Mahler - Symphony No. 4 (2009)

Mahler

Budapest Festival Orchestra

Ivan Fischer

Miah Persson

There is a unique purity and transparency in Mahler's 4th Symphony. The enchanting slay bells take us to his inner child, to his dreams of angels, fairy tales, angst and pure, divine love. This child-like symphony needed a different orchestra: no dark tuba, no heavy trombones, no large arsenal of massive brass. A chamber orchestra in fact, where the clarinets act as mock trumpets, the solo violin tunes his strings sharper in order to scare us and the lightness of the whole orchestra lifts us up to his lovely, childish vision of paradise. Ivn Fischer

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Budapest Festival Orchestra

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "Cocoa-Concerts” for young children, "Midnight Music” concerts for students, "Surprise” concerts where the programme is not announced, "One Forint Concerts” where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

Ivan Fischer

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "cocoa-concerts" for young children, "Midnight Music" concerts for students, "surprise" concerts where the programme is not announced, "one forint concerts" where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

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Mahler - Symphony No. 4 (2009)

Mahler

Budapest Festival Orchestra

    Audiophile Audition -

(...) In a crowded field his version demands a place of honor () () Part of the credit, naturally, belongs to Mr. Fischer's fine players, whose work is secure, poised and full of character. The Channel Classics recording team also deserves honor for the warm, vibrant sound. But in the end Mr. Fischer's efforts are paramount. Every balance, every tempo feels freshly considered and aptly judged; time and again expressive details leap out in sharp focus without distracting unduly. The result is a persuasive account that merits consideration among the very best. New York Times The Budapest Festival Orchestra retains some of that Mid- and East-European tone and allure, so right for this music. Piquant clarinets imitating trumpets and colorful horn playing are memorable. Fischer also gets the balance just right, between observing all the details in the score and yet getting a feeling of natural and unstultified breath in the architecture. These attributes are more than enough to justify this release in a crowded market place (...) Just superb. Audiophile Audition 5 *****

    Opus Haute Définition

A l’écoute de cet enregistrement précieux, le résultat est tout simplement miraculeux. C’est un pur disque des grands jours, laissant l’acoustique du lieu d’enregistrements s’épanouir et respier avec naturel. Un grand, un très grand disque Mahlérian. Bravo! Opus Haute Définition

    Music Web

I would without hesitation place it at the very top of the list. It is that good! This is largely because it sounds so natural. Fischer has developed his orchestra into a world-class ensemble with rich but luminous strings and wonderful winds. The recording balances everything with perfection and nothing sounds in the least bit contrived, but the symphony comes up fresh minted - an over-used phrase, but pertinent here. Fischer convinces as a real Mahlerian, with a judicious but very natural employment of rubato. Music Web

    Classique Info

Décidément, Ivan Fischer s’impose comme le chef à suivre aujourd’hui: parmi ses nombreux enregistrements pour Channel Classics, pas un n’est descendu sous la barre de l’excellent. Cette Quatrième symphonie de Mahler parfaite, merveilleusement poétique et équilibrée, sans aucun défaut ni aucune affectation, s’élève au niveau des meilleures références. (…) Fischer et de ses musiciens hongrois réaliser un parfait compromis entre candeur, poésie et précision, sans que rien ne vienne vraiment troubler notre plaisir. (…) Miah Persson livre une prestation très satisfaisante, certes moins miraculeuse que le travail des instrumentistes, mais sans tâche et sans défaut, avec une prononciation fort acceptable et surtout un refus de la fausse candeur déplacée. L’accompagnement est à l’avenant: renouant avec une tradition qui a eu tendance à se perdre, Fischer adopte des tempi très vifs qui nous paraissent bien convenir. Classique Info

    Opus HD

(…) Ivan Fischer offers us an overwhelming vision of the fourth, making it his own. (…) Without basse tuba, powerful trombones or an arsenal of hefty brass, it is in fact a chamber orchestra in which the clarinets play like ironic trumpets, the solo violin is accorded one tone higher in order to frighten us, and the lightness of the entire orchestra lifts us to a charming and childlike vision of paradise. After listening to this invaluable recording, the effect is quite simply miraculous. Soloists' balance, perfectly natural phrasing, details of the musical discourse lifted up as never before, as if suspended in space: its all there, and the impression of purity and transparency transforms the tones heard into veritable sonic poetry. The soprano Miah Persson participates in this feast of the senses with a voice that is both soft and fragile. Insofar as the sound, despite a somewhat low-level recording, it is first-class DSD, allowing the acoustics of the venue to blossom and breathe naturally. A great, a truly great Mahlerian. Bravo! Opus HD

    Bayrische Rundfunk Online

(...) Und man staunt wirklich ber die fantastische Transparenz, Przision, und polyphone Klarheit seines exzellent eingestellten, vielstimmig miteinander dialogisierenden B.F.O., das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkrpers die therische Schwerelosigkeit dieser, himmelblauen' Symphonie im schnsten, hell leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Prgnanz wahrt. Bayrische Rundfunk Online

    Guardian

Fischer's feeling of the Symphony's supple architecture, his ability to caress a phrase or point out a delicious colour without losing the sense of that larger flow, make this one of the most musically satisfying recordings to appear in a long time. BBC Music Magazine It's provocative, iconoclastic performance, and highly recommended. Guardian

    Financieel Dagblad

(...) Ivan Fischer is nuchter, bij hem geen vertoon van loze gevoeligheid. Hij is spaarzaam in zijn vertragingen, dan liever stevige, vaste tempi. Niet meteen aan het eind van maat 3 van deel 1 al een reusachtig rallentado maar gewoon sierlijk en lichtjes eroverheen. Ook dat gaat goed. De Zweedse sopraan Miah Persson bezingt in deel IV 'die himmlischen Freuden'. Snel en frisjes, soms bijna buiten adem, maar het brengt leven in de tekst. Financieel Dagblad

    Classic FM

(...) Technically, this recording and the sound quality is superb, the Budapest Festival Orchestra perform as a sensitive and powerful ensemble evoking sound textures that I have never before heard in Mahler's fourth symphony. However, the surprising dynamics and different consistencies of tone are certainly due to Ivan Fischer's somewhat contentious and personal understanding of the work. Mahler traditionalists may that feel there is not enough emotive force - but I like it, it is fresh, full of colour and perfect for a new audience. Classic FM

    Telegraaf

Nostalgische toon (...) Fischer kiest zoveel mogelijk voor een kamermuziekachtige benadering. De combinatie van ontspanning en intensiteit geeft optimaal ruimte aan gevoelens van nostalgie. Uitbarstingen en momenten van sinisterheid sorteren des te meer effect. Het scherzo heeft zelden zo delicaat geklonken, het adagio zo volmaakt rustig en berustend. In de finale bezingt Miah Persson het hemelse leven. De Zweedse sopraan weet op slim volwassen wijze vorm te geven aan de kinderlijke onschuld. Knap gedaan. Telegraaf

    Parool

(...) wanneer dirigent Ivan Fischer en zijn Budapest Festival Orchestra met een Vierde symfonie van Mahler op de proppen komen, is luisteren verplicht, want Fischer is een dirigent die altijd weet te verrassen, zelfs in het meest platgespeelde repertoire. Ook zijn Vierde symfonie van Mahler is weer anders dan anders. De tempi in het eerste deel zijn opmerkelijk vlot, de balans tussen de instrumenten doet vaak de oren spitsen, omdat Fischer steeds net weer andere details naar voren haalt dan je van oudere opnamen kent. Als geheel benadert hij de symfonie nadrukkelijk als kamermuziek, wat met name in het langzame deel tot wonderschone resultaten leidt. (...) Parool

    Www.opusklassiek.nl

(...) De wonderen blijken toch de wereld nog niet uit te zijn. (...) (...) Fischer ontdoet de partituur van al haar receptiegeschiedenis en benadert de innemende maagdelijkheid van deze oase binnen Mahlers symfonische corpus als geen ander. (...) Fischer weet het intieme en kamermuzikale van het notenschrift zo schitterend in klank om te smeden, met als gevolg dat de dynamische scherpte binnen de stemmen onderling (daarbij natuurlijk geholpen door de voorbeeldig geslaagde Superaudio-opname) ideaal profiel krijgt. Voorts lijkt het wel alsof Fischer zich verre houdt van om het even welke interpretatie en integendeel: er juist optimaal voor waakt, dat er ook maar iets tussen hem en de noten komt in te staan wat er niet in thuishoort. Ook komt niets bestudeerd over, want spontaneteit en nog eens spontaneteit is wat hier onafgebroken de klok slaat, zodat het ideaal dat Mahler voor ogen stond, te weten het in muziek verbeelden van de wereld van het kind, subliem is gerealiseerd. Inderdaad in al zijn onbevangenheid. En daar past ook het ongerepte aplomb bij waarmee, vlak voor de verstilde coda van het - bij Fischer heel natuurlijk voorstromende - adagio de hemelpoorten worden geopend en er zich voor ons geestesoog inderdaad een Luilekkerland ontvouwt als nooit tevoren. (...) Zonder meer een witte raaf in de Mahler-discografie. www.opusklassiek.nl

    Avant la musique

Je viens d'couter quinze jours d'affile la nouvelle version de l'Orchestre du festival de Budapest dirig par Ivan Fischer et je la trouve exceptionnelle. Tant au niveau de l'orchestre, class rcemment par la revue anglaise Gramophone parmi les quinze meilleures formations du monde (si un tel classement a des raisons d'exister!?). Tant au niveau de la prise de son particulirement russie. Ivan Fischer, a l'art de faire sonner son orchestre avec clart et couleur (les deux ne sont pas incompatibles). Son phras est quelques fois trs surprenant et peut dranger au dbut (premier et troisime mouvements), ses fluctuations de tempi sont parfaitement doses et pertinentes (mme si elles sont oses) et sa rhtorique est bien celle de l'ironie entrecoupe de ces instants sublimes de sincrit. Chapeau au premier violon qui prend des allures de violoneux dans la danse macabre et la chanteuse qui chante avec une sincrit (selon les exigences de Mahler) ces propos paradoxaux. J'ai t transport chaque coute par cette sincrit qui fait de la Quatrime une toute grande symphonie de Mahler. A découvrir! Blog de J.M Onkelinx- en avant la musique

    Opus Haute Definition

(...) With this third volume devoted to Mahler's symphonies, Ivan Fischer offers us an overwhelming vision of the fourth, making it his own. For, as he points out, Mahler's Fourth Symphony has an incomparable purity and transparency. The beautiful sleigh bells take us to the inner world of his childhood, with his dreams of angels, his fairy tales, his anguish and pure love of god. For this naive symphony, a different orchestra is needed. Without bass tuba, powerful trombones or an arsenal of hefty brass, it is in fact a chamber orchestra in which the clarinets play like ironic trumpets, the solo violin is accorded one tone higher in order to frighten us, and the lightness of the entire orchestra lifts us to a charming and childlike vision of paradise. (...) After listening to this invaluable recording, the effect is quite simply miraculous. Soloists' balance, perfectly natural phrasing, details of the musical discourse lifted up as never before, as if suspended in space: its all there, and the impression of purity and transparency transforms the tones heard into veritable sonic poetry. The soprano Miah Persson participates in this feast of the senses with a voice that is both soft and fragile. Insofar as the sound, despite a somewhat low-level recording, it is first-class DSD, allowing the acoustics of the venue to blossom and breathe naturally. A great, a truly great Mahlerian. Bravo! Opus Haute Definition

    Len Temps

Il faudrait des pages pour dcrire tout ce que fait Ivn Fischer avec son Orchestre du Festival de Budapest dans la 4e Symphonie de Mahler. Le chef hongrois en traduit la transparence et la navet feinte sans perdre en densit du propos. Les textures sont fouilles, les cordes d'un velout sidrant, tout cela port par un calme, une mise en perspective sous lequel se dissimule un abme de mlancolie (mouvement lent). Miah Persson n'est pas aussi candide qu'on le souhaiterait dans le mouvement final, mais son chant anim, narratif, a le mrite de la clart. Le Temps

    Volkskrant

(...) Dirigent Ivan Fischer is hard op weg een van 's werelds legendarische dirigent te worden (...) een registratie van Mahler 4 die even diep- als eigenzinnig is (...) En dan is er het enorme palet aan kleuren dat Fischer uit zijn orkest haalt. Naast de aloude pasteltinten staan kleuren met de felheid van neon- of laserlicht - en weer is het absoluut in de geest van Mahler. Het 3e deel, toch al het zwaartepunt van de symfonie, is helemaal adembenemend, eerst door zijn supervloeibare klanken, die later exploderen in groot drama (...) Sopraan Miah Persson brengt het behaaglijke liedje over het hemelse leven fris en vrolijk. Volkskrant

    Pizzicato

Mahler mit Kulleraugen Bestens ausbalanciert, transparent im polyphonen Geflecht: Mahlers Vierte ist unter Fischer ein vollendete orchestraler Genuss. (...) Eine vollklingende Aufnahme mit einer zauberhaften und ausdrucksstarken Miah Persson im Finalsatz. Pizzicato

    Luister

Waar haalt Fischer het vandaan? (...) Fischer geeft iets tastends en zoekends en daardoor heel spannends aan de muziek, waardoor je weer met frisse blik luistert naar Mahler's vermoedelijk populairste symfonie. (...) (...) De hemel gaat helemaal open in de finale, waar de Zweedse sopraan Miah Persson precies het juiste mengsel van verrukte onschuld en raffinement weet te leggen. Het orkestaandeel is ook daar heel precies, doorzichtig, prachtig van klank en geweldig mooi opgenomen (...) (...) hoeveel opnamen kennen we nu al van Mahlers IV? Kan er nog eentje bij, Deze wel, nou en of!! Luister

    Diapason

Ivan Fischer dans la 4e, c'est l'vidence d'un univers potique et d'un paradis perdu, c'est une palette lgre et vive, parfume, comme d'un Hongrois qui aurait tudi Vienne. Diapason d'Or

    Klassik.com

(...) Neben der gestalterischen Finesse ist es aber vor allem die klangliche Gestaltung, die diese Aufnahme zu einem exzellenten Hrerlebnis werden lsst. Denn Ivn Fischer schafft es, seinem Orchester eine bezaubernde Leichtigkeit des Klangs zu entlocken (die gerade der Vierten Sinfonie bestens ansteht), um dennoch, wo es ntig ist, die Krallen auszufahren. (...) Klassik.com

    New York Times

(...) There is no better-conducted recording of Mahler's Fourth than this one. Fischer's achievement is extraordinary and the results he achieves unique, from transcendent tiny details to his larger conception... Fischer and Persson capture the music's innocence with unforgetable sweetness and joy. Listen () Part of the credit, naturally, belongs to Mr. Fischer's fine players, whose work is secure, poised and full of character. The Channel Classics recording team also deserves honor for the warm, vibrant sound. But in the end Mr. Fischer's efforts are paramount. Every balance, every tempo feels freshly considered and aptly judged; time and again expressive details leap out in sharp focus without distracting unduly. The result is a persuasive account that merits consideration among the very best. New York Times

    International Record Review

(…) Fischer encourages brisk tempos, clarity of texture, freshly voiced phrasing and a supple rubato, like water negotiating the twists and turns in a stream. The Budapest Festival Orchestra responds with life-enhancing spontaneity and the recording quality matches the transparency of Fischer’s vision to perfection. This is by far one of the most memorable and spring-cleaned Mahler performances of recent or indeed any time. International Record Review

    BR Online

(…) fantastische Transparenz, Präzision, und polyphone Klarheit seines exzellent eingestellten, vielstimmig mit einander dialogisierenden Orchestra, das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkörpers die ätherische Schwerelosigkeit dieser ‘himmelblauen’ Symphonie im schönstem, heil leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lüfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Pränanz wahrt. BR online

    BR Online

(…) fantastische Transparenz, Präzision, und polyphone Klarheit seines exzellent eingestellten, vielstimmig mit einander dialogisierenden Orchestra, das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkörpers die ätherische Schwerelosigkeit dieser ‘himmelblauen’ Symphonie im schönstem, heil leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lüfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Pränanz wahrt. BR online

    Fanfare

(…) This disc bounds to the top of my recommended list of Mahler Fourths… As Fischer observes in his program note, 'There is a unique purity and transparency in Mahler's 4th Symphony.' That is equally true of this recording. (…) Fanfare

    Listen

(…) There is no better-conducted recording of Mahler's Fourth than this one. Fischer's achievement is extraordinary and the results he achieves unique, from transcendent tiny details to his larger conception... Fischer and Persson capture the music's innocence with unforgetable sweetness and joy. Listen

    Hifistatement

(...) man staunt wirklich über die fantastische Transparenz, Präzision und polyphone Klarheit seines exzellent eingestellten, vielstimmig miteinander dialogisierenden Budapest Festival Orchestras, das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkörpers die ätherische Schwerelosigkeit dieser „himmelblauen“ Symphonie im schönsten, hell leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lüfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Prägnanz wahrt. Man spürt auf Schritt und Tritt den Ehrgeiz aller Musiker, das komplexe Innenleben von Mahlers Partitur möglichst seismographisch umzusetzen. Die holographische Punktgenauigkeit des wunderbar ausbalancierten Klangbildes ist auch ein Verdienst des Tonmeisters und Produzenten C. Jared Sacks, der hier ein Meisterstück polyphoner Durchzeichnung in den Konverter zaubert. Das gilt auch für das enigmatische Liedfinale „vom himmlischen Leben“, in dem die Schwedin Miah Persson mit perfekter Textverständlichkeit und ihrem glasklaren Sopran den von Mahler geforderten „kindlich heiteren Ausdruck“ sehr geradlinig und schnörkellos trifft, so dass man keinerlei Zweifel hegt an der Wahrhaftigkeit ihres Berichts. So bleiben am Ende die Fragen eher offen als beantwortet und der Hörer im Ungewissen, so wie Mahler es wollte. Hifistatement

    Fono Forum

“Das himmlische Leben“, in dem die Schwedin Miah Persson mit perfekter Textverständlichkeit und ihren glasklaren Sopran den von Mahler geforderten “kindlich heiteren Ausdruck“ sehr geradlinig und schnörkellos triff, sodass man keinerlei Zweifel hegt an der Wahrhaftigkeit ihres Berichts. (...) (...) wunderbare, himmlische Schwerelosigkeit des Klangbilds (...) Fono Forum

    Hifi Video Test

Mahler. Geen componist van vergelijkbare importantie lijkt zó verbonden met ons land als Gustav Mahler. Dan deze uitvoering? ‘Another spectacular release in a Mahler discography that is shaping up to be as exciting as any since Bernstein’. (Gramophone, april 2009) Oeps, dat is nogal wat, maar ben het er wel mee eens. Detail: het orkest speelt in zogenaamde Duitse opstelling, eerste violen, celli, alten, tweede violen (vlnr) en de contrabassen achter op het podium. HVT

    Www.fiftytoo.be

Een aanéénschakeling van bovenmenselijke momenten. (...) Fischer profileert zich opnieuw als de interessantste Mahlerdirigent van dit ogenblik (...) www.fiftytoo.be

    Sixmoons.com

Great enjoyment and emotional pleasure. (…) Where most conductors tend to overplay, Fischer delivers a personalized but liquid reading. At the same time, Fischer seems more relaxed in his handling of tempi and transitions. In his light leading of the BFO, the dynamics of the Fourth Symphony are revealed in a stunning manner. (…) Fischer explores his own paths and is largely making sense to invite our undivided attention. Sixmoons.com

    Classical Music Sentinal

This is the recording of the Mahler 4 that I've been waiting to hear all my life. I expected it to show up earlier, from one of the great Mahler conductors like Bernstein, Haitink, Abbado...leading world class orchestras like Berlin, Chicago, London, etc...but such a definitive interpretation never saw the light of day until now. Ivan Fischer's previous recording of Mahler's 2nd Symphony, was presented with a few well deserved awards, and you will find it listed on this site on the Award Winners page. I am convinced this recording of the 4th will attract the same accolades, if not more. This wonderful work has often been considered naïve, simple, even considered a step back in Mahler's symphonic development, following his own previous bold and massive symphonies 2 & 3. This symphony does express the innocence of childhood, its dreams, its freedom, its pure vision and concept of heaven not clouded by doubts. But if it is true that all music written by Mahler was autobiographical, then we must also consider that it is in childhood that we develop our deepest fears, our idiosyncrasies, our sometimes malevolent behavior, etc...and Mahler's own adulthood angst is never far below the sunny surface of this misunderstood work. Ivan Fischer's interpretation goes a long way in presenting both sides of the coin and bringing out the myriad of small instrumental and expressive details that confirm this work's purpose. His pacing, nuances, moments of deep expression are all expertly judged and true to the spirit of the work. The Adagio in particular, which Mahler himself considered to be his best slow movement, flows along with that magical childhood sense of having all the time in the world to reach our destination. And when he does reach the end, the sudden opening of heaven's gates, the glorious vision of paradise, has never been portrayed with such an intense light and powerful blaze of sound. The recorded sound is superb, with each and every instrument clear and precise in their individual solos and as a group, all captured in truly natural acoustics. Classical Music Sentinal

    Gramophone Editors Choice

Fischer and his brilliant Budapest big band give us Mahler with the personal touch. (...) Characteristically, danger and beauty go, vertiginously, hand in hand and equally characteristically, the orchestra sounds magnificent, abetted by stunning SACD sound. Gramophone - Editor's Choice

Mahler - Symphony No. 4 (2009)

Mahler

Budapest Festival Orchestra

Cables:Van den Hul
Digital Converters:Grimm A/D DSD / Meitner DA
Mastering Engineer:Jared Sacks
Mastering Equipment:B&W 803 diamond series
Microphones:Bruel & Kjaer, Schoeps
Mixing Board:Rens Heijnis custom design
Producer:Hein Dekker
Recording Engineer:Hein Dekker, Jared Sacks
Recording location:The Palace of Arts, Budpest Hungary 2009
Recording Software:Pyramix bij Merging
Recording Type & Bit Rate:DSD64
Speakers:Audiolab, Holland

Quality & Channel Selection Digitized at DSD64
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26109: Mahler - Symphony No. 4
00:56:40   Select quality & channels above
Tracks
1.
Bedachtig, nicht eilen
Mahler
00:16:51   Select quality & channels above
2.
In gemachlicher Bewegung, ohne Hast
Mahler
00:09:26   Select quality & channels above
3.
Ruhevoll, poco adagio
Mahler
00:21:51   Select quality & channels above
4.
Sehr behaglich
Mahler
00:08:32   Select quality & channels above

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