专辑名：Mahler Symphony No. 8
演奏乐团：London Symphony Orchestra
发行版本：B&W / LSO (N/A)
作品完成于1906年，又称为《千人交响曲》。这是因为乐曲需要编制极为庞大的管弦乐队与人数众多的合唱团。也就是说在演奏时, 需要动用近千人。马勒的交响曲自《第七号》, 都是属于接近纯乐器的古典形态；而到这首《第八号》，却再度回到了清唱剧型。
乐曲大致由第一段和第二段所构成，第二段又可分为慢板、诙谐曲、终曲三个部分。因为第一段采取的是奏鸣曲形式，所以与通常的四乐章交响曲形态并没有很大的差别。而且，为了使全曲不致流于散漫，将全曲保持动机性、主题性的关联，因此其结构十分紧凑而完整。这部作品使交响曲不管在音乐上、或是内容上，甚至形式上，都迈出了创新的一步，并几乎达到了极限。最初在马勒的构想里，这部作品是四个乐章的交响曲，后来又取消了中间的诙谐曲与慢板两个器乐的乐章，遂变成由两段构成的乐曲。 第一段：“主啊，予万物以生息”，是一首第九世纪的赞歌，双重合唱和乐队演奏的作品。 第二段：“浮士德的最后一幕”,交响诗，合唱与乐队的作品。
There is a particular challenge to recording Mahler's 8th Symphony anywhere. Recording it in St Paul's Cathedral adds a further dimension. The essence of the challenge is to capture the huge scale of the work while at the same time giving proper weight to the intricate inner detail essential to its musical structure. All this in a form that allows both scale and structure to be appreciated by the domestic listener.
The decision to perform and record the 'Symphony of a Thousand' in St Paul's Cathedral required some nerve. A few months before the scheduled performances - as part of the City of London Festival - we took Valery Gergiev to St Paul's to give him an idea of what he was letting himself in for. We walked in on a bright spring morning and Gergiev was shocked. 'Oh my god - is this possible?' was the essence of his reaction.
But, as the musical world well knows, Gergiev is not one to duck a challenge. Once over the initial shock he quickly understood the potential the building offered for an extraordinary event and involved himself in the planning, looking for an orchestral, choral and soloist layout which would, on the one hand convey the complex scale of the work and on the other allow him the best contact with the performers.
St Paul's is famous for an acoustic that rolls on into the middle of next week. Gergiev realised immediately that the way to build a great performance was to work with the acoustic rather than try to tame it.
The best way to work with the acoustic was to follow rigorously the dynamic road map provided by Mahler in the score. Mahler - the master orchestrator - had already foreseen the problems and provided the means of solving them.
The challenge for the recording crew was similarly to find a way of working with the acoustic of St Paul's to recreate the ideal balance between the monumental and the intimate. This involved not just recording an exceptional performance of the symphony but also capturing a sense of the astonishing space in which it was performed.
Studio Files Received in FLAC Format 24bit / 48KHz (Studio Master)
>>>> Merged to single FLAC file
>>>> Cue Sheet Created in Foobar2000
Artwork files as received from Studio
Format: EAC, FLAC, CUE, LOG, Covers in PDF 24bit/48KHz
Original Release by Leffe.
Part I Hymnus:
i. Veni, creator spiritus
ii. Imple superna gratia
iii. Infirma nostri corporis
iv. Accende lumen sensibus
v. Veni, creator spiritus
vi. Gloria Patri Domino
Part II Final Scene from Faust:
i. Poco adagio
ii. Ewiger Wonnerbrand
iii. Wie Falsenabgrund mir zu Füßen
iv. Gerette ist das edle Glied
v. Uns bleibt ein Erdenrest
vi. Höchste Herrscherin der Welt!
vii. Dir, der Unberührbaren
viii. Bei der Liebe, die den Füßen
ix. Neige, neige, du Ohnegleiche
x. Komm! Hebe dich zu höhem Sphären
xi. Blikket auf
xii. Alles Vergängliche