Musik / klassiske symfonier

Symphonie Nr. 1


Anmeldelser (58)


Classics today

d. 23. nov. 2009

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David Hurwitz

d. 23. nov. 2009

"This is unquestionably one of the great Mahler Firsts, a performance that has abundant character, ideas that work, and astounding playing, particularly from the Pittsburgh horn section".


Kulturradio RBB

d. 29. mar. 2016

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Julia Spinola

d. 29. mar. 2016

"Yannick Nézet-Séguin bringt nun die Qualitäten des Orchesters wunderbar zum Vorschein. Schon in klanglicher Hinsicht ist diese Aufnahme herausragend ... Der Streicherklang ist warm und homogenen, die Bläser strahlkräftig ... Das ist alles sehr schön".


Presto classical

d. 28. feb. 2018

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Katherine Cooper

d. 28. feb. 2018

"Editor's choices - February 2018: More lyrical and less overtly rustic than his brother Iván's account on Channel Classics, the elder Fischer's Mahler One is just as captivating on its own terms. Spring unfolds with leisurely charm, and his way with the middle movements are especially illuminating: the second's trio is almost Rosenkavalier-esque, and there are some delicious flirtations with cabaret in the third".


MusicWeb international

2018 June

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Michael Cookson

2018 June

"Although without the fullness of orchestral sound ... , under Ádám Fischer the Düsseldorfer Symphoniker is in sparkling form delivering a performance that feels fresh and distinctive with a deeply intense atmosphere that is entirely compelling".


Presto classical

d. 10. maj 2019

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James Longstaffe

d. 10. maj 2019

"Recording of the week: If you're at all interested in orchestration then it's fascinating to be able to see the hundreds of tiny changes that Mahler made, and, in conjunction with this wonderful recording, to hear the impact that they make on the mood and emotion of the piece ... The more incisive attack and articulation of the gut strings combined with the smaller bore of the brass instruments reveals one of this performance's major virtues: you can hear a wealth of detail in Mahler's string writing that often gets buried under loud brass chords".


MusicWeb international

2019 July

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Dan Morgan (musikanmelder)

2019 July

"Recommended: In quieter moments the strings continue to shine, in every sense of the word. And goodness, the closing pages are worth the wait, Roth heightening suspense with all the skill and confidence of a master. His assembled horns whoop with the best of them, and his transported drummers trump them with a truly storming send-off. Bravo, bravo and thrice bravo! Quite possibly Roth's finest Mahler yet; an invaluable addition to the catalogue".


MusicWeb international

2019 June

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John Quinn (musikanmelder)

2019 June

"Recommended: This is a very fine Mahler recording by François-Xavier Roth. Though the interest may lie in the use of period instruments and his reversion to Mahler's 1893/4 score, I think it's perfectly legitimate also to consider this as a performance of Mahler's First with the addition of 'Blumine' ... I'd certainly call it an ear-opener".


MusicWeb international

2016 March

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Dan Morgan (musikanmelder)

2016 March

"Vurdering: Recording of the month" - "All these players respond to this glorious score with such ease and affection. As if that weren't enough the recording is warm, deep and nicely detailed. Nézet-Séguin gets the tempo relationships just right ... Goodness, this is shaping up to be an exceptional First, so full of apt imagination and bucolic charm ... An electrifying Mahler First, superbly played and recorded; one of the best things I've heard this year".


Politiken

d. 7. apr. 2009

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Henrik Friis (f. 1978)

d. 7. apr. 2009


Politiken

d. 10. juli 2007

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Thomas Michelsen

d. 10. juli 2007

"Mahlers 1. symfoni ... fortolkes med sine fuglekald og sin sjælesmerte erfarent, plastisk, med fremhævede pointer og lækker orkesterlyd af et af verdens mest Mahlererfarne orkestre under en chefdirigent, der kan sit kram. Intet er opsigtsvækkende ude af proportioner. Alt er dejligt på plads og giver fuldstændig mening. Det er ikke ekstremt eller anderledes. Det virker bare".


Politiken

d. 10. juni 2008

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Thomas Michelsen

d. 10. juni 2008

"Årvågenhed og skarphed præger denne nye liveindspilning af Mahlers 1. Symfoni. Trods de betydelige orkesterstyrker, værket kræver, fremhæver dirigenten Valerij Gergjev værkets kammermusikalske linjetegning og karakteristiske kollageindslag med en skarphed, der er et barberblad værdig ... Stærkt, men samtidig nøgternt og præcist. Fremragende".


Jyllands-posten

d. 17. aug. 2012

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Jens Povlsen

d. 17. aug. 2012

"Ungareren Fischer fortsætter med at vende sig mod Mahler og leverer med sit formidabelt smukt spillende orkester igen det symfoniske sus. Med sin store intimitet er udgaven af Mahlers første symfoni mesterlig. Fischer forstår at dvæle ved Mahlers enkle, følelsesladede skønhed, og han forstår komponistens mange hensigter".


Jyllands-posten

d. 4. aug. 2008

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John Christiansen

d. 4. aug. 2008

"Der er næsten ekspressionistisk over Valerij Gerfiev s gengivelse. En sådan dramatisk tolkning vil næppe passe til al Mahler, men her fungerer den strålende. En flot optagelse udgivet af London Symphony fra januar i år".


BBC music magazine

2018 May

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David Nice

2018 May

"Orchestral choice: 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 - a whole sequence of them as he magnificently marshals the final triumph. I don't know a more convincing interpretation of those last pages ... Masterly".


Fono Forum

2019 September

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Thomas Schulz (f. 1960)

2019 September

"CD des Monats: Es mag dramatischere Deutungen dieser Musik geben. Aber es gibt ganz sicher nur wenige, die ihren naturhaft kreatürlichen Charakter überzeugender zur Geltung bringen".


BBC music magazine

2019 August

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David Nice

2019 August

"The biggest surprises of Mahler's second, 1893 version of his first symphonic masterpiece ... are the touches of orchestration later changed, usually for the better ... Roth's punchiness is probably appropriate to the original; nothing drags".


BBC music magazine

2019 December

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Erik Levi

2019 December

"In this outstanding live performance, Mariss Jansons charts the multi-faceted emotional trajectory of Mahler One with total conviction and brings wonderful clarity to its subtly layered orchestration".


Fono Forum

2020 Februar

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Christoph Vratz

2020 Februar

"Janson lässt es fliessen und strömen, er zieht die Zügel an und sorgt für feudale Explosionen. er kennt die Sinfonie aus dem Effef, und das merkt man allen Ausdrucks-Nuancen auch an. Nichts ist Zufall, alles gewollt".


BBC music magazine

2007 June

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Erik Levi

2007 June

"This is as good a live performance on CD can get, with the warm ambience of a full Concertgebouw Hall perfectly realised in both standard and even more lifelike SACD formats".


Fono Forum

2014 Mai

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Andreas Friesenhagen

2014 Mai

"Den rundesten Eindruck hinterlässt in diesem Dreierpaket die erste Sinfonie, die Maazel insgesamt ausgewogen udn sauber ausgehört präsentiert".


BBC music magazine

2014 April

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Bayan Northcott

2014 April

"This release of live recordings .... finds the Philharmonic, and particularly the brass, in fine form and the recorded sound is bright and spacious ... Most problematic is Symphony No. 3. The opening, with its primeval blasts of brass, is magnificently played and recorded, but Maazel's tempo for the movement's main march theme is staid, so that even at the rampaging climax of the development where the music tears itself to pieces, the effect goes off at half cock ... Frustrating, to say the least".


BBC music magazine

2012 May

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Erik Levi

2012 May

"Roth's fresh Mahler boasts beautifully transparent orchestral balance and avoids undue emotional histrionics. The early Webern tone-poem is compelling".


BBC music magazine

2008 Proms

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David Nice

2008 Proms

"Not since Bernstein we have necountered a Mahler conductor of such idiosyncrasy and fire as Valery Gergiev. You may not agree with everything he does in this LSO Live Mahler One, but right from the very first vividly characterised sounds of nature, every detail has been thought about and felt".


BBC music magazine

2012 October

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David Nice

2012 October

"Eloquence in all departments was to be expected from Iván Fischer and his hyper-alert Hungarians ... A vivid interpretation which deserves a place of honour alongside those of Leonard Bernstein, Mariss Jansons and Rafael Kubelik".


Fono Forum

2013 Juli

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Michael Kube

2013 Juli

"Den eigentlichen Höhepunkt der Einspielung markiert für mich allerdings der dritte Satz: Hier zeigen die Wiener Symphoniker eine atemberaubende Elastizität und Wandlungsfähigkeit ganz im Sinne des Komponisten".


Diapason

2016 avril

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Jean-Pierre Rousseau

2016 avril


Fono Forum

2016 Juni

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Werner Pfister

2016 Juni

"Vurdering: Empfehlungen des Monats" - "Eine jugendliche, in sich ungemein stimmige und souverän realisierte Interpretation - bewundernswert auch, weil hier von Anfang an der Nerv der Musik getroffen wird. Naturlaut und Wunderhorn-Ton in schönster Vollendung".


BBC music magazine

2016 June

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David Nice

2016 June

"Vurdering: BBC music orchestral choice. In short, this is the most perfect Mahler First Symphony since Rafael Kubelik's recording with the same orchestra 49 years ago".


Diapason

2005 decembre

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Jean-Charles Hoffelé

2005 decembre

"Il [Benjamin Zander] retrouve ses vertus narratives dans une "Titan" aux respirations amples, aux déclamations soulignées, uniment solaire et conquérante".


Politiken

d. 17. okt. 1999

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d. 17. okt. 1999


Kristeligt dagblad

d. 22. feb. 1999

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d. 22. feb. 1999


Jyllands-posten

d. 23. feb. 1999

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d. 23. feb. 1999


The gramophone

2018 April

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Edward Seckerson

2018 April

"Editor's choice: This is a terrific account of Mahler's fledgling symphony - full of the rashness and impetuosity of youth and the wild imaginings that go hand in hand with it ... There is an extraordinary kinship and telepathy between Fischer and his Düsseldorf orchestra ... This is shaping up to be the most idiomatic and exciting cycle of Mahler symphonies since Kubelík and Bernstein".


The gramophone

2019 June

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Peter Quantrill

2019 June

"The recording also sticks a feather in the cap of Les Siècles, among the most adaptable and engaging of today's historically informed ensembles formed in the image of their director ... I applaud, too, Roth's unabashed commitment to those passages of the finale where Mahler himself later had second thoughts - deft and ingenious ones, to be sure, but thinning out its red blood cells in the process ... This new Titan is a required supplement to any decent-size Mahler library".


Diapason

2019 juin

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Christophe Huss

2019 juin

"Vurdering: Diapason d'or".


Berlingske tidende

d. 21. juni 2000

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d. 21. juni 2000


The gramophone

2011 Awards

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David Gutman

2011 Awards

"Much of the First Symphony is uncommonly gentle for all that the conductor enjoys whipping up a storm at movement ends ... Strongly recommended".


The gramophone

2019 Awards

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Peter Quantrill

2019 Awards

"The broad outlines of the performance are near-identical to previously issued Jansons accounts from Oslo and Amsterdam ... There is a Bavarian solidity to the rough Landler rhythms of the Scherzo, and the slow movement's night processional ... is beautifully rendered in subdued timbres, and Jansons judges to perfection the 'Jewish' interventions of the village band".


The gramophone

2007 July

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David Gutman

2007 July

"Jansons and his Dutch team are on great form ... The sound though is like the playing, both sophisticated and soft-focus ... Jansons devotees need not hesitate".


High fidelity (Kbh.)

Årg. 37, nr. 1 (2004)

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Årg. 37, nr. 1 (2004)


Kristeligt dagblad

d. 27. okt. 2003

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d. 27. okt. 2003


International record review

2014 April

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Ian Julier

2014 April

"Their power and fascination offer irresistible bait to discover anew what makes this composer such a maddingly compelling phnomenon. More, please!".


The gramophone

2012 June

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Ken Smith

2012 June

"Where the recording really succeeds, though, is in extending that musical lineage through Anton Webern ... At bottom, this respectable programme succeeds in making us comtemplate a world of possibilities and of roads not taken".


High fidelity (Kbh.)

Årg. 41, nr. 8 (2008)

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Mogens Wenzel Andreasen

Årg. 41, nr. 8 (2008)

"Valery Gergiev er blevet kaldt verdens bedste dirigent ... men som Mahler-dirigent hæver han sig ikke over gennemsnittet. Live-optagelserne ... er glimrende, især er orkesterspillet meget overlegent, men indlevelsen savnes, det hele virker trods alt lidt uvedkommende".


The gramophone

2008 August

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Edward Seckerson

2008 August

"Vurdering: Editor's choice" - "From Gergiev's oddly prosaic account of the pre-dawn stirrings (no mystery, no magic) to the emppty bluster of his finale, this is a cold, loveless, loud performance. The LSO flex their collective muscle all right but rarely warm to the music's enticement".


Diapason

2012 septembre

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Christian Merlin

2012 septembre

"Vurdering: Diapason d'or" - "Allaient-ils renouveler le miracle? A 90 [procent] oui ... Sa direction pleine de tendresse et de nostalgie est l'une des rares aujourd'hui".


The gramophone

2012 September

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Ken Smith

2012 September

"At last year's Proms, the word 'breathtaking' has surfaced more than once. And indeed, for those looking to relive the experience ... Channel Classics now has a fine document of Fischer with his players ... Though this performance has much to offer - poise, intensity, dignity - we shouldn't lose sight of what it is not: impulsive, folk-like, impetuous".


International record review

2012 November

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Peter J. Rabinowitz

2012 November

"Here's a Mahler First with a strong point of view, one that sounds especially fresh and distinctive in the wake of Marin Alsop's dreary run-through with the Baltimore Symphony ... As a strongly conceived and expertly executed alternative version of Mahler's most popular symphony, it is well worth hearing".


The gramophone

2013 April

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David Gutman

2013 April

"Surprisingly perhaps it was made in the studio, the clarity of inner voices and the bold projection of percussion seemingly prioritised over any attempt to evoke the glow of the ensemble's live music-making in the fabled Musikverein ... His [Luisi] first movement, while fresh and genial, is a little short on mystery ... Luisi, like several recent exponents, launches the slow movement with massed double basses rather than that vulnerable-sounding solo instrument of old ... Much more convincing is his super-articulate launch of the finale, the whole movement splendidly vivid".


Kristeligt dagblad

d. 25. sep. 2000

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d. 25. sep. 2000


Berlingske tidende

d. 24. jan. 2002

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d. 24. jan. 2002


The gramophone

2016 May

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Christian Hoskins

2016 May

"The Bavarians, with their long experience of performing Mahler, deliver superbly precise and expressive playing for their guest conductor ... The performance of the finale in particular marries discipline with power and impetus, bringing the symphony to a rousing conclusion ... There's a lot to admire in this new recording".



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