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Gustav Mahler Das Lied Von Der Erde Kent Nagano Klaus Florian

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Gustav Mahler Das Lied Von Der Erde Kent Nagano Klaus Florian gustav mahler das lied von der erde klaus Florian vogt christian gerhaher orchestre symphonique de montréal kent nagano G010001785491I gustav mahler (1860-1911) das lied von der erde 1. das trinklied vom Jammer der erde. allegro pesante 8:29 88697508212 The Drinking Song of Earth’s Sorrow – Chanson à boire de la douleur de la Terre P & C 2009 Sony Music Entertainment 2. der einsame im herbst. etwas schleichend. ermüdet 9:38 Producer: Wilhelm Hellweg The Lonely one in Autumn – Le Solitaire en automne Sound Engineer: Jeremy Tusz, Carl Talbot Editing: Jeremy Tusz 3. von der Jugend. Behaglich heiter 3:11 Mixing & Mastering: Carl Talbot Of Youth – De la jeunesse Recording dates: 4. von der schönheit. comodo. dolcissimo 6:48 13 (live), 14 (live) and 15 (studio) January 2009; 15 February 2009 (overdub with Klaus Florian Vogt) Of Beauty – De la beauté Recording venue: Salle Wilfrid-Pelletier, Place des Arts, Montréal (January) and BavariaMusikStudio, München (February) 5. der trunkene im Frühling. allegro 4:10 The Drunkard in Spring – L’Homme ivre au printemps Conductor-in-Residence of the OSM: Jean-François Rivest 6. der abschied. schwer 29:07 Photo Cover and Booklet last page: Lukas Beck The Farewell – L’Adieu Photo Klaus Florian Vogt: Alex Lipp Photo Christian Gerhaher: Hiromichi Yamamoto Photo Kent Nagano: Nicolas Ruel klaus Florian vogt, tenor Design: Roland Demus christian gerhaher, Bariton www.sonyclassical.de orchestre symphonique de montréal kent nagano Total Time: 61:28 2 3 orchestre symphonique de montréal First violins violas Flutes trumpets Richard Roberts, concertmaster Neal Gripp, principal Timothy Hutchins, principal Paul Merkelo, principal Andrew Wan, concertmaster Jean Fortin, 1st assistant Denis Bluteau, associate Russell Devuyst, associate Olivier Thouin, associate concertmaster Charles Meinen, 2nd assistant Carolyn Christie, 2nd flute Jean-Luc Gagnon, 2nd trumpet Marianne Dugal, 2nd associate concertmaster Wilhelmia Hos Virginia Spicer, piccolo Christopher P. Smith Luis Grinhauz, assistant concertmaster Anna-Belle Marcotte Ramsey Husser, 2nd assistant Rémi Nakauchi Pelletier oboes trombones Marc Béliveau Véronique Potvin Theodore Baskin, principal James Box, principal Sophie Dugas David Quinn Margaret Morse, associate Vivian Lee, 2nd trombone Xiao-Hong Fu Natalie Racine Alexa Zirbel, 2nd oboe Pierre Beaudry, bass trombone principal Marie Lacasse Bertrand Robin Pierre-Vincent Plante, English horn Renaud Lapierre Jasmine Schnarr tuba Jean-Marc Leblanc clarinets Dennis Miller, principal Ingrid Matthiessen cellos Robert Crowley, principal Myriam Pellerin Brian Manker, principal Alain Desgagné, associate timbales/timpani Susan Pulliam Michael Nicolas, associate Michael Dumouchel, 2nd and E flat clarinet Andrei Malashenko, principal Claire Segal Pierre Djokic, 1st assistant André Moisan, bass clarinet and saxophone Jacques Lavallée, assistant Gary Russell, 2nd assistant second violins Karen Baskin Bassoons percussions Rénald L’Archevêque, principal Li-Ke Chang Stéphane Lévesque, principal Serge Desgagnés, principal Marie-André Chevrette, associate Sylvie Lambert Mathieu Harel, associate André Dufour Brigitte Rolland, 1st assistant Gerald Morin Martin Mangrum, 2nd bassoon Hugues Tremblay Andrew Beer, 2nd assistant Sylvain Murray Mark Romatz, contrabassoon Van Armenian Peter Parthun harp Mary Ann Fujino horns Jennifer Swartz, principal Johannes Jansonius double Basses John Zirbel, principal Éveline Grégoire-Rousseau Jean-Marc Leclerc Ali Yazdanfar, principal Denys Derome, associate Alison Mah-Poy Brian Robinson, associate Nadia Côté celeste Katherine Manker Eric Chappell, assistant John Milner Olga Gross Katherine Palyga Jacques Beaudoin Jean Gaudreault Monique Poitras Scott Feltham mandolin Gratiel Robitaille Lindsey Meagher François Pilon Daniel Yakymyshyn Peter Rosenfeld Edouard Wingell 4 5 gustav mahler – das lied von der erde (the song oF the earth) will, Dionysian, antipode of Apollonian, which inhabit the music as well as the human spirit? Two larger outer movements are the pillars of the work; in between, the lieder First performance: 20 November, 1911, the Tonhalle in Munich, with Bruno Walter follow a search for the meaning of life through dream and reality, in the bitter-sweet conducting. festivities of youth, in the light of oriental wisdom. The way Mahler transformed this poetry in music is magnificent. First of all, he The title is slightly enigmatic, so is the work. Could it be a symphony which doesn’t did it through the synthesis of song and symphony, the intimate lieder and the large dare to claim its name? After eight symphonies, Mahler, superstitious, avoided the orchestral form. This was the ideal he was searching for since the Lieder eines fateful number nine, in order not to challenge destiny. He chose the middle way, a fahrenden Gesellen (Songs of a Wayfarer – c. 1885) and the symphonies with voices, synthesis of cycle of lieder and symphony. which prepared the path. The structure of the work is in many respects close to his The Song of the Earth is a poignant meditation on human destiny, man as pilgrim in symphonies, especially the Third (1896), whose final Adagio could be linked to The this world, his attachment to it and final withdrawal. Torn between beauties of the nature Farewell of the Song of the Earth. Both of them are dealing with the transience of and nostalgia for ephemeral life, it is the last song of a man facing death with serenity. earthly beauty, the relationship between Nature and the soul, and serene departure In both compositions, there is drunkenness, sensuality and celebration of the eter- from the world. The work is impregnated with pentatonic sonorities; a thematic web nal return of spring. On the other hand, the distance is vast between two Asiatic links the songs in a coherent unity. Suspended dissonances, chromaticism and subtle worlds: the primitive, original of the Rite, and the refined, civilized one of the Song, instrumentation weaken the links with traditional tonality. with a touch of romantic sensibility. A huge gap separates their emotionality: perso- nal, soul-stirring in the Mahler’s work; collective, dry, barbaric and without feeling, 1. the drinking song of earth’s sorrow in Stravinsky. Death brings them together by the promise of the eternal renewal of Nature. Ewig…Ewig… The raucous nocturnal drinking of the opening movement is a blend of the sonata Mahler had selected a mosaic of poems from The Chinese Flute, centuries old po- form and the strophic song, manifest in the refrain “Dunkel ist das Leben…” heard etry of the T’ang dynasty (8th century). Using free verse translations, the composer trice, each time in a slightly different shape. Mahler used modulations, each one adapted its style, adding a number of lines of his own invention, mostly in the last raised by semitone, in order to increase the expressive intensity of each strophe. strophes. The final version preserves the subtlety of the oriental imagery and verses, The tenor sings in the extreme range, on the border of the scream, accentuated by with a shade of romantic spirit. the orchestra; the poem depicts a monkey howling on the gravestones as an omen The Song of the Earth is made up of two parts of equal length. The five shorter lie- of death. An episode evokes a Viennese waltz, distorted, alluding to the vanity of the der are the first part, preparing for the last one, The Farewell, which constitutes the pleasures of life. The refrain is a pure reminiscence of Wagner. second part. Two vocal soloists – a tenor and an alto (or baritone) with the orchestra – reflect two contrasting sides of the same personality. Their alternative songs create 2. the lonely one in autumn harmony of contrasts, a central feature of the poetry as well as of Mahler’s world- view: night and day, drunkenness and contemplation, autumn and spring, youth and At the turn of the seasons, the poetic depiction of autumn landscape in transition to- death. Is it a romantic reminiscence of Yin and Yang? Or the dualistic nature of the ward winter. It is a metaphor of the wistful meditation on the passing of life. The same 6 7 figure, as in the first song, but the look is different. The violin ostinato and the solo form, with orchestral interludes between the strophes, and a subtle concluding epi- oboe line create the veiled, damped sonority, as well as the effect of clair-obscur. The logue, illuminating the gravity of the other songs. The last sounds of harp, glocken- Chinese heptatonic scale (close to Lydian mode on F) brings the subtle touch of the ex- spiel, flute and clarinet vanish into space. otic while the vocal line draws the arabesques, as “an artist had strewn jade dust” over the whole. There are two main ideas – autumn and recollection of summer – developing 5. the drunkard in spring in dialogue, according to the rondo scheme. The poem and the music are reminiscent of certain lines of the Kindertotenlieder (Songs on the Death of Children): “My heart The second drinking song of the cycle is a parody of Dionysus’ festivities of spring, is tired. My little lamp blown out.”, and the last question: “Sun of love, will you never with only one worshipper of the god of wine. Living in the denial of reality, the drunk- shine again?” receives its answer without words, through the violin ostinato. ard is disturbed by the bird song, a messenger of spring. For a moment, he comes back to reality (with a quotation of the Kindertotenlieder), before emptying the next 3. of youth cup of wine, and sinking again into a deep ethylic dream. It is the flipside of the first song, heard through the melodic lines and pentatonic Together with the following three lieder, Of Youth is a kind of aphorism, Chinese-style horn calls. Its poem and music announce The Farewell. paintings drawn by a stroke of the brush. The lightest and shortest of all, it stands as the scherzo in symphony, with its delicate and wistful charm. The dramatic tenor 6.
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