01-马勒：第二交响曲“复活” 杜塞尔多夫交响乐团(2021) [Hi-Res]
艺术家：杜塞尔多夫交响乐团、通德·绍博夫斯基、纳丁·魏斯曼、亚当·费舍尔
专辑名称：马勒：第二交响曲“复活”杜塞尔多夫交响乐团
发行年份：2021年
厂牌：CAvi - music
音乐类型：古典音乐
音质：FLAC无损/24比特-48.0千赫兹FLAC+专辑手册
总时长：1小时21分02秒
总大小：319/728兆字节
网站：专辑预览
### 曲目列表
01. C小调第二交响曲“复活”：第一乐章 庄严的快板，以极其严肃和庄重的表情演奏
02. C小调第二交响曲“复活”：第二乐章 舒适的行板，非常从容，绝不匆忙
03. C小调第二交响曲“复活”：第三乐章 流畅的律动
04. C小调第二交响曲“复活”：第四乐章 《原光》，非常庄严但朴素，不拖沓
05. C小调第二交响曲“复活”：第五乐章 谐谑曲速度，缓慢而神秘
06. C小调第二交响曲“复活”：第五乐章B段，缓慢而神秘
### 专辑与艺术家背景
指挥家亚当·费舍尔在解读马勒《第二交响曲“复活”》时，分享了三重个人关联：
1. **生平渊源**：马勒在布达佩斯担任歌剧院音乐总监时完成第一乐章创作，而费舍尔曾任布达佩斯歌剧院总监，深感与马勒在相同环境中面对相似工作压力——歌剧管理的繁杂曾让马勒无暇他顾，这一点费舍尔亦有共鸣。
2. **音乐传承**：汉斯·冯·彪罗曾称“瓦格纳的《特里斯坦》与马勒第二交响曲第一乐章相比，温顺得像海顿的交响曲”。费舍尔认为，这恰恰揭示了马勒与海顿的直接联系——马勒实则是维也纳古典主义的延续者，而非颠覆者。
3. **社会隐喻**：第三乐章源自马勒歌曲《帕多瓦的圣安东尼对鱼布道》，费舍尔将其与自己投身三十年的人权组织工作对照：布道被掌声包围，世人却依旧故我，恰如社会运动中理想与现实的落差。但歌曲结尾“鱼至少喜欢布道”的细节，又为他带来一丝慰藉。
### 作品与演绎特色
- 马勒《第二交响曲》以宏大结构探讨“死亡与复活”的哲学命题，第四乐章女中音独唱《原光》与末乐章合唱“复活”段落为经典高潮。
- 杜塞尔多夫交响乐团在费舍尔指挥下，注重挖掘作品中古典传统与浪漫主义的交织，尤其强调马勒音乐中“冲突与和解”的戏剧性张力。
Artist: Düsseldorfer Symphoniker, Tünde Szabóvski, Nadine Weissmann, Adam Fischer
Title: Mahler: Symphony No. 2 "Resurrection"
Year Of Release: 2021
Label: CAvi-music
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz +Booklet
Total Time: 01:21:02
Total Size: 319 / 728 mb
WebSite: Album Preview
Tracklist
01. Symphony No. 2 in C Minor "Resurrection": I. Allegro maestoso. Mit durchaus ernstem und feierlichen Ausdruck
02. Symphony No. 2 in C Minor "Resurrection": II. Andante comodo. Sehr gemächlich. Nie eilen.
03. Symphony No. 2 in C Minor "Resurrection": III. In fliessender Bewegung
04. Symphony No. 2 in C Minor "Resurrection": IV. Urlicht. Sehr feierlich, aber schlicht. Nicht schleppen
05. Symphony No. 2 in C Minor "Resurrection": V. Im Tempo des Scherzos. Langsam misterioso
06. Symphony No. 2 in C Minor "Resurrection": V. b. Langsam misterioso
“ Apart from these considerations in terms of content, Mahler’s Second Symphony has special significance for me – for entirely different reasons.
The first reason is biographical. Mahler finished writing the first movement in Budapest where he was musical director at the opera. When I was likewise general music director at Budapest Opera, I imagined that Mahler had sat in the same room and gotten angry over the same things as I did. Work at the opera must have been so nerve-wracking that he found no time for anything else. I can only confirm that.
A second thought leads me to Haydn. We know that famous quote from Hans von Bülow, who is reported to have exclaimed that Wagner’s Tristan, compared with the first movement of Mahler’s Second Symphony, was as tame as a Haydn symphony. This mainly leads me to think that von Bülow was probably not yet aware of the direct connection that leads from Haydn to Mahler, which I sense. As far as I am concerned, Mahler is just as much a part of Vienna Classicism as Haydn.
The third personal story has to do with the third movement, which is based on Mahler’s song Saint Anthony of Padua’s Sermon to the Fishes. For the past thirty years I have been working in favor of a series of human and citizens’ rights organizations. I find that no other piece better describes the dilemma experienced by these organizations and movements than Mahler’s song.
am most probably not the only one to feel that it exactly describes what we experience in our work: we preach, we are applauded and praised, and then everyone goes on doing things as before. The song symbolizes our engagement with the citizens’ rights movement, and after all we have endeavored to set in motion I am terribly disappointed with the lack of results. Yet something in the song still comforts me: I am always glad to hear that the fishes at least “liked the sermon”, as it says in the end.
**** Hidden Message *****
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