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Dausgaard: Mahler – Symphony no.10 (24/96 FLAC)

Dausgaard: Mahler - Symphony no.10 (24/96 FLAC)
Dausgaard: Mahler – Symphony no.10 (24/96 FLAC)

Composer: Gustav Mahler
Orchestra: Seattle Symphony Orchestra
Conductor: Thomas Dausgaard
Audio CD
Number of Discs: 1
Format: FLAC (tracks)
Label: Seattle Symphony Media
Size: 1.17 GB
Recovery: +3%
Scan: yes

01. I. Adagio
02. II. Scherzo. Schnelle Vierteln
03. III. Purgatorio. Allegretto moderato
04. IV. Scherzo. Allegro pesante – Nicht zu schnell
05. V. Finale

Recorded: 19, 21 & 22 November 2015
Recording Venue: S. Mark Taper Foundation Auditorium, Benaroya Hall, Seattle, Washington, United States

Written in the summer of 1910, Symphony No. 10 was Gustav Mahler’s final work. + At the time of the composer’s death, the composition was not fully orchestrated, and was unperformable. The version performed here is the Deryck Cooke final version. + The Seattle Symphony performs this monumental composition under the baton of Principal Guest Conductor Thomas Dausgaard. + On this live performance: “It was impossible to be in the house and not realize that something rare and significant had taken place.” (The Seattle Times)

Here, by an exceptional command of long-term tempo relationships Dausgaard manages to unify the symphony into single whole. Without loss of intensity, it emerges as not only a psychological document but an orchestral classic – fully realised by the Seattle Symphony, long an adventurous outfit but here sounding like one of the world’s great orchestras

You will have to hunt far and wide for a finer-sounding recording of Mahler’s final Tenth Symphony than this one…It is the beauty of the symphony’s lyrical unfolding, and the gut-wrenching contrast between it and the elements that break it apart, that make Seattle Symphony’s recording of Mahler’s magnificent farewell a must-hear.

What a fabulous string section this orchestra has – violins absolutely fearless in Mahler’s exposed high lines, cellos and basses like rich velvet. They’re totally in sympathy with Dausgaard’s very human take on the work. The first movement’s screaming discord is terrifying, but what lingers is how this conductor leads us out of the shadows.

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