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AV 2290
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AV 2290

Mahler - Symphony No.2

The Classical Shop
release date: February 2014

Originally recorded in 2013

Artists:

Wiener KammerOrchester


Gilbert Kaplan


Janina Baechle

mezzo-soprano

Marlis Petersen

soprano

Wiener Singakademie



Venue:

Wiener Konzerthaus, Austria

17 Feb 2013

Producer:

Rainer Maillard



Engineer:

Rainer Maillard



Record Label
Avie Records

Genre:

Vocal & Song


Orchestral & Concertos

Total Time - 86:39
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GUSTAV MAHLER

 

Symphony No.2 in C minor "Resurrection"

 
  Arrangement for Small Orchestra by Gilbert Kaplan and Rob Mathes  
1 I Allegro maestoso 23:29
2 II Andante moderato 10:56
3 III In ruhig fließender Bewegung 10:47
4 IV "Urlicht" (from Des Knaben Wunderhorn) 5:19
5 V Im Tempo des Scherzos 36:08
  TT 86:39      
   
 Marlis Petersen soprano
 Janina Baechle mezzo-soprano
  (Chorus Master: Heinz Ferlesch)  
 Gilbert Kaplan
   

Mahler: Symphony No. 2 – Marlis Petersen, Janina Baechle, Wiener Singakademie, Wiener Kammerorchester, Gilbert Kaplan

Gilbert Kaplan is one of today’s most authoritative and acclaimed interpreters of Mahler’s Symphony No. 2, having conducted the work at the invitation of more than sixty-five orchestras. His 1987 recording with the London Symphony Orchestra is the best-selling Mahler recording in history, with sales approaching 200,000 copies. It was named one of the Records of the Year by The New York Times. A second recording, with the Vienna Philharmonic, based on the New Critical Edition of the score, for which Kaplan served as co-editor, was released in 2003 on DG. With sales of almost 50,000 copies, it is the best-selling recording of the symphony since the date of its release. Now, with his third recording, based on a live performance at the Konzerthaus in Vienna, Kaplan is set to make history once again – not only capturing the imagination of his vast worldwide followers, but also providing an opportunity for chamber, community, and regional opera orchestras to perform this work which normally requires more than 100 musicians (there are only fifty-six musicians performing on this recording). His recording with the Vienna Chamber Orchestra sets the benchmark.

While reducing the instrumentation, Kaplan and his co-arranger, Rob Mathes, remain faithful to Mahler’s musical intentions and orchestral colours. They take a page, of sorts, out of Mahler’s book – Mahler made numerous arrangements himself, often adding (rather than subtracting) instruments to symphonic staples by Mozart, Beethoven, Schubert, and Schumann. In another nod to history, the Kaplan / Mathes chamber arrangement recalls Schoenberg’s scaled-down versions of Mahler’s Das Lied von der Erde and Symphony No. 4.





Gilbert Kaplan is one of today’s most authoritative and acclaimed interpreters of Mahler’s Symphony No. 2, having conducted the work at the invitation of more than 65 orchestras. His 1987 recording with the London Symphony Orchestra is the best-selling Mahler recording in history, with sales approaching 200,000 copies. It was named one of The New York Times’ “Records of the Year.” A second recording, with the Vienna Philharmonic, based on the New Critical Edition of the score for which Kaplan served as co-editor, was released in 2003 on DG. With sales of almost 50,000 copies, it is the best-selling recording of Mahler’s Second since the date of its release. Now, with his third recording, based on a live performance at the Konzerthaus in Vienna, Kaplan is set to make history once again – not only capturing the imagination of his vast worldwide followers, but also providing an opportunity for chamber, community and regional opera orchestras to perform this work which normally requires more than 100 musicians (there are only 56 musicians performing on this recording). His recording with the Vienna Chamber Symphony sets the benchmark. While reducing the instrumentation, Kaplan and his co-arranger Rob Mathes remain faithful to Mahler’s musical intentions and orchestral colours. They take a page, of sorts, out of Mahler’s book – the composer made numerous arrangements himself, often adding (rather than subtracting) instruments to symphonic staples by Mozart, Beethoven, Schubert and Schumann. In another nod to history, the Kaplan/Mathes chamber arrangement recalls Schoenberg’s scaled down versions of Mahler’s Das Lied von der Erde and Symphony No. 4.

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