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Michael Gielen, SWR Sinfonieorchestra Baden-Baden und Freiburg Arnold Schönberg: Gurrelieder Формат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 2007 Жанр: Classical/Orchestral/Choral/Vocal Издатель (лейбл): Hanssler Classic Продолжительность: 02:01:41 Наличие сканов в содержимом раздачи: Да (сканы) SACD1 Part I:
1. Orchestral Prelude 6:23
2. Nun dampft die Dammrung jeden Ton (Waldemar) 5:20
3. O, wenn des Mondes Strahlen leise gleiten (Tove) 3:12
4. Ross! Mein Ross! Was schleichst du so trag! (Waldemar) 3:25
5. Sterne jubeln, das Meer, es leuchtet (Tove) 2:15
6. So tanzen die Engel vor Gottes Thron nicht (Waldemar) 3:10
7. Nun sag' ich dir zum ersten Mal (Tove) 4:26
8. Es ist Mitternachtszeit (Waldemar) 7:01
9. Du sendest mir einen Liebesblick (Tove) 5:56
10. Du wunderliche Tove! (Waldemar) 5:05
11. Orchestral Interlude 5:37
12. Tauben von Gurre! Sorge qualt mich (Voice of the Wood Dove) 13:38 SACD2
1. Part II: Orchestral Prelude - Herrgott, weisst du, was du tatest (Waldemar) 5:52 Part III:
2. Orchestral Prelude - Erwacht, Konig Waldemars Mannen wert! (Waldemar) 2:22
3. Deckel des Sarges klappert (Peasant) 4:08
4. Gegrusst, O Konig (Waldermar's Men) 4:47
5. Mit Toves Stimme flustert der Wald (Waldemar) 6:03
6. Ein seltsamer Vogel ist so'n Aal (Klaus-Narr) 7:34
7. Du strenger Richter droben (Waldemar) 3:00
8. Der Hahn erhebt den Kopf zur Kraht (Waldemar's Men) 6:34
9. Orchestral Prelude: The Summer Wind's Wild Hunt 3:33
10. Melodrama: Herr Gansefuss, Frau Gansekraut (Speaker) 6:03
11. Seht die Sonne (Chorus) 6:17 Контейнер: ISO (*.iso) Тип рипа: image Разрядность: 64(2,8 MHz/1 Bit) Формат: DST64 Количество каналов: 5.1, 2.0 Доп. информация: Hanssler Classic 093.198.000 (2007)
2x SACD rip via PS3 to 2x iso (8.01GB) Источник (релизер): ManWhoCan (PS³SACD) http://sa-cd.net/showtitle/4615
Оркестр: SWR Sinfonieorchester Baden-Baden und Freiburg Дирижер: Michael Gielen
Chor des Bayerischen Rundfunks & MDR Rundfunkchor Leipzig
Melanie Diener (Tove), Yvonne Naef (Waldtaube), Robert Dean Smith (Waldemar), Gerhard Siegel (Klaus-Narr), Ralf Lukas (Bauer), Andreas Schmidt
The issue is an early 80th birthday present to Michael Gielen & one must say that he deserves every last second that is on these discs. Whilst this is
nowhere near the fastest reading on disc, it holds the attention throughout; one must never mistake slowness for slackness. The kaleidoscope of sound
is firmly but gently bought into crystalline focus under his baton. The general tempi may be slower than many on disc have adopted but the dedicated
concentration keeps the listener riveted & allows for the love songs to sound genuinely tender. In the more extrovert Parts 2 & 3, the slightly
relaxed pacing is offset by the amount of detail that can register with the mind. Together with a rhapsodic & ecstatic closing sunrise, the emotional
impact is overwhelming & takes one completely by surprise (as if Gielen is trying to conceal it from our consciousness, only to subvert this in our
subconscious ear). [If one is sampling, beware – snippets here & there can be quite deceptive on 1st hearing.]
From the radiant opening to the terrifying hunting scenes, the orchestra is simply wonderful. It revels in the opulence of the writing whilst at the
same time respecting the myriad of markings & textures to reveal this score as anew. A special credit has to be given to Gielen & the orchestra to
accompanying with vigour yet not overwhelming any of the soloists. There are, understandably, 1 or 2 minor lapses but they are few & do not distract
from the overall impact.
Robert Dean Smith is an established Wagnerian singer & this shows in the full & heady tone that he can find without strain. He sings intelligently &
dramatically, pacing himself well throughout his contributions to the work. Melanie Diener has also sung the role of Tove for Robert Craft (now on a
Naxos RBCD set) and whilst she may not possess as luxuriant tone as some, nor convey all of the ecstatic moments with as much intensity as some, there
is no denying her understanding of the part & nothing is out of place nor is there any electricity lacking in her interpretation.
Yvonne Naef is a young singer but doesn’t compare at all unfavourably against more mature artists like Anne Sofie von Otter. Indeed, there are many
instances when one is grateful that Tove doesn’t sound like she needs help to stay on her perch! The crucial section at the end of Part 1 is sung
well, although not perhaps exceptionally, by Naef & she sings with a wisdom quite beyond her years. Gerhard Siegel as the Bauer is quite terrified (as
would I be with the chorus & orchestra letting loose all around me!) & very convincing as the poor, confused country-dweller.
Ralf Lukas is a most entertaining Klaus-Narr; with delicious pointing, he brings out all of the black humour in his part. Andreas Schmidt as the
speaker tackles the Sprechstimme with admirable taste; some have made so much of the writing that one can almost taste ham but there is no whiff of
meat here! That is not to say that Schmidt is any way anonymous with his enunciation but he does not imbue it, as too many have done, with arch &
frankly camp over-acting.
The combined choruses do not have much to do as a proportion of the score but the men of these ensembles make for a most imposing army as they trample
through the countryside. Their diction is a joy to behold & German speakers could easily dispense with the texts. When joined by their female
counterparts in the glorious conclusion, they are just as well disciplined & expansive in tone without a hint of harshness in the sopranos.
Sensibly, to keep printing costs down, there are none of the usual biographies included in the booklet, but a list of websites allows one to find more
details if interested. The notes themselves are fair, with some illuminating quotes that shed light on the ideals behind the work. The song texts are
given in both German & English.
For all these admirable qualities & exhilarating performances, this would amount to nothing if the 5.1 recording was not of the very highest order.
Fortunately it is 1 of the very best one could hope to hear; it is quite a gauntlet that the SWR engineers have thrown down to other teams (both
within radio & also from the recording company fraternities) & this will take a great deal just to come close to matching this achievement. The level
of detail is quite staggering & takes the breath away each time one hears it, as does the wonderfully wide dynamic range reflected in the recording.
Most fantastic of all is the way it sounds completely natural with a wide & deep staging (all the more tangible in the Mch presentation) which allows
detail after detail to register with ease on the ear without any apparent spot-lighting. That these discs are derived from concert performances is
quite unbelievable until the audible sigh-like relaxation of tension at the end of the work (the applause is not included).
Altogether a marvellous achievement from all concerned. I cannot imagine that Gurrelieder will be frequently recorded in the current climate across
all media, let alone SACD but this set must count amongst those at the very top of the list – though, as with all recordings of a piece like this,
none can hold all the answers. This surely has to grace every audiophile’s & musician’s player on many occasions – if ever there was a
demonstration disc, this is it!
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