Mahler - Symphony No.5 (complete), Adagietto: Sehr Langsam (Century’s record.: Sir John Barbirolli)

Gustav Mahler (1860-1911) Symphony No.5 in C# minor. 🎧 Find this recording in our Spotify playlist : *Click to activate the English subtitles for the presentation* (00:00-03:15) 00:00 I. Symphony No.5 In C-sharp Minor-Part I_ 1. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - Plötzlich Schneller. Leidenschaftlich. Wild - Tempo I 13:44 II. Symphony No.5 In C-sharp Minor-Part I_ 2. Stürmisch Bewegt. Mit Größter Vehemenz - Bedeutend Langsamer - Tempo I Subito 28:59 III. Symphony No.5 In C-sharp Minor-Part II_ 3. Scherzo. Kräftig, Nicht Zu Schnell 47:02 IV. Symphony No.5 In C-sharp Minor-Part III_ 4. Adiagietto. Sehr Langsam 56:53 V. Symphony No.5 In C-sharp Minor-Part III_ 5. Rondo - Finale. Allegro - Allegro Giocoso. Frisch - Allegro Comodo (Subito) - Allegro Molto New Philharmonia Orchestra Conductor: Sir John Barbirolli Recorded in 1969, Town Hall, Watford, Herfordshire New mastering in 2020 by WMG / 2021 by AB for CM//RR 🔊Find CMRR’s recordings on Spotify : 🔊Download CMRR’s recordings in High fidelity audio : Barbirolli has made one of the greatest recordings ever made of the Fifth, and he alone has undoubtedly pierced “all the contradictions“ in an interpretation that combines intelligence with lyricism and warmth. The first movement opens with an impressive trumpet blast. It is a curtain raiser to a funeral march of terrifying power. The second movement opens with a veritable storm of sound. From this maelstrom emerges a theme that is constantly interrupted, mishandled, and broken by the intrusions of the march, as if several orchestras were vying with each other in warlike power. The Scherzo, the largest movement of the symphony, takes on the appearance of a kermesse and a general dance. The Adagietto was written for strings alone and harp: a “song without words“. The beauty of the slow movement lies in the fact that the theme is never repeated in full. The harmonic friction born of distant tonalities provokes an impression of elongation of time. What could be more innocuous than the few notes in the opening bars of the Rondofinale? This allegro (followed by an allegro giocoso) conceals its true power. Gustav Mahler PLAYLIST (reference recordings) :