Mahler / Larsson / Fischer - Das Lied Von Der Erde - COMPACT DISCS [CD]

No work embodies Theodor W. Adorno's quote better than Gustav Mahler's Das Lied von der Erde (The Song of the Earth). It's subject and internal structure form the core aspect of the composition and thus are the cornerstones of a work which is much more than just 'a serious piece'. Gustav Mahler wrote Das Lied von der Erde in 1908 during his extremely tumultuous later life. Before his death in 1911, he had heard the premiere of neither the orchestral version nor his handwritten piano version. One important result of this was that the piano version disappeared from the public eye and remained in the possession of his window Alma Mahler. It's first performance was not until 1989. Since then, few pianists have ventured to it, certainly due to the fact that the orchestral version has itself long been established as an important work worldwide. The pianist and producer Christian Kalberer, together with Alexandra von Roepke and Peter Furlong, chooses the straight, unguarded musical path, musique directe, as a way of a dialectic of enlightenment. As Mahler wrote in a letter to Bruno Walter about this composition I believe that it is the most personal thing I've done so far. At this time Mahler was still quite unsure about what to call the piece. At the first opportunity though, he gave it the farthest, furthest title The Song of the Earth. Contained within it's musical and dramatic continuity is a complete philosophy, which is reserved for only the greatest, teh most successful works of art.

G. Mahler - Das Lied Von Der Erde [COMPACT DISCS] date 10/10/2006

Mahler's InchDas Lied von der ErdeInch (The Song of the Earth) is subtitled InchA symphony for tenor, alto (or baritone) voice and orchestraInch. It examines the border between two different genres the Lied, in it's extended form as a song cycle, and the symphony. And as ever in Mahler's music, that border is anything but black and white. The work certainly differs radically from a mere song cycle the Lieder are permeated by symphonic techniques and some symphonic movements are built up from huge stanzas. Interludes expand to become development sections in which important things happen. Indeed, the thematic events take place in the orchestra, and, in a certain sense, the soloists also form a part of the interwoven orchestral texture. The sequence of movements also follows that of a symphony In the weighty outer movements one clearly notices sonata form shining through the stanza structures, and symphonic processes are obviously taking place. Two inner movements take the place of the slow movement and sarcastic scherzo. The entire work is spanned by a taut arc, culminating - in accordance with the principle of intensification - in a huge final movement lasting as long as all the others together, and entitled Der Abschied (The Farewell). Here, Mahler is continuing the genre of the InchFinale SymphonyInch, and the brightening of C minor to C major is even reminiscent of his usual apotheoses. In this symphony, as in his others, Mahler wanted to Inchcreate a world using all existing technical means.Inch The formal design of the work is unique, and the demands it places on it's performers are extreme. It requires two highly experienced Lied singers, who in combination with the huge orchestral apparatus have to be able to perform as soloists while blending into the symphonic structure as concert voices. An excellent and well-coordinated body of sound is needed here, and o