The Symphony No. 7, nicknamed "The Song of the Night," is widely regarded as the most enigmatic of Mahler's cycle and the most difficult to coherently interpret as a symphonic structure, even by this composer's extraordinary standards. The movements are undeniably Mahlerian in their abrupt mood swings and ironic twists, and each offers a wealth of fantastic ideas and brilliant orchestration – arguably the most innovative sounds in all of Mahler's works.
For her fifth live recording of Wolfgang Amadeus Mozart's piano concertos with the Cleveland Orchestra, Mitsuko Uchida presents the Piano Concerto No. 17 in G major, K 453, and the Piano Concerto No. 25 in C major, K 503, a delightful pairing that reflects her previous albums in this critically acclaimed series on Decca.
With its majestic themes soaring upwards like gothic pillars and its brilliant chorales and fanfares glowing like stained – glass windows, Anton Bruckner’s Symphony No. 8 is the most monumental of his orchestral works, a cathedral in sound that grows out of pianissimo murmurs. Coming after the triumphs celebrated by the composer’s Seventh Symphony and Te Deum, the Eight was considered by Bruckner as the artistic climax of his career. Cleveland‘s Severance Hall is the venue for this performance. This hall, an eclectic yet elegant mix of Art Deco, Art Nouveau, Classicism, Egyptian Revival and Modernism was inaugurated in 1931 and is still hailed today as one of the world‘s most beautiful concert halls. The Cleveland Orchestra, founded in 1918, began its ascent to the upper ranks of the world‘s ensembles after it moved to Severance Hall in 1931.
Bruckner‘s Seventh – The master‘s homage to Richard Wagner With the mighty build-ups and monumental fortissimi of Bruckner’s Seventh, Welser-Möst and his Clevelanders have their work cut out for them. And they do not disappoint. The most popular, and perhaps most easily accessible, of Bruckner‘s symphonies, the Seventh casts its spell on the audience with its clear-cut architecture and the wealth and fullness of its melodies. From the sweeping opening theme of the first movement to the victorious chords of the finale, the Cleveland Orchestra and its conductor deliver a magisterial reading of Bruckner‘s masterpiece. Cleveland‘s Severance Hall is the venue for this performance. This hall, an eclectic yet elegant mix of Art Deco, Art Nouveau, Classicism, Egyptian Revival and Modernism was inaugurated in 1931 and is still hailed today as one of the world‘s most beautiful concert halls. The Cleveland Orchestra, founded in 1918, began its ascent to the upper ranks of the world‘s ensembles after it moved to Severance Hall in 1931.
Every major conductor, and most not-so-major ones, comes around to recording Eine kleine Nachtmusik, but not so many do it as well as George Szell and the Cleveland Orchestra strings. And let’s face it, you won’t find a period-instrument ensemble that plays with anything like this level of polish. The fact is, Szell’s conception of Mozart was not terribly far from “period” sensibilities: restrained use of vibrato, incisive rhythms, crisp ensemble, lively tempos, but also a welcome degree of warmth to the sound and of course incredible ensemble discipline and some of the best players on the planet. And he had real period instruments, meaning performers who owned top quality old violins and bows, not inferior modern reproductions of them. The result is as lovely a performance of Mozart’s perennially delicious Serenade as we are ever likely to hear.