample power in reserve (compare their Bereite dich! to the timid attempt by Haitinks singers...) In fact, and unfortunately, the chorus is too loud in the pp and ppp throughout; more so are the two soloists, who even in the forte are clearly audible above the full chorus, not an effect that I found particularly fortunate. But as the symphony reaches its apex there is a true sense of occasion, of shared ecstasy, that makes short work of such niggles. The coda is absolutely magnificent, the sense of splendour much enhanced by a sonorous organ and riotous bell-ringing (even though the bells are hardly of the deep variety requested by Mahler); - unfortunately, the succession of high and low tamtam strokes are inaudible in the general noise; but a glorious noise it is, and it left me reeling with sheer joy. I by now own at least 20 recordings of this work, ranging from the absurdly overrated Klemperer to Bernstein, Solti, Fischer and, as said, the recent Haitink - this Zinman goes right to the top of the list.
11 of 15 people found the following review helpful
HASH(0xa1acb9d8) out of 5 stars Homerun for Zinman June 21 2007
By P. Weber - Published on Amazon.com
Format: Audio CD Verified Purchase
Prior to hearing this M2 I never thought of David Zinman as a Mahler conductor. But overall this new M2 is very impressive and puts the music across very convincingly. We have fine playing, excellent sound quality and an interpretation that strikes all the high points without the baggage of other conductors. It's interesting to compare this new Mahler 2 to Fisher. While Fisher is impressive, I find Zinman more consistently enjoyable. The difference is in the details, as they say.

Right from the start Fisher does something I don't like. At the beginning of the first movement the score calls for a wild upsurge from the bass section where the basses accelerate. This happens three times in the first movement. Fisher slows way down and then speeds up to achieve this affect - Rattle and Blomstedt also do this. To me it sounds terribly mannered and ruins the very affect Mahler asked for. Zinman, to his credit, does not employ this mannerism and the first movement sounds much better for it.

In the second movement Fisher tries his hand at rubato but it doesn't sound convincing. MTT also does this but manages to pull it off better. Zinman is more subtle and achieves more coherence without sounding stiff. Also, the timing is about 10:30, not 11 as stated by the previous review. The third movement is diabolical in Zinman's hands, played at a flowing tempo but with all the right decisions.

Zinman puts the fourth movement across better than Fisher for two reasons. First, I don't care for the excessive vibrato from Fisher's Contralto. Zinman's Contralto sounds better to me even though she is miked a bit closely. Second, Zinman allows us the hear the wonderful brass chorale in the beginning, where Fisher's brass chorale is very low and subdued. I suspect he has the brass play from a distance or off stage. Maybe the score calls for this but I prefer the chorale to be loud enough so I can at least hear the dam thing. Most conductors play the chorale the same way as Zinman.

In V both recordings are excellent and I think it's a toss up. Fisher's ending may be a touch more cataclysmic but I don't care for his Soprano. I also find Fisher's off stage instruments are too far away and too difficult to hear. Zinman's perspective is better but his percussion is not always as loud as Fisher. But this is really a matter of taste. Zinman does just about everything extremely well and gives us a beautiful ending. At the end of the day I prefer Zinman, but both performances are fine.
12 of 17 people found the following review helpful
HASH(0xa1acb9c0) out of 5 stars Very nicely done. June 1 2007
By Amazon Customer - Published on Amazon.com
Format: Audio CD
Disclaimer: I do not own an SACD player, so I'll be reviewing this in two-channel stereo only.

Zinman's sudden decrescendo on the symphony's very first note - a string tremelo - might make you think that this is going to be a lightweight presentation of Mahler's gargantuan "Resurrection" symphony. But you'd be deceived in thinking that, as Zinman pours on dazzling brilliance with his bright cymbals and trumpets at the symphony's first ugent climax. This is the real deal. So; that being the case, let's jump to what matters most: the finale's ending.

The dueling mezzo and soprano - Anna Larsson and Juliane Banse - work very well together on their tutti passage, if also a tad operatic sounding. When we get to the unison choral proclamation of "aufverstehen" (rise up), we get plenty of organ peddle, just as Mahler indicates. Best yet, when the chorus cuts out, we get more organ peddles and plenty of deep bells (played ad lib., as opposed to the spare interjections that Mahler wrote out). These are very nice sounding bells!!! - a refreshing change. At the very end, you can hear the alternating salvos from the high and low pitched tam-tams (large orchestral gongs), but not quite as much as on Ivan Fischer's excellent performance on Channel Classics. Still, this is a very well balanced and well nuanced ending with plenty of heft and excitement to go around.

Everything else in the finale is as exciting and driven as it should be too. My one and only complaint with the fifth movement, is one that I have for more than half the recordings of Mahler 2 out there! At the final climax of the long march episode, Mahler writes a series - five in total - of quick strokes on the deep tam-tam that accompany the trumpets. These five rapid strokes are followed up by three interspersed ones. Well; as is so often the case, you simply can't hear them. This may seem like a minor point, but just listen to how much more effective this very same passage is on the underrated Leonard Slatkin recording (Telarc). But beyond this, I have no complaints. At "geschlagen" (to strike), the unison bass drum and cymbal strokes lift you right out of your chair, just as they should. All in all, this is a fine presentation of the long finale, with no excess dragging in the slower, quieter passages that dominate so much of its landscape.

Anna Larsson is excellent in the fourth movement, if also a bit more hushed and rapt sounding than usual. I'll take it, so let's move on (backwards).

At nearly 11 minutes with the second movement, and closer to 10 minutes with the scherzo, Zinman is a tad slower with the second movement than I care for, and a tad faster with the scherzo than I like too - I wish those numbers were flip-flopped. But the musicality involved is never in question, as the four major sections of the orchestra are very well balanced: strings, woodwinds, brass and percussion. The harps are also more front and center than they usually are too. In the second movement, Zinman does a marvellous job of hamming it up at that remarkable passage for pizzicato strings, harps, and piccolo flute (my favorite section in the entire symphony, other than the ending).

Although Ziman's scherzo is rather fast and fleet, he still get his clarinets - among others - to shape their phrasing with lots of crescendos and decrescendos. One passage that does fall somewhat flat, is the one where the four trumpets suddenly begin serenading back and forth to each other (accompanied by harps, arpeggiated strings, and trilling flutes). But the scherzo's main climax has plenty of heft, if also wanting just a tad in explosive power. Overall, I prefer the slower than normal tempo that both Klemperer and Ivan Fischer use for this movement. But Zinman still manages to plow up more fertile ground here than Boulez (DG), who truly just skated upon the surface in his scherzo movement (very odd). Zinman also makes the most of Mahler's wooden sounding col legno markings (hitting the strings with the wooden back of the bow). All of this brings us back to where we started: the first movement, which is a microcosm of the numerous moodswings Mahler conjures up throughout the symphony.

Simply stated, I like Zinman's first movement. He stears a course that's between Walter's strict classicism (if such a thing exists in Mahler), and Bernstein's "live for the moment", overt romanticism. At the central climax, Zinman is quite clear in dealing with its dense textures and rhythmic polyphony (dissonant trumpets; descending strings; suspended cymbal crescendo), with plenty of heft at the orchestra's fortissimo, unison octave jump (descending, accompanied by two bass drum strokes) that cap this passage, and lead back into the recapitulation. You may have heard one or two central climaxes that are more powerful, but few that are as well balanced and just plain musical sounding. I alo like the strict, mentronomic tempo that Zinman keeps during the movement's final funereal procession - there's no rushing into that last climax (capped with a ringing gong stroke).

Until now, I've been focusing on what happens in this recording in the most musical and objective means that I can muster. After all, how one reacts to what they hear is always a personal matter. At this point, it's difficult to make "best ever" type proclamations when so many outstanding recordings already exist. All I can tell you is that this is yet another really fine presentation of Mahler's eternal "Resurrection" symphony. Let's face it, we're really spoiled for choices when it comes to the Mahler symphonies. For that, let's be thankful. Now bring on Zinman's Mahler 3rd - I'll bet it's going to be next to outstanding.
1 of 1 people found the following review helpful
HASH(0xa1acbe7c) out of 5 stars Very Good Zinman, Mahler--SACD TO BOOT. Feb. 26 2014
By NUC MED TECH - Published on Amazon.com
Format: Audio CD Verified Purchase
02-26-2014 Thus far, I've collected just this one Zinman Mahler SACD in his cycle for RCA. It features the Tonhalle Orchestra of Zurich and the Schweiser Kammerchor, with soloists Julianne Banse, and contralto Anna Larsson. The instrumental roster is particularly helpfull as it lists the off stage musicians used in the grand finale, and helps me to understand the work that went into this mammoth Symphony. Zinman's opening Allegreo Maestoso runs a tidy 22:04 begins with a sense of urgency that is fitting for this dramatic canvas. The instant the music begins, Zinman exercises excellent control over these forces, whereas so many conductors barge their way into our ears as though it is the finale, not the start. Bear in mind, that the grave is the hero's from the 1st Symphony, as the composer had stated, and we have a long way to go, so pacing is very important. this judegement, by the young composer, only about 34 years old, is notable, as he is not trying to wow his audiences, not just yet. This may strike some listeners as dull, even "Klemperish", but I found it highly intelligent, and recalled to mind Haitink in his marvelous SACD with Chicago. Written between 1888 and 1894, it was premiered December 13, 1896 in Berlin. This current effort was done in Zurich in February of 21006.. I did have a small issue with the maestro's wide dynamic range and his accents were a bit harsh, but still well within limits.
Overall, Zinman's tempo is deliberate and purposeful. He never wallows. The Super Audio, permits the timpani it's depth, and there is ample air around the Zurich winds. Zinman's attention to detail, is very fine as the several little nuances can be clearly heard, and in their proper perspective as well. There are, in the 13th minute area, some momentary pauses I didn't care for, as they failed to add to the already more than adequate tension of the scene. If this were the "Todtenfeiere", a separate composition, but the thematic basis for this 1st ,movement , then that would be a different matter. Still, the passage 15:13 to 16:38, packs plenty of punch and even a glimpse of the coming redemption that awaits us well down the road. In the 19th minute the treading basses, deep brass and low level percussion, bass drum and tam-tam are menacingly well heard, and even better yet, felt as the ominous signs they are. Tis simply gets buried in most readings, but Super Audio seems to help out. I liked it.
The last 2-3 minutes of this first movement are an engineering marvel for their subtlites, and I can't wait for more. May be the best seat in the house? Yes, for me, that is.Having to change CDs at this time is an irritant I cannot get used to, as the momentum gets disrupted, even if ever so slightly, The 2nd movemnt, is the Andante moderato and it unfolds very leisurely under Zinman's gentle command, each phrase tenderly molded so as tyo create a stong, but not obtrusive contrast with the grttyness of the opening funereal music. I must stae, here at this point in my review, that this hearing is only my 2nd close one, the maiden voyage having been around the beginning of last year, but unpublished. I have it somewhere in my piles, ( a sysnonym for files, L.O.L.) on a hand written legal pad, and I know I am hearing more tonight, than the other day. this is an idea I hatched and I think, for me, it is a good oneTherefore---Listen once as soon as it arrives, date it, then set aside for a good while, and trhen a 2nd deep look, and date that as well. the, compare the two. Good idea? I think so.If it is music we truly love, I am amazed at what I can remember, and I've had a couple of strokes, so I'm not dealing from the "top-of-the-deck", again, L.O.L. Returning to the Landler, this lilting waltz like melody is very gracious unbder Maestro Zinman, and the Zurich's strings are as sweet as Swiss chocolate! This movement is one of the composer's most "disjointed" of all, with the trio material appearing in more than one time, but still it is contrasted without excessThe 2nd trio appearance, around 04:43 is stronger, yes, but, again not either obstructive nor rude in temperament, whicxh is, all too often, just what we get.
The 3rd movement Scherzo is chocked full of that fiendishly terrific 'Kletzmer" music, and the prominent clarinet and all the whining Yiddish temperament emerges very well. The movement's climax, just before the 8 minute point is chilling and powerful, as well as wisely paced, getting the attention it requires, and no more.
Some scholars say the Mahler's first 4 Symphonies were his Wunderhorn Symphonies, and there is truth to this, despite the inclusion of the 4th, because for decades, no one knew what to make of this #4. I agree, and include the Fourth, as it doen't seem to be a stand alone Symphony, but a sort of summation of the initial trio, the commonality of the Wunderhorn poetry aside.
Therefore, the 4th movement, the "Urlicht: O Roschen rot! Der Mensch liegt in groster Not" is next. The Swedish contralto Anna Larsson is the solist and her dark and resonant tone echoes this noble and moving text as I have seldom heard it done. David Zinman first came to my attention back in 1996 when I heard his Nonesuch recording of the Symphony#3 by Gorecki, and bought it on the spot, and at full price. Aside from that unbearably poignant music, I was struck by the maestro's attention to detail, some of the finest I had heard ever. That same effort gives Miss Larsson the rapturous support she requires and makes this touching Wunderhorn song work as well as it does. Maestro Zinman's work with his former Baltimore Symphony was also exemplary, but here the focus of Mahler consumes his energies of lyricism and tonal painting. A very lovely movement, indeed.
The Finale of the Resurrection is a most challenging work and Zinman is more than up to the task. One of the potential pitfalls of this massive movement is the temptation to play it episodically, with the flow being somewhat chopped up into little scenes, due to it's essential program music flavoring. The music needs to be allowed to flow, steadily, and in a continuous and stately tempo, emphasizing the journey of the soul towards the light of salvation. If you, as a listener, are hearing this Symphony for the very first time, I envy you, for several reasons, the first being that you may NOT know how it will end. Will the deceased be saved, or lost? By this time, judging from all that you've heard, you are probably guessing he will find his paradise. And this being the case, it will make more sense with the flow of the music that it be deliberate and even, a bit predictable. Zinman knows, of course, how this will all turn out and sees no reason in dallying about but in moving forward at a comfortable pace, as to allow all those tiny bits and pieces of sound to be fully presented. They are there for a reason, and Mahler was as meticulous a composers as was Beethoven. Everything has it's place, and there is a place for everything. The smallest utterance gets the Maestro's concentration and attention, as nothing is taken for granted. This is a mark of a fine reading, and this IS a fine one, at that.
The Tonnhalle's on stage brass consist of 6 horns, 3 trumpets and four trombones, plus tuba. Off stage, there appears to be 4 more French Horns, 4 trumpets and perhaps a trombone. It is likely there ids also a timpanist in the backstage area an a persucssion player or two as extras. The triumphant forte march sequence is powerfully present in this Super Audio and the off-stage players can be more readily heard in this newest technology, proving how good SA is for this particular work. We don't kn ow where this auxiliary band is located for the recording sessions, but I would opt for a distant location out in the auditorium, giving the effect Mahler sought, that of a "vast void." From about 13:33 to around 15:00, the distant brass and percussion can be easily heard, though, of course, not as loud, and the effect the RCA engineers produce is spine-tingling. the numerous attacks in this finale are sharp and perfectly balanced, as the composer's language can be clearly delineated. Why, even the upper winds sound far off, and evocative. I caught myself holding my breath many times in this familiar music, as if hearing it for the very first time. Wonderful!!
The Schweiser Kammerchor enters at 19:34 with it's expanded complement of 91 total voices, 48 men and 43 ladies. The muted string accompaniment could of been a bit louder, but it IS audible. As our soloists blend in, the effect is simply one to be heard tro be believed. Celeste and harps are easy to spot and this delicate liturgical text is more than merely poetic, it is otherworldly.
A second go around adds muted mid-lower brass and the richness of this section is rivaled by the likes of Tennstedt, Solti and Abbado. Zinman clearly understanding what this music needs. At "O glaube," the soloists presentation is honest and deeply sincere, as well as being dramatic. I can't the conductor's pacing enough as it can make or break this entire episode. Ainman's tempois exquisite as he sends his forces off on their final push, gathering momentum. At about 30 minutes we find ourselves in the last epic pagewith the Tonnhalle playing withtotal commitment from here on out. The Tonnhalle's pipe organ enters at 31:20, but this is not the big "Saint-Saens" moment, but it's foot pedals are the key. The radiant ending left me drained. Simply sublime! C-MAJOR!!!
A VERY, VERY, good Resurrection, not at all far from Slatkin's terribly under rated 2nd and, with the great assistance of Super Audio technology, this is almost as goof as being there. WOW! A very high recommendation for all these artists and the folks at RCA. I look forward to sampling the Mahler 8th and others , but for now, this is a must have. Happy and satisfying hours of lie\stening pleasure and God's blessings upon you all, Tony.