THIS IS NOT PIRACY.
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▀▄█ █▄ ▄█ █▄▀
▀ ▀ █ WASHED UP SCENESTERS 2oo8 SEXiLY PROMOTES ... █ ▀ ▀
▄▄▀ ▀▄▄
█ █
█ Simon Rattle (Berliner Philharmoniker) - Gustav Mahler - Symphony No █
█ █
█ Artist ....: Simon Rattle (Berliner Philharmoniker) █
█ Album .....: Gustav Mahler - Symphony No. 9 █
█ Genre .....: Classical █
█ Label .....: EMI Records █
█ Catalog # .: 5099950122820 █
█ Language ..: English █
█ █
█ Source ....: CDDA █
█ Grabber ...: EAC █
█ Encoder ...: LAME V3.97 -V2 █
█ Bitrate ...: VBRkbps █
█ Size ......: 111,1 MB █
█ █
█ Rel. date .: 06/05/2008 █
█ Str. date .: 00/00/0000 █
█ █
█ http://www.rattlemahler.com █
█ █
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▀ ▀ █ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ █ ▀ ▀
▄▄▀ [ TRACK LiST ] ▀▄▄
█ █
█ █
█ THIS IS *NOT* A SUBSTITUDE OF THE ORIGINAL. █
█ -------------------------------------------------------------------- █
█ █
█ NB TRACKNAMES: LENGHT: █
█ █
█ CD1 █
█ █
█ 01. Andante Comodo 28:57 █
█ 02. Im Tempo Eines Gemachlichen Landlers. Etwas 15:57 █
█ Tappisch und Sehr Derb █
█ █
█ CD2 █
█ █
█ 01. Rondo-Burleske (Allegro Assai. Sehr Trotzig) 12:38 █
█ 02. Adadigo (Sehr Langsam und Noch Zurⁿckhaltend) 26:04 █
█ 83:36 min █
█ █
█ -------------------------------------------------------------------- █
█ TO THE INVOLVED ARTIST(S): CONSIDER THIS AS A FREE WORLDWIDE PROMO █
█ CAMPAIGN. TO THE END USER, SUPPORT ARTIST(S) OR DEL! █
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▀ ▀ █ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ █ ▀ ▀
▄▄▀ [ RELEASE NOTES ] ▀▄▄
█ █
█ █
█ After reaching the end of the new recording for the first time, █
█ among the strongest feelings I had overall was how it █
█ miraculously seemed to have in it all the elements that I █
█ admired most in my five elect recordings, pointing me towards a █
█ remarkable thought that I might even be in the presence of an █
█ ideal recording of MahlerÆs Ninth. Here is the clarity, the █
█ honesty, the "Brueghelesque" primary coloured toughness, the █
█ Stoicism of Klemperer, promoting the work as precursor of █
█ Modernist musical thought. But this is tempered by the definite █
█ old-world mellowness of expressive legato that recalls Walter at █
█ his most persuasive, especially where the emotional core calls █
█ for it. Then, when needed, the "dark night of the soul" that █
█ Horenstein brings throws its broad shadow across the landscape █
█ and threatens to trouble the waking hours. The extra emotional █
█ charge of Barbirolli runs through it like a rich vein of feeling █
█ too but, as with Sir John, it never threatens to overwhelm and █
█ preserves that crucial head/heart balance Barbirolli was so good █
█ at in Mahler. If this wasnÆt enough, Rattle also seems to share █
█ HaitinkÆs ability to simply let the music speak for itself █
█ overall. A feeling that the music is playing itself, that there █
█ is minimal intervention, a superb care for score inner detail █
█ that lets you hear aspects that, even after decades, you had not █
█ noticed before. This last is an extra plus to the new Rattle █
█ recording for me. It is as if every bar has been rethought and █
█ with an orchestra that clearly knows the work intimately we the █
█ listener can experience something genuinely new that moves the █
█ work into another era. Where HaitinkÆs was the Mahler Ninth of █
█ the late 20th century, this new Rattle is the Mahler Ninth of █
█ the early 21st. Be very clear, however, that this apparent bar █
█ by bar rethinking does not result in the kind of strangling █
█ "micromanagement" that spoilt RattleÆs recording of MaherÆs █
█ Fifth with the same orchestra. Rattle never puts a foot wrong in █
█ delivering for us a complete view of this work that satisfies at █
█ a very deep level indeed. █
█ █
█ The opening does not emerge from the usual dreamy silence it █
█ does so often. Those fragmentary motifs are remarkably █
█ delineated here, not dreamy at all, and appear in this way as a █
█ statement of the intent of a creative clarity that will not flag █
█ until the end. The close balancing of the woodwind recalls █
█ Klemperer again and the clarity of the inner string parts in █
█ particular point to a regard for the contrapuntal texture of the █
█ work that is absorbing from the start. You find you want to █
█ listen hard for tone colours that you might not have appreciated █
█ before. Rattle also observes with rare precision the variations █
█ in tempi in the Exposition that inform the opening pages of this █
█ movement and which, observed as they are each time the material █
█ returns, has the effect of knitting together the vast movement █
█ at the level of deep structure. All flows, though. There is █
█ nowhere an episodic feel, so carefully has Rattle thought the █
█ movement out and how closely his orchestra follow him. In the █
█ Development up to the first collapse climax at 201-203 again I █
█ was taken by the clarity of the counterpoint but also by the █
█ sense of forward momentum at what is a near-perfect Andante █
█ comodo. Notice the keening solo flute and also the tolling harp █
█ at the bass end, often not usually heard as well as this. The █
█ harp part is especially well served in this recording and I █
█ promise you will hear it in a way you have not heard it before. █
█ Following the first collapse climax, in the section marked █
█ Leidenschaftlich (Passionate) hear how the lower strings really █
█ dig into the music with terrific verve. The clarity of the █
█ string parts makes a Bergian feel to the music which is █
█ perfectly appropriate and it is also worth pointing out here how █
█ the lebwohl motif gets delivered with a spine-tingling sense of █
█ portent, the brass players absolutely at one. After this the way █
█ that the disparate material is gathered together from silence is █
█ masterly and the main climax at 314-318 is built to with an █
█ unerring sense of momentum so that when it comes there is a █
█ fearsome inevitability. The trombones roar out the opening █
█ rhythm but now they are in proportion to the rest, part of the █
█ texture rather than detached from it. At 319-346 Rattle catches █
█ absolutely the marking Wie ein schwerer Kondukt (Like a solemn █
█ funeral procession) just as Barbirolli did with the same █
█ orchestra back in 1963. In the Recapitulation the episode of the █
█ flute and horn solo is another passage that seems to have been █
█ thought through again so as to sound new and strange. It is █
█ certainly played superbly by the Berlin players. In this final █
█ part of the long movement the impression of the lyrical and the █
█ ugly being held together in the same music is very strong. This █
█ may be the music of long remembrance but it is a muscular █
█ lyricism, the memories of a man of the world, and so the whole █
█ first movement is summed up in this way. The heart and the head █
█ and held in perfect balance from first bar to last, lyrical and █
█ ugly, old world and new world, reality and dream. █
█ █
█ Rattle correctly sees the two central movements as the ugly side █
█ of life, the most vicious music Mahler ever wrote, is how he █
█ described them in a recent interview. The second movement is █
█ everything you hate about the countryside, the third is █
█ everything you hate about the city, he tells us. I wouldnæt █
█ wildly disagree with that as an interpretation, even though █
█ Mahler himself might baulk at such programmatic thoughts. In the █
█ second movement the separate dance episodes are well marked out █
█ for us by a careful attention to the three different tempi. In █
█ the opening landler I liked especially the really ethnic digging █
█ in of the strings as they swing into the main material Too often █
█ this is allowed to pass by the conductor with hardly a nod. The █
█ waltz material has a backward glancing lilt but does not dilute █
█ the feeling that right through Mahler is dancing to death before █
█ us. The response of the orchestra is absolutely faultless with █
█ whip-crack precision and ensemble but never sacrificing soul, █
█ the feeling of a story being told and the sound of woodwind █
█ against strings in perfect balance is a special joy. The █
█ Berliners are also remarkably unbuttoned at times. "How potent █
█ cheap music is," as Noel Coward once observed. Again, █
█ compliments to the engineers too here, but also to Rattle for █
█ the excellent balancing. The same applies to the Rondo-Burleske █
█ third movement. This is Mahler going to the limit of expression █
█ and is a logical development from the second movement and so it █
█ sounds here. Under Rattle it is a controlled environment to █
█ begin with, all kinetic energy in a slightly held-back tempo, █
█ but the significance of this does not become clear until the █
█ end. In the wonderful lyrical interlude Rattle makes the crucial █
█ tempo choice with ease - neither too slow that if seems detached █
█ from the rest, nor too fast that we miss its lyrical power. And █
█ just listen to the nostalgia in the high trumpet solos. When the █
█ Rondo Burleske does return, Rattle conducts it like Horenstein █
█ does in his "live" recordings. Gradually screwing up the tempo █
█ as the coda approaches so that, when the end comes, by then the █
█ whole movement is going to hell like a juggernaut out of █
█ control, justifying the controlled tempo in the first part. █
█ █
█ For MahlerÆs stoic elegy on life and approaching death in the █
█ fourth movement Simon Rattle adopts an appropriately stoic █
█ demeanour. Not for him a mawkish, drawn out, emotionally over- █
█ heated outpouring that satisfies on just a surface level. In █
█ keeping with the rest of the workÆs emotional mapping, he gives █
█ a reading that balances the great depth of feeling written into █
█ the music with a sharpness of focus that burns into the mind in █
█ its own terms. The strings at the very start are powerful and █
█ questing. They draw the melodies with a confident tone of voice █
█ and a timbre that again recalls Klemperer. Whilst Rattle conveys █
█ the power of the emotions present, by his unwillingness to █
█ indulge them with overt emphasis he keeps an intellectual frame █
█ which gives point to the emotion and makes for a more human █
█ response. So the man of the world we met at the end of the first █
█ movement reflecting on times past now reflects on mortality as █
█ he had pretty well for all of his life but now in the knowledge █
█ that his own end may be closer. Mahler was not at this point in █
█ his life, as you still wrongly hear, terminally ill. He was █
█ still firing on all cylinders where life and career was █
█ concerned. But he was more than ever aware of his own mortality █
█ at this point and able descant on it, carry on the theses he had █
█ explored previously in "Das Lied Von Der Erde." In the central █
█ section of the movement the intimate details are woven here into █
█ a timeless tapestry with a degree of chamber-like playing by the █
█ orchestra that is breathtaking. Here are players who are really █
█ listening to each other. The main climax, where the high violins █
█ rear up and then usher in a full-throated noble assertion of the █
█ primacy of life, emerges naturally from the rest and is █
█ delivered with a wonderful, full but firm tone that prepares for █
█ the long, soft coda. The long close of the work itself has █
█ seldom been played so well as it is here. The many silences are █
█ perfectly observed, the fragments of themes delivered with █
█ breathtaking quiet, but they are never allowed to merge into █
█ those silences and become comatose which they can sometimes do. █
█ It is a careful judgement but one that Rattle succeeds in. I was █
█ reminded that here was a conductor of MahlerÆs Ninth who knows █
█ Vaughan WilliamsÆs Sixth with its own very particular soft and █
█ fragmentary close. Vaughan Williams quoted ShakespeareÆs "The █
█ Tempest" at the same point in his symphony and that quote █
█ appears absolutely appropriate in RattleÆs closing of MahlerÆs █
█ Ninth: "We are such stuff as dreams are made on and our little █
█ life is rounded with a sleep." █
█ █
█ So much depends on how you believe this work should be played █
█ and interpreted. I am certain there will be many Mahlerites who █
█ will find what I call RattleÆs excellent "head and heart █
█ balance" here leaves them short. People who want the Ninth to be █
█ an excuse to climb on to the couch and pour out the angst by the █
█ shovel need to go to conductors like Bernstein, Tennstedt or █
█ Levine for that. But I believe conversely that it is in fact █
█ recordings like that which leave us short. This work is far █
█ deeper and more rounded than those which just operate on a high █
█ -octane emotional level and leave no room for the kind of █
█ Stoicism shot through with intellectual rigour of a Rattle or █
█ Klemperer. Returning to the recordings I listed at the start of █
█ this review as being, for me, the outstanding ones I would not █
█ say this new recording supplants any of them. However, I am █
█ convinced that it joins them as one of the finest recordings of █
█ the work that I have ever heard in terms of conception, playing █
█ and recording . █
█ █
█ If someone who was contemplating buying a Mahler Ninth for the █
█ very first time were to ask my opinion I would reply without █
█ hesitation that this is the one to have. As a first recording it █
█ is near ideal in delivering Mahleræs Mahler Ninth as opposed to █
█ that of the conductor on the rostrum and it deserves the highest █
█ possible recommendation." █
█ █
▄▀ ▀▄
█ █
▀▄█ █▄ ▄█ █▄▀
▀ ▀ █ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ █ ▀ ▀
▄▄▀ [ Oi ] ▀▄▄
█ █
█ 4 HORSEMEN, █
█ 801, █
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█ HiGH iNTELLiGENCE TROLLS, █
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▄▄▀ [ ABOUT ] ▀▄▄
█ █
█ █
█ - We laugh at your encoding standards! █
█ If you don't like our release : LEECH A DIFFERENT FORMAT!!! █
█ █
█ - We shit on alot of scene "members". Maybe you part of them? █
█ █
█ - We only believe NOW is good music. █
█ █
█ Furthermore, we just LOVE all 1+Gb/s-3+Tbs-ftpd-with-0sec-attitude █
█ that can't even achieve 12 months of uptime. █
█ █
█ Lastly, to those who think they are in charge : █
█ PLEASE OH PLEASE give us some kind of RiAA2k8 standard! As we █
█ rightfully need a 6th rule change(and 1 revision) ever! This is █
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THIS IS NOT PIRACY.