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Mahler: Symphony No. 2 'Resurrection'

Heather Harper (soprano) & Helen Watts (contralto)

London Symphony Orchestra & Chorus, Sir Georg Solti

Mahler: Symphony No. 2 'Resurrection'
... the new Decca stereo recording has special points of excellence all its own. The most striking thing in the whole performance, for me, is the first movement, in which Solti penetrates to...

Mahler: Symphony No. 2 'Resurrection'

Heather Harper (soprano) & Helen Watts (contralto)

London Symphony Orchestra & Chorus, Sir Georg Solti

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320 kbps, MP3

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Stream now lossless, 44.1 kHz, 16 bit
... the new Decca stereo recording has special points of excellence all its own. The most striking thing in the whole performance, for me, is the first movement, in which Solti penetrates to...

About

Contents and tracklist

1. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
Track length20:59
2. Andante moderato. Sehr gemächlich
Track length10:32
3. Scherzo: In ruhig fliessender Bewegung
Track length10:15
4. "O Röschen rot! Der Mensch liegt in grösster Not!" (Sehr feierlich aber schlicht) Text from Des Knaben Wunderhorn: "Urlicht"
Track length4:27
5a-c. Im Tempo des Scherzos. Wild herausfahrend -
Track length14:18
5d. "Aufersteh'n, ja aufersteh'n wirst du" (Langsam. Misterioso) - Text after F.G. Klopstock: "Auferstehung"
Track length20:07

Awards and reviews

... the new Decca stereo recording has special points of excellence all its own. The most striking thing in the whole performance, for me, is the first movement, in which Solti penetrates to the inner significance of the unusual structure with an insight I have never encountered before. The short movement for contralto is treated sensitiviely. Helen Watts sings beautifully. The vast finale ... usually comes off almost automatically ... Solti builds it up impressively ... chorus, orchestra and soloists leave nothing to be desired ... the stereo recording is one of Decca's best... bringing off perfectly all the different perspectives of the off-stage brass. The early unison calls are certainly "in the far distance"; the marching band music is indeed "scarcely perceptible" and then "getting nearer"; the later fanfares for the four trumpets are electrifyingly "much nearer"; ... we have surely the sound Mahler must have imagined, according to his meticulous indications
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