{"product_id":"horenstein-mahler-symphony-no-5-1961-pasc416","title":"HORENSTEIN Mahler: Symphony No. 5 (1961) - PASC416","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMahler \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording · 1961\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:52 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eHall of Fame Review\u003c\/b\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eGreat conductors surpass talented\nconductors, yet on occasion they also surpass themselves. This live\nMahler Fifth from the Edinburgh Festival in 1961 feels like one of the\ngreatest nights in Horenstein’s life. It’s certainly one of the greatest\nnights in the life of this symphony. He takes the music into regions\nwhere today’s standardized Mahler never dares to go. In the uncanny way\nthat born conductors can make inspiration flow directly from the baton,\nhere even the bare opening trumpet call portends something very special.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein achieved one of his earliest\nsuccesses conducting the Mahler Fifth in 1927 with the Berliners, and\none wonders what his career arc would have been like without the\ndisastrous intervention of Nazism. In the postwar era he wasn’t one of\nthe luckiest émigré conductors—he found himself lionized as a cult\nfigure but otherwise saddled with second- and third-rate orchestras far\ntoo often. His real stature was just beginning to be recognized on a\nwider scale when he died in 1973, just shy of his 75th birthday. The\nscarcity of recordings with a top orchestra made it seem that a famous\none like his Mahler Third with the London Symphony might almost be a\none-off. Fortunately, when the BBC Legends label began to unearth an\nabundance of live recordings, the real story began to jell—no conductor\nhas benefitted more from posthumous concert releases than Horenstein. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eYet even by this measure, the Edinburgh\nMahler Fifth (one of three different accounts that have been discovered\nin recent years) is extraordinary. It bursts three myths in one go: the\nmyth that Horenstein was careless about orchestral execution, that top\nEuropean orchestras had all but forgotten him, and that the Berlin\nPhilharmonic in the Karajan era knew almost nothing about playing\nMahler. In a recent \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nreview, Jim Svejda says, quite rightly, “What will initially amaze you\nis the extent to which the orchestra plays the Mahler Fifth as though it\nwere an item from the standard repertoire, which of course it most\ncertainly was not in 1961. The playing is shot through with a bracing\nconfidence and élan.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTogether, Svejda and Henry Fogel have\npraised this release (in issue 38:2) with such well considered judgment\nthat I can offer only a footnote and a rousing cheer of agreement. For\nintensity, originality, deep understanding, and comprehensive sweep,\nHorenstein’s Edinburgh Mahler Fifth is one for the ages. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHuntley Dent\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo call this a release of enormous\nimportance is to understate the case. Collectors know Horenstein as one\nof the great Mahler conductors of the 20th century, but one who lacked\nbig-label recording contracts. He made a few extraordinary commercial\nstudio recordings of Mahler, including superior stereo recordings of\nNos. 1, 3, and 4 along with some scrappy monaural efforts for Vox. The\nrest of his Mahler, like this, comes from broadcasts of live\nperformances. Until now we have been missing a Fifth and a Second. Let’s\nhope there is a Second out there somewhere to complete the cycle, but\nat least we now have the Fifth. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd what a performance this is! Working\nwith one of the world’s great orchestras, at the Edinburgh Festival,\nHorenstein fashions a reading of extraordinary drama and range. What has\nalways distinguished his Mahler conducting was that, unlike most, he\nfound a way to encompass the huge scope and variety of Mahler’s musical\nimagination into one unified performance. Horenstein brings lyrical\nbeauty and richness, rhythmic tension and snap, and extreme contrasts of\ntempo and dynamics. Moreover, he is a master of Mahler’s almost\nschizophrenic melding of the sublime and the vulgar, the mystical and\nthe anguished. Most Mahler performances concentrate on one or another\naspect of Mahler’s complex, multi-faceted world. Horenstein manages to\nencompass it all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat makes Mahler’s music a feasting\nground is its emotional range, giving conductors an ability to wallow in\nany particular one of the emotional worlds the music inhabits, and a\njustification for doing so. And performances can be enormously\nsatisfying while focusing on the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAngst\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nor the sublime beauty, the love of nature, the hedonism, or the\nvulgarity, or even the rage that can be found in the scores. What makes\nHorenstein unique is that he balances all of those elements more evenly\nthan virtually anyone, and does so without seeming calculation or\nreticence. He is clearly involved and at home in all of Mahler’s crazy\nworld, not just parts of it. He goes deeply into the music; for\ninstance, we never forget in this performance that the first movement is\na funeral march. We hear that from the opening trumpet call, which has a\nremarkable gravitas about it, a mood that continues throughout the\nmovement, but miraculously with no loss of momentum or urgency. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne of the impressive aspects of\nHorenstein’s conducting, in Mahler and in other composers, is his\ncareful attention to balances. In Mahler’s complex scores, there are\nmany musical incidents going on simultaneously, and the music requires\nan ear for balance and texture that allows everything to be heard in the\ncorrect proportion, without the clarity minimizing the cumulative\nimpact. In this performance, even big climaxes are crystal clear\n(despite the sonic limitations of the recording); we discern multiple\nvoices and still feel the impact of the whole. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRecordings in my collection range from\napproximately 67:00 to 76:00; at 74:37 Horenstein falls on the slow end\n(the 75:52 listed in the headnote includes 1:15 of applause). But\nnowhere does the performance feel slow, because of the sharp rhythmic\ncontours and the sense that it is always headed somewhere, and because\nthere is a far greater variety of tempo than there is in most\nperformances. There are sections that, if you compared them to\nKondrashin or Walter (the two fastest conductors in my library),\nHorenstein would seem quite similar. There are other sections where he\nmay even be slower than Tennstedt or Barbirolli. What is most\nremarkable, however, is his ability to stitch those extremes together\ninto a unified whole with real shape to it. Often performances with such\ngreat extremes of tempo lose the overall arch of the music, but not\nhere. A good part of his success is the smooth and perfectly judged\ntempo changes that he manages. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnother strength of the performance is\nthe beauty of the string playing, and the richness of color and texture\nthat he gets from the Berlin Philharmonic. This is no accident; all one\nneeds to do is listen to the last movement of his LSO recording of the\nMahler Third Symphony to appreciate fully Horenstein’s ability to draw\nstring playing of great beauty from an ensemble. In the famed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagietto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nthis quality is wrenchingly beautiful, and it echoes in the mind’s ear\nlong into the rambunctious finale. Despite the richness and variety of\nstring sound, and the slow tempo for the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagietto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nHorenstein’s performance comes across as tender and to some degree\nrestrained, rather than the kind of urgent cry from the heart that it\ncan be with, for example, Bernstein. I don’t believe any one approach is\nmore \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eright \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethan\nthe other; both are valid explorations of Mahler’s immense and\nmulti-faceted world. Part of Horenstein’s success is the very wide\ndynamic range he employs, with many gradations between \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efortissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nHorenstein also employs, tastefully, portamento effects, strings\nsliding from one note to the next. That was a common feature of\norchestral (and solo) string playing in the early 20th century, and is\nsingularly appropriate to Mahler. That is one of the reasons for the\ngreat success of his recording of the Third Symphony, and so it is here.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSome might find Horenstein’s finale a\nbit too slow for their taste. As one starts to listen to it, one wants\nto move it ahead a bit. However, it fits his overall conception and,\ndespite the tempo and the weight, it never loses its momentum. This\nmusic has a relationship with Wagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Meistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and one senses that here more than in many performances. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Berlin Philharmonic players give\nthe conductor their all. This must have been one of the BPO’s earlier\nMahler performances, but they play it with conviction. The recorded\nsound is somewhat gritty and compressed, but more than listenable to\nanyone who is used to historic recordings. I listened to the XR stereo\nversion, which is Pristine’s attempt to capture some sense of space and\nambience; it succeeded in doing that. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine states that\nthere was a short sequence near the end missing, and he replaced it from\nanother Horenstein Mahler Fifth (apparently there are two others\nextant, one with the London Symphony and one with the Goteborg\nSymphony); the edit is not noticeable, even when one is listening for\nit. As usual, Pristine supplies minimal notes: a helpful comment from\nRose about this production and an informative, if brief, note from the\nconductor’s cousin Misha Horenstein. This is one of the most important\ndocuments yet released by Pristine. Now let the search for a Horenstein\nMahler Second begin in earnest, so we can have the complete cycle. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong those with a passion for Mahler\nsymphonies it would be difficult to overstate the importance of this\nrecording. After the version of this very work that Bruno Walter\nrecorded with the New York Philharmonic in 1947, the first great Mahler\nrecordings of the post-War era were those of the First and Ninth\nsymphonies that Jascha Horenstein made in 1953 with the decidedly\nlow-powered Vienna Symphony (still available on Vox 5508). Subsequent,\nsonically superior studio recordings of the First and Third—together\nwith various live versions of several of the others—only confirmed what\nthose early recordings clearly implied, that Jascha Horenstein was one\nof the most potent and individual Mahler conductors that history has\nknown. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRecorded live at the 1961 Edinburgh\nFestival—well before it became all but overshadowed by the annoying,\npathologically trendy Fringe—this Berlin Philharmonic performance is one\nof three Horenstein Mahler Fifths that have recently surfaced and is,\naccording to the note the conductor’s nephew Misha supplied for its\nfirst CD appearance “by far the most dramatic, a white-hot,\ntension-filled, powerfully driven performance.” While it’s certainly all\nof that, it’s also a good deal more. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat will initially amaze you is the\nextent to which the orchestra plays the Mahler Fifth as though it were\nan item from the standard repertoire, which of course it most certainly\nwas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in 1961.\nThe playing is shot through with a bracing confidence and élan—listen,\nfor instance, to the swaggering horns and the beginning and end of the\nscherzo: If they don’t raise the goose bumps (or the blood pressure),\nyou might want to call your endocrinologist in the morning—and in fact\nfrom first to last the performance sounds much more “lived in” than the\nself-conscious, smooth-shod monstrosity Karajan made of the piece a\ndozen years later with the same orchestra. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut along with the intensity that\nMischa Horenstein notes comes a refinement and sensitivity that are even\nmore striking. In the scherzo’s trio, the phrasing has an aching\ndelicacy that few others can muster, while the final movement ambles\nalong with such witty nonchalance that for once it never threatens to\nbecome the head-long horserace it so often is. (In his famous EMI\nrecording, John Barbirolli also proved that speed and excitement aren’t\nalways the same thing.) The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagietto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003enot\nonly unfolds with a completely unforced ease but it also seems to do so\nin a single, unbroken phrase (a reminder perhaps that Horenstein, in\nhis youth, served as an assistant to Wilhelm Furtwängler). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNeedless to say, the off-the-air\nrecorded sound is hardly state-of-the-art, though the ear quickly\nadjusts. And if Bernstein (DG), Tennstedt, Kubelík, Gary Bertini, the\nrecent Iván Fischer and the aforementioned Barbirolli remain the top\nchoices for modern Mahler Fifths, as an historic, human, and musical\ndocument, this one can’t be missed. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC416.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein in electrifying form in this 1961 Mahler 5th with the Berlin Philharmonic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eElusive recording finally transferred and XR remastered from off-air broadcast recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eI was contacted earlier this year by Misha Horenstein, cousin of the\ngreat conductor, with the idea of remastering and releasing rare and\nspecial recordings from the Maestro's career. The Mahler Fifth was the\nmost notable gap in Horenstein's extensive recorded legacy and this\noff-air recording of a blazing Edinburgh Festival concert with the\nBerlin Philharmonic was regarded as by far the most promising place to\nstart a new Horenstein series at Pristine.\u003c\/p\u003e\n\u003cp\u003eI've pulled out all the stops to try and bring out as much of the\npassion and brilliance of the performance as remains in the recording,\nwhilst eliminating or reducing crosstalk, interference, a good deal of\nhiss, swish and other defects. A very short sequence towards the end of\nthe piece was missing from the original source, and here we've patched\nin one of the other Horenstein recordings, matched as closely as\npossible to this in order to maintain the musical flow.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 5\u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded Edinburgh Festival, 31 August, 1961\u003cbr\u003eUsher Hall, Edinburgh, Scotland\u003cbr\u003eLive broadcast recording \u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e - conductor\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC416.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC416.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eJascha Horenstein's Mahler 5\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFor many years it was assumed that no recordings existed of\nHorenstein conducting Mahler's Fifth Symphony, but in the last few years\nno less than three have surfaced: with the London Symphony Orchestra,\nthe Goteborg Symphony Orchestra, and this one with the Berlin\nPhilharmonic, recorded live during the 1961 Edinburgh Festival.\u003c\/p\u003e\n\u003cp\u003eHorenstein first conducted Mahler's Fifth in Berlin in 1927 with the\nBerlin Philharmonic. That concert brought him his first really big\nsuccess as a young conductor, with extremely favorable reviews from\nhighly respected musicians and critics such as Walter Schrenk\n(\"Horenstein is the most significant and by far the most gifted of our\nyoung generation of conductors\"), Klaus Pringsheim, formerly an\nassistant of Mahler's (\"he reminds one of the young Klemperer who, it is\nsaid, reminded his audiences of the young Mahler\"), and Rudolf Kastner,\nwho had attended the world premiere of the Fifth Symphony conducted by\nMahler in 1904 (\"Since then I have rarely heard the piece as I did now…\nHorenstein is one of the most remarkable conductors we have encountered\nin recent years and has, like few others, a most particular affinity for\nMahler’s music\"). It was this concert that secured Horenstein's\nreputation as one of the finest interpreters of Mahler's music by a new\ngeneration of conductors that had no personal contact with the composer,\nand it must have been with these memories in mind that he approached\nthe performance in Edinburgh presented here.\u003c\/p\u003e\n\u003cp\u003eOf the three extant recordings of the symphony conducted by\nHorenstein, the Berlin Philharmonic performance is by far the most\ndramatic, a white-hot, tension-filled, powerfully driven presentation\nthat confirms Horenstein's widely recognized and unrivaled authority in\nthis repertoire.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064786219098,"sku":"hyh1789304973121","price":14.48,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064786251866,"sku":"uct1789304973121","price":9.06,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064786284634,"sku":"qej1789304973122","price":8.04,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064786317402,"sku":"dyf1789304973123","price":8.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/horenstein-mahler-symphony-no-5-1961---pasc416_1.jpg?v=1789304980","url":"https:\/\/vestorawear.shop\/products\/horenstein-mahler-symphony-no-5-1961-pasc416","provider":"My Store","version":"1.0","type":"link"}