When at last it was revealed what Mahler’s final intentions were regarding the ordering of the inner movements of his 6th Symphony, 90 years of theory, history, & performance practice went right out the window. For theorists, it altered the harmonic structure of Mahler’s A minor Symphony. For historians, it modified the meaning of Mahler’s “Tragic” Symphony. For players & conductors, it changed the musical progress of Mahler’s 6th Symphony. For listeners, it made Mahler’s deepest & darkest symphony even deeper & darker. With the achingly nostalgic Andante moderato now coming before the bitingly bitter Scherzo, the triumph of the opening Allegro energico sounds even more hollow & empty & the collapse of the closing Allegro moderato sounds even more final & total.
Fischer’s performance of the Sixth is quite similar to Abbado’s recent live recording for DG. Textures are generally light and transparent, with a swift opening march that, by the same token, never sounds unduly rushed or trivialized. The andante comes second, not the best option in my view, but Fischer has the intelligence to treat it as a true andante, and not as an adagio (which is a more legitimate possibility when it’s placed third). However, in contrast to Abbado’s boring Berliners, Fischer’s orchestra plays better, and he’s much better recorded. Just listen to the characterful brass in the coda of the first movement, with a particularly fine first trumpet, or the splendid woodwinds in the trios of the scherzo. The emphasis on fleetness never compromises expressivity, as happens in Berlin.
Paavo Järvi’s remarkably fresh-sounding Tchaikovsky Pathétique emphasizes the music’s lyricism and singing line, with flowing tempos and unforced, natural phrasing throughout. Accordingly the strings predominate in this performance, and the Cincinnati players make beautiful sounds, especially in the outer movements. Järvi treats the first movement’s “big tune” as a love song that grows more impassioned with each appearance. On the other hand he leads a quite angry development section, with biting brass ratcheting up the tension. The second movement goes at a lively, dancing pace, while Järvi’s quick-stepping third-movement march generates real excitement in its second-half, with brilliant playing by the Cincinnati brass.
The 6th Symphony of Anton Bruckner was recorded live for SACD in December 2013 at two concerts in the Hamburg Laeiszhalle. Here, too, critics were unanimous in their enthusiasm, as could be read in the Hamburger Abendblatt of 16 December 2013.
Tchaikovsky's Fifth Symphony was the first symphony Christian Lindberg ever heard, at the age of ten. Nine years later it was the first he performed as a professional musician – in the brass section of the Swedish Radio Symphony Orchestra. Having embarked on a successful conducting career, the trombonist-turned-international-soloist has since had the opportunity also to conduct the work, most memorably at the Mariinskij Theatre in St Petersburg, the city where the composer himself gave the first performance in 1888. With his Arctic Philharmonic Orchestra, based in the Norwegian city of Bodø well north of the Arctic Circle, Lindberg has now recorded this symphony, which has become one of the composer's best-loved works.
Throughout the 1970s, conductor and composer Leonard Bernstein was invited to lead the greatest orchestras of the world in a number of concerts that since such time have become legendary. Now, these historic performances are available on DVD for the first time. This Leonard Bernstein collectors's boxed set is the ultimate concert experience on DVD, and it is also the perfect companion to the Leonard Bernstein's Young People's Concerts DVD set.
The recording is first rate. The strings sound luscious and, when called upon, translucent. The bass is ample (good bass drum impact), with double basses clear enough that their many rapid scales keep up with those in the winds and upper strings. This feat is heard rarely on many LPs. LSC 1901 is worth owning for the pure pleasure the brilliant string ensemble provides and for Monteux’s deeply moving interpretation.( Anthony Kershaw - Audiophilia Classics )