Mahler: Symphony No. 6 Wiener Symphoniker & Fabio Luisi

• Gustav Mahler (1960–1911): Symphonie Nr. 6 a-moll Symphony No. 6 in a minor
• 1I. Allegro energico, ma non troppo. Heftig, aber markig24:12
• 2II. Andante moderato16:14
• 3III. Scherzo: Wuchtig13:07
• 4IV. Finale: Allegro moderato - Allegro energico31:17
• Total Runtime01:24:50

Info for Mahler: Symphony No. 6

„Fabio Luisi's 2011 performance of Gustav Mahler's Symphony No. 6 in A minor, 'Tragic,' with the Vienna Symphony Orchestra meets most expectations of a modern interpretation, in terms of tempo, pacing, and expression, and the reversal of the inner movements reflects contemporary notions of what Mahler supposedly intended. (In reality, this choice is based on the composer's second thoughts and performances after publishing the symphony, not on his original scheme, which places the Scherzo before the Andante moderato). Granted, Luisi indulges his love of rubato, perhaps to excess, and the Vienna Symphony Orchestra doesn't sound especially driven. But the performance has enough coherence and energy to get its salient points across, and enough savagery in the outer movements to stun the unwary listener. Best of all, it offers wonderful sonorities and crisp attacks, and any loss of propulsion or lack of a trajectory is compensated by the orchestra's luxuriating in Mahler's rich orchestration, which offers possibly the most vivid effects of any of his symphonies. The live recording is exceptional for its clean sound, minimal audience noises, and the wide dynamic range, which may require a fairly high volume setting to hear all the details.“ (Blair Sanderson, AMG)

„Another Mahler symphony on this orchestra's own label is as good as as Fabio Luisi's recent account of No 1. The selling point for many will be this orchestra's idiomatic, old-world sound, with rotary valved trumpets and Vienna horns giving the brass playing a degree of warmth that's missing from punchier, more aggressive accounts. The strings are never drowned out the first movement's Alma theme is radiant, and the idyllic central reverie's woodwind and horn solos are cushioned on a bed of seductive shimmering chords. Luisi recognises that this work s downbeat emotional trajectory is made more effective with plenty of light and shade. Here, the first movement's upbeat close makes it possible for me to accept that Mahler's Andante might indeed sound better when ordered second. I remain undecided, but this is an affectionate, lyrical reading of a slow movement which needn t descend into maudlin gloop. Luisi's Scherzo is bright but frantic, the fierceness just kept in check. The vast final movement is well-managed. This work's best interpreters can keep you guessing, hanging on in case there's a change of plan and things end happily, and Luisi walks the tightrope with confidence. The closing trombone and tuba chorale is beautifully done, the unison horns octave descent like a dying breath. Wonderful stuff, in other words. The strange, murky sleeve art is reminiscent of the vortex into which James Stewart dives in the opening credits to Vertigo. Rich, fruity recorded sound.“ (The Artdesk)

Vienna Symphony Orchestra
Fabio Luisi, Dirigent

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Booklet for Mahler: Symphony No. 6