Luna: Gustav Mahler ~ Kindertotenlieder

 
Dietrich Fischer-DieskauBernadette GreevyGerard Souzay

Matthias GoerneMaureen ForresterJonas Kaufmann

Sarah ConnollyHilde Rössel-MajdanRita Gorr

GUSTAV MAHLER(1860-1911)

KINDERTOTENLIEDER
Ein Liederzyklus nach Texten einer gleichnamigen
Gedichtsammlung von Friedrich Ruckert

CD1 76.19

Track 1-5

HILDE RÖSSEL-MAJDAN
N.O.Symphonie-Orchester Wien
Dirigent: Heinz Wallberg

Track 6-10

DIETRICH FISCHER-DIESKAU
Orchestra Sinfonica di Milano della RAI
Direttore: Antonio Janigro
Milano, RAI, 6 February 1969

Track 11-15

SARAH CONNOLLY
London Philharmonic Orchestra
Conductor: Vladimir Jurowski
Londen, Royal festival Hall, 27 October 2010

CD2 76.13

Track 1-5

GERARD SOUZAY
Spanisch Radio and TV Orchestra (RTVE)
Conductor: Sergui Celibidache
22 February 1969

Track 6-10

RITA GORR
Orchèstre National de L’O.R.T.F
Direction: Désiré-Emile Inghelbrecht
Paris, 13 October 1959

Track 11-15

JONAS KAUFMANN
City of Birmingham Symphony Orchestra
Conductor: Andris Nelsons
Paris, Champ Elysées, 2012

CD3 78.42

Track 1-6

MAUREEN FORRESTER
Boston Symphony Orchestra
Conductor: Charles Munch
Boston, Symphony Hall, 27 December 1958

Track 7-11

MATHIAS GOERNE
Orchèstre National de France
Direction: Daniele Gatti
Bonn, Beethovenhalle, 24 September 2010

Track 12-16

BERNADETTE GREEVY

London Symphony Orchestra
Conductor: Claudio Abbado
London, Royal Albert Hall, 11 September 1967


MAHLER “KINDERTOTENLIEDER”

Mahler used poems from Friedrich Rückert for the lieder-cycle ‘Kindertotenlieder’. Rückert had written over four hundred poems after the death of his son Ernst. These poems were published after the poet died in 1872. Now these poems are only known because of the assimilation of five of them in a composition of Gustav Mahler with the same title: Kindertotenlieder. Mahler wrote three in 1901 and another two in 1904, when they were published and performed together. What Mahler did with them is miraculous. He transformed the poems to subtle, sublime masterpieces that intensely touch and deeply enrich modern mankind. Whoever takes the effort to listen and open himself up to what Mahler presents us with the orchestra and the human voice will not be disappointed and will find a treasure for life. He who loves music, loves Mahler, it’s as simple as that. Unlike Berlioz the singers get every opportunity to create their own interpretation, which results in clearly audible differences. Dietrich Fischer-Dieskau is an example of this, thanks to the many recordings available of this singer. We haven’t chosen for the most beautiful performances, but for the most interesting from our collection.