AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Fone Records - LP099 - 180 Gram Virgin Vinyl - AAA 100% Analogue
AAA Recording , Mastering & Cutting
Club 496 - Only 496 Copies Numbered Limited Edition - Pressed in Germany
• 180g Virgin Vinyl
•• • Pure Analogue Recording & Cutting
• Cutting Machine wired by Signoricci
• One-Stage Pressing Process
• Heavy Quality Sleeves
• Signoricci Vinyl Printed in Germany
"The King of the Revolutionaries," Gustav Mahler was once called by Johannes Brahms; later, as the father figure, he saw the defector of the Second Viennese School around Schoenberg, Berg and Webern. Mahler's position at the point of transition between late romanticism and modernism in his second symphony, which he wrote between 1888 and 1894, is particularly clear. With opulent late-romantic sonorities, epic expansion and orchestral richness on the one hand, this symphony breaks down on the other with numerous conventions: its daring harmony and metric reaches the limits of what has been heard, its form with five asymmetrical movements,
Nacherwelt called the work "Nachstungssymphonie", but Mahler certainly would not have objected to the title: from the first movement, which he himself dubbed "funeral service" to a leisurely minuet in the second and an instrumental version of his own song "Des Antonius von Padua Fischpredigt "in the third movement, Mahler develops in this symphony a sometimes cynical, sometimes deeply evil, hereafter, up to the reflexive" Urlicht "(again a quote of one's own song) in the fourth and finally Klopstock's poem" The Resurrection "in the fifth movement. How Mahler's voluptuous and detailed orchestration, from the chaotic, gloomy celebration of the dead to the resplendent orchestral festival of the resurrection, can be confidently called the culmination of the history of symphonics.
The orchestra, which dedicates itself to these demanding sounds in the present recording, is to some extent an insider tip: the orchestra of the Teatro Regio di Torino is not exactly one of a list of the biggest or best-known symphony orchestra, but know and love hardcore classical fans under his chief conductor Gianandrea Noseda, this accomplished opera orchestra made some outstanding recordings: in 2013, the orchestra under Noseda thrilled with the album »Verdi« together with the great Anna Netrebko, and the Italian high-end label Fon owns the Rimsky record released last year. Korsakov's "Scheherazade" certainly the greatest success.
In this recording, however, the orchestra, with its conductor, who has been on this podium for ten years, grows beyond himself: tremendous dynamic range, a keen sense for Mahler 's difficult, quiet and sombre passages, a perfectly fused and precise overall sound - and if the orchestra finds itself in the When the Symphony finale is really played out, it really does not hold onto the seat anymore, so powerful and magnificent is the sound. The whole thing was recorded in the living room of the orchestra, in the Teatro Regio itself. A good decision: The musicians know the acoustics of the room exactly; all Giulio Cesare Ricci still had to do was select the placement of his Neumann tube microphones - and this is really perfect, the orchestra sounds close and present, at the same time balanced, warm and soft,
Mastering by Giulio Cesare Ricci purely analog on an Ampex 2-track analogue machine, also the one-stage cut is purely analog realized, was pressed in Germany on high quality 180 g virgin vinyl. Strictly limited to 496 pieces!
Orchestra E Coro Teatro Regio Torino
Gustav Mahler (1860-1911)
Symphony No. 2 in D Minor "Resurrection"
I. Allegro maestoso
II. Andante moderato
III. In ruhig Fliessender Bewegung
V. Im Tempo des Scherzo, Wild herausfahrend
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