Mahlers Zweite erhält Lob aus Australien

Autor // Matthias Hain
Veröffentlicht in // Allgemein, Aufnahmen, Gustav Mahler, Jonathan Nott, Komponisten

Gustav Mahler: Symphony No.2 “Resurrection”

Der Mahler-Zyklus der Bamberger Symphoniker unter Jonathan Nott entwickelt sich allmählich zu einer Referenz-Einspielung. Neben mittlerweile verschiedenen hochkarätigen Auszeichnungen, wie z.B. dem Midem Award 2010 für die Aufnahme der Neunten Symphonie, werden auch die Pressestimmen immer zahlreicher, die den Bamberger Einspielungen höchstes Lob zollen. Selbst bis nach Australien hat es sich mittlerweile herumgesprochen, was für ein qualitätvoller Mahler-Zyklus in Bamberg am Enstehen ist, wie die Kritik des renommierten Sydney Morning Herald, der meistgelesenen Tageszeitung Australiens, zeigt.

“Every now and then, a recording of a familiar work comes along that restores one’s faith that the continuous re-recording of orchestral works is not just endless re-tilling of the same old soil but is a crucial reinterpretation and re-illumination by performers for each new generation.

The Bamberg Symphony Orchestra emerges on this recording with a highly distinctive tone that is rich and beautifully balanced but also striated with enough granularity to give it knotty interest.

The woodwind are clear and coloured, while the brass have warm cohesiveness without overbuffed smoothness. The string sound is sweet and sinewy and the percussion forceful and, where appropriate, muscular.

The recorded sound has extraordinary clarity, so that even in loud passages the smallest details can be heard, creating an ideal rarely captured in the concert hall but which is legitimate here on the basis of the high musical dicernment used in achieving it.

But most important is the overall conception. Conductor Jonathan Nott is not over-hasty in the impetuous moments of the first movement, giving the phrases telling expressive weightiness.

The dance-like second movement with lovingly pedantic, carefully placed speeds, captueres a sense of warmth and a beautiful retreat into the personal, while the third movement flows so smoothly that the flashes of tonal originality that impose are striking and of great moment in their quietness.”

Peter Mc Callum

The Sydney Morning Herald, 4./5. September 2010

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