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LS 0689
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LS 0689

Strauss: Eine Alpensinfonie

Released Date:
01 Apr 2010

Originally recorded in 2010
Artists:

London Symphony Orchestra


Bernard Haitink



Venue:

Barbican Centre, London

8 & 10 Jun 2008

Producer:

James Mallinson



Record Label
LSO

Genre:

Orchestral & Concertos




Total Time - 50:19
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RICHARD STRAUSS

 

Eine Alpensinfonie, Op.64

  
1 Nache (Night) 3:47
2 Sonnenaufgang (Sunrise) 1:17
3 Der Anstieg (The ascent) 2:26
4 Eintritt in den Wald (Entering the forest) 5:20
5 Wanderung neben dem Bache (Wnadering by the brookside) 0:46
6 Am Wasserfall (At the waterfall) 0:15
7 Erscheinung (Apparition) 0:46
8 Auf blumigen Wiesen (On flowering meadows) 0:51
9 Auf der Alm (In the mountain pasture) 2:16
10 Durch Dickicht und Gestrüpp auf Irrwegen (On the wrong track through thicket and undergrowth) 1:27
11 Auf dem Gletscher (On the glacier) 1:09
12 Gefahrvolle Augenblicke (Precarious moments) 1:33
13 Auf dem Gipfel (On the summit) 4:51
14 Vision (Vision) 3:11
15 Nebel steigen auf (Rising mists) 0:19
16 Die Sonne verdüstert sich allmählich (The sun gradually dims) 0:53
17 Elegie (Elegy) 1:53
18 Stille vor den Sturm (Calm before the storm) 2:52
19 Gewitter und Sturm, Abstieg (Thunderstorm, descent) 3:47
20 Sonnenuntergang (Sunset) 2:27
21 Ausklang (Waning tones) 5:50
22 Nacht (Night) 2:23
   
R. Strauss: An Alpine Symphony – LSO, Haitink

An Alpine Symphony recounts a day’s climb to the summit of an Alpine mountain and back. Strauss infuses the score with a rich palette of instrumental sounds, evoking the scenes and events experienced along the way. It was to be one of his final large-scale orchestral works and shows the last great German romantic composer at the pinnacle of his art.

CD Reviews:
‘…no one has quite Haitink’s sense of the piece as a rational symphonic argument… Admirers should not hesitate to acquire an archetypal example of Haitink’s unobtrusive podium manner.’

Editor’s Choice, Gramophone

‘Mastery is the word. This depiction of a mountain climb achieves the peak of orchestral expertise… it has immense grandeur.’

The Times

‘The mountain looming through the murk at the beginning, and its splendour as the sun hits the peak, are both peerlessly handled by Haitink.’

BBC Music


                             Artistique -  10                        Technique - 10

Classics Today (France)

’The mountain looming through the murk at the beginning, and its splendour as the sun hits the peak, are both peerlessly handled by Haitink’
 

BBC Music Magazine

’Mastery is the word. This depiction of a mountain climb achieves the peak of orchestral expertise... it has immense grandeur.’
 

The Times

‘While the splendour of the LSO’s playing these days is no surprise, it’s a remarkable phenomenon even so. Haitink’s interpretation allows full scope for grand effects while keeping a tight rein on the works unfolding progress’

Classic FM Magazine

                      Editor’s Choice

’Another of those superb LSO Live recordings ... gloriously atmospheric 5.1-channel DSD sound ... The finest detail, colour and texture is apparent among the massed forces ... the big, rich bass is just as thrilling as the scintillating resolution in the upper frequencies. The brass, in particular, sounds quite amazing’

‘...no one has quite Haitink’s sense of the piece as a rational symphonic argument ... Admirers should not hesitate to acquire an archetypal example of Haitink’s unobtrusive podium manner’
 

Gramophone

                 CD of the Week
‘Even among some of the finest and classic recordings this new one has something special about it. ... Haitink and the LSO offer us a reading that unfolds with an almost effortless logic … a fine recording’
 

BBC Radio 3 - CD Review

     No 2 in Top10 CD’s of 2010

Ionarts

     *****

’He [Haitink] penetrates to the core of the musical substance and views the Alpine Symphony as a coherent structure rather than a random sequence ... The orchestra rises magnificently to the challenge of this climax, but the impact is all the more thrilling and awe-inspiring through having been so shrewdly approached via the pastures, undergrowth and glaciers of the preceding scenes. Haitink draws out lucid instrumental detail from Strauss’s complex combinations of timbres, establishing apt colours in the summoning of atmosphere, dramatically so in the storm and with subtle perception throughout. Equally, his natural feel for the music’s fluctuating pulse lends this momentous journey an ineluctable sense of purpose, direction and exhilaration.’

Geoffrey Norris

The Telegraph - March 2010



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