Eurythmics Sweet Dreams Piano Tabs

casings Orphic

[Philippe Herreweghe. © Riitta Ince]

Mahler We left a year (the 150 anniversary of his birth) and enter another (the centenary of his death.) "My time will come" once said austrobohemio composer when he was much better known and admired as a conductor than as the author of a music that in its claim all-inclusive ("The symphony should contain the world") escaped both the classic and the universe subjective and sentimental Romanticism to the Europe of the late nineteenth century art was largely anchored. Perhaps that sentence should start to be fulfilled after the Second World War but is now crossed the threshold of another century, when it occurs more overwhelming. If your work dedicated to the composer's Scherzo and Antonio Machado Foundation Books published in 2007, José Luis Pérez de Arteaga news was more than two thousand recordings with music by Mahler, four years after the account should be increased by tens (or hundreds) of records .

Mahler's time, that "obsessional neurotic " (the diagnosis is Theodor Reik) that widened the possibilities of the symphony to hold it perhaps not the world, but multiple realities that had been provided back . If Haydn was able to gather in his symphonies, musical traditions from all over Europe, it mimicked Mahler, but raise the bar, putting together the most vulgar and the sublime, the popular and high culture, and the military march waltz, line and dissonance, the street and the court, the cabaret and the temple, all at once, simultaneously, and reinventing the ways he did, but without abandoning the whole, not in vain most of his symphonies open with movements in a sonata form more or less orthodox strain several topics are presented, developed and recapitulated.

The 4 th Symphony , released in 1901 and last episode of his known as period Wunderhorn (by their relationship to the world of folk songs Des Knaben Wunderhorn , The Boy magic horn) is one of the most classical in form, but closes with a lied. It is perhaps why Philippe Herreweghe has decided to open the catalog of his own label (Phi) with his first recording of a Mahler symphony (exclude registration of Send Earth, which was in the chamber version Schoenberg). At the helm of the Orchestre des Champs-Elysées, the great Belgian director has used of course the instruments of the period of the composer, much different from those of today than often thought, with guts in the string, and applied a style, as opposed to filling homogenizer, enhances clarity balance and detail. This course is subsumed in the finding of a great line backbone, leading to the lyrical and evanescent Himmlische Das Leben ( heavenly life) that soprano Rosemary Joshua sings "serene expression and child" as requested by Mahler.
[ Diario de Sevilla. 15/01/2010 ]

GUSTAV MAHLER (1860-1911) : Symphony No. 4 in G major

Rosemary Joshua, soprano
Orchestre des Champs-Elysées
Director: Philippe Herreweghe
- PHI
-------- LPH001 ( Diverdi ) [53'28'']
Recording: March 2010


Mahler: Sehr behaglich, 4th movement Symphony No. 4 . [8'41''] Rosemary Joshua. Orchestre des Champs Elysées. Philippe Herreweghe