Adam Fischer Mahler Symphonies
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It’s the most lightly, as in ineffably, characterised Mahler One I’ve heard since Kubelík’s. Everything flows, moves forward without rush…And when he needs to, Fischer pulls out the stops –... —
Awards:
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Gramophone Magazine, April 2018, Editor's Choice
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BBC Music Magazine, May 2018, Orchestral Choice
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Presto Editor's Choice, February 2018
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Presto Recordings of the Year, Finalist 2018
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BBC Music Magazine Awards, 2019, Finalist - Orchestral
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BBC Music Magazine Awards, 2019, Winner - Orchestral
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Magisterial power in sombre and radiant marches, the subtlest rubato in the old-new minuet which follows, establish Ádám Fischer as one of the greatest living Mahler conductors…Engineering render... —
Awards:
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Opus Klassik Awards, 2019, Winner - Orchestral (19th-century music)
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As Fischer explains in his liner notes, he’s paid special attention to how Mahler has notated [glissandi] and the fingerings he’s marked – taking a little detour below the starting note before... —
Awards:
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Gramophone Magazine, January 2018, Editor's Choice
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Fischer’s elastic sense of tempo can be stretched to extremes in the Adagietto…What remains outstanding is the textural clarity…and among the clearest renderings on disc of the finale’s teeming... —
Awards:
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Gramophone Magazine, July 2018, Editor's Choice
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Mahler: Symphony No. 8
Polina Pasztircsák (soprano), Manuel Uhl (soprano), Fatma Said (soprano), Katrin Wundstram (mezzo-soprano), Katharina Magiera (contralto), Neal Cooper (tenor), Hanno Müller-Brachmann (baritone), Peter Rose (bass)
Choir of the Städtischer Musikverein, Philharmonischer Chor Bonn, Kartäuserkantorei...
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Mahler: Das Lied von Der Erde
Anna Larsson (contralto), Stuart Skelton (tenor)
Düsseldorfer Symphoniker, Ádám Fischer
There is no question that the impression of a lyric symphony with obbligato voices is what Fischer is striving for and notably achieves here. There is a transparency throughout and all the ‘vocal’... —
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Mahler: Symphony No. 2
Tünde Szabóki (soprano), Nadine Weissmann (mezzo), Düsseldorfer Symphoniker, Ádám Fischer
Distance and space are perfectly judged in the big canvas of the finale; among the excellent woodwind, the f lutes conjuring the song of the nightingale against distant fanfares are as magically... —
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Adam, with his excellent Düsseldorf Symphony, may well be one up on [his brother] Iván with this compelling account of Mahler’s outlandish Seventh —
