Mahler: Symphony No. 6 [DVD Video] | ![Mahler: Symphony No. 6 [DVD Video]](http://ecx.images-amazon.com/images/I/51czzKZiQ2L._SL160_.jpg)
 enlarge | Studio: Euroarts
Category: DVD
List Price: $28.98
Buy New: $18.53
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Rating:  8 reviews
Sales Rank: 46344
Format: Classical, Color, Dvd-video, Widescreen, Ntsc
Language: English (Original Language)
Rating: NR (Not Rated)
Region: 1
Discs: 1
Aspect Ratio: 1.77:1
Number Of Discs: 1
Running Time: 89 Minutes
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 2055648
UPC: 880242556486
EAN: 0880242556486
ASIN: B000Q7ZKVG
Theatrical Release Date: June 4, 2007
Release Date: June 26, 2007
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Brand new Item. CD, DVD, Book, VHS more than 400 000 titles to choose from. ALL days Low Price !
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| Customer Reviews: Read 3 more reviews...
A good time was had by all ! July 27, 2008
Mr John Haueisen (WORTHINGTON, OHIO United States)
2 out of 3 found this review helpful
Don't let the subtitle "Tragic" make you think less of this Mahler symphony. Many Mahler enthusiasts agree that it is "tragic" only in the sense that, despite all our successes, sufferings and trials in life, mortality will claim us in the end.
Abbado and the Lucerne Festival Orchestra do it again, turning in the best performance of Mahler's Sixth since Leonard Bernstein did it decades ago. For those familiar with Mahler's Sixth, yes, this includes two devastating hammerblows with a large wooden mallet and a resonating wooden box--finally hammerblows approaching the huge mallet used by Leonard Bernstein. I could rave on about how clearly you can see and hear each instrument as it plays its part in this giant symphony, but you can see it for yourself in this DVD. The editors and cameramen (and camerawomen) have done their work well in directing us to each performer as his instrument carries the theme.
You don't need my word for it. Watch it, and you'll see the delight in the faces of the timpanist, Raymond Curfs or flautist, Jacques Zoon. Their joy at participating in such a magnificent work is not something they can hide. A good time was had by all, and you can join in too.
Gustav Mahler: Symphony No. 6 April 3, 2008
Mr Bassil A MARDELLI (Riad El-SOLH , Beirut Lebanon)
13 out of 13 found this review helpful
Number six is a "Tragic Symphony" but Mahler wrote it during one of the happiest periods in his life. He had married the young (20 years his junior) and beautiful Alma Maria Schindler in 1902. Their first daughter was born later that same year, a second daughter followed in 1904. Mahler, in his mid forties, was in good health.
Perhaps, at times, musical work of tragic character is not directly related to the mood of the writer. Here a tragic symphony is no more identifiable with the life of the composer than the first person actor of a novel or narrator of a poem is related with its author.
The interpretation shown in this DVD is great. Claudio Abbado feels it entirely, despite his illness he has been less tragic and more poetic, pleasing, with obvious nobility of conception.
Bravo....
Yes, magnificent August 1, 2007
Dr. J. J. Kregarman (Denver, Colorado United States)
12 out of 14 found this review helpful
There are several reasons to purchase this DVD, even if you, as I, have other versions of the 6th at home: the interpretation is first rate, the playing impeccable, the sound extremely good, and visually it is stunning.
The DVD captures the atmosphere of the live concert July 11, 2007
St. Ives (Southern Calfornia)
5 out of 5 found this review helpful
Thursday,August 10th and Friday, August 11th, 2006 the LFO performed the Mahler 6th. Euroarts cameras broadcast the concert to attendees in a park adjacent to the KKL, the venue, on Lake Lucerne the first night. The concert was aired on Swiss radio simultaneously. (Why aren't we so lucky as to enjoy this with Festival concerts in the US?) The video appears to be the second, Friday night concert. Both were enthusiastically received. Abbado and his brigade were in great form both nights.
Abbado's Mahler is literate, dramatic, but not hysterical, and though I might want to be rollicked by say, Bernstein's performance with the VPO on a special occasion, or would perhaps prefer the painful, spare stridency of Kubelik's pioneering stereo recording from 1966 on DG CD, or might hope for the buzzy bombast of Solti's outstanding CSO recording from 1969-1970 early in his CSO marriage on one occasion or another, this is a performance, deliberate in its sobriety, to live with. Uncommon here is the current fashion to place the adagio before the scherzo, an effect easily reversed by DVD player programming if so desired. It is well measured, but not slow. It is well thought out, spare, emotionally charged but not megalomaniacal, perceptively interpreted by many of Abbado's chosen friends from decades of music making around Western Europe and the UK. Suffice to say the audience appropriately received both evenings of splendid music making, taking particular note of Abbado's new found desire to hear the silence of music making, with not a sound uttered for many seconds after the work had ended.
The KKL, a wonderful relatively small concert hall, is a perfect venue for the Lucerne Festival and all I can say again, is "Bravo." Having been in the audience both nights, sixth row, right of center, I can say that the DVD captures both the intimate atmosphere and excitement of the performance to a tee. A wonderful document.
This August 18th and 19th, beginning at 6:30 PM, it looks like it will be the Mahler's 3rd Symphony, with Anna Larsson, Mezzo Soprano, the LFO, the Women's Voices of the Arnold Schoenberg Choir, Vienna, the Tolzer Knabenchoir, and again, Claudio Abbado. Stay tuned.
Wonderful Mahler, Wonderful Lucerne Festival Orchestra, Bravo Abbado! July 7, 2007
DAVID A. FLETCHER (Richmond, Va United States)
39 out of 41 found this review helpful
I have to say there was one central thought running through my head as my first hearing/viewing of this terrific new installment of the Abbado/Lucerne/Mahler cycle poured out of my speakers and screen: what a truly fine orchestra this is! I mean...truly! They started out terrific from the moment of maestro Abbado's reconstitution of the organization some years back. They were--and are--hand-picked by Abbado, from both the Berlin Philharmonic and assorted world-renowned chamber groups and instrumentalists. Every year, with every performance, the group has consistently refined and enhanced its signature "sound," which has--to Abbado's credit--survived various and sundry recording balances. To describe it to someone coming to this series for the first time, the effect is something like a magical blend of those elements of the BPO and, say, the LSO, that find themselves complimentary. Let's call it BPO "heft," and LSO "finesse," to complete the point. The strings alone have the old Berlin suavity of the Karajan era, but with a much more careful delineation of texture and attack. Brass--inlcuding those all-important solo moments from trumpet to tuba--are wonderfully present yet firmly integrated into the mix. Wind color is beautifully caught, with consistently spot-on intonation. The ensemble reacts with chamber orchestra quickness to every nuance of Abbado's gestures, grimaces, or smiles.
So, what of Mahler? To be fair, I personally might have wanted just a bit more menace a la Bernstein (oh, I can hear the cat-calls now...but no matter), but the beauty of the playing clearly carries the day. The pacing of the opening tread is near ideal, neither rushed nor ponderous. The alpine cowbells make their presence known subtly but clearly, and the accompanying breeze of string chimera has the requisite magic to complete the effect. And speaking of strings, those wonderful Lucerne strings, the second movement Andante is (and you hate to say this when discussing Mahler) to die for. That yearning, burnished tone that is so echt-Mahler is fully realized. The Scherzo--played as you've guessed in third position, which bothers some (but not me)--is terrifically characterized in the classic scherzo sense. It is a macabre, sometimes sinister, sardonically playful joke of a movement, taunting our Tragic Hero with shallow brass guffaws. It's the "Laendler of Death." Skeletal xylophone accents, insistent tympany, all propelled by string rhythms that carry more than a hint of Old Scratch.
If the opening seems to hang fire just a tad, the Finale. Allegro. is the intended beneficiary. Abbado clearly aims the narrative arc of Mahler's creation to the hope-against-hope yearning of the symphony's concluding half hour. The panoply of emotion is written all over Abbado's face, with each smiling, soaring cycle of the violins' big tune, only to be crushed each time by the earth-shattering hammer blow (theatrically shot and stunningly recorded) and its attendant brass pronouncement. Abbado is clearly both overcome and drained by the experience, and has to visibly collect himself for several moments after the final notes have sounded and his baton has dropped. Mahler's "Tragic" symphony is a journey to that land where the end is not a happy one, we know that it won't be, and yet we rail against it each step of the way. To this end, Mahler has found a champion in maestro Abbado, whose personal tragedy and triumph clearly indicate just how close to home the weight of this music strikes.
Abbado himself looks good, his life-threatening illness now held at bay. The orchestra visibly adores its music director, and the affair is mutual. The Lucerne Festival audience cleary realizes just how special each Abbado/LFO occasion is, and the warmth of their response is almost akin to what you experience with a Vienna Philharmonic New Year's concert. We can only hope that health and good fortune continue to come the way of Abbado and the Lucerne Festival, and that his reputation as one of Mahler's greatest living champions is embellished with future performances and releases in this landmark cycle.
David Fletcher
Richmond, VA
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