2. Symphony No. 8 in E flat major, "Symphony of a Thousand": Part Two: Final Scene from Goethe's "Faust Part II" (54:21)
Composer Gustav Mahler
Lyricist Anonymous, Johann Wolfgang von Goethe
Conductor Antoni Wit
Performer Barbara Kubiak (Soprano)
Izabella Klosinska (Soprano)
Marta Boberska (Soprano)
Jadwiga Rappé (Alto)
Ewa Marciniec (Alto)
Timothy Bentch (Tenor)
Wojciech Drabowicz (Baritone)
Piotr Nowacki (Bass)
Choir Cracow Polish Radio/TV Chorus
Warsaw National Philharmonic Choir
Cardinal Stefan Wyszynski University Choir
Warsaw Boys Choir
Orchestra Warsaw National Philharmonic Orchestra
Period Romantic
Written 1906; Vienna, Austria
Venue Warsaw Philharmonic Concert Hall
Notes Warsaw Philharmonic Concert Hall (06/01/2005 - 06/06/2005)
This selection is sung in German and Latin.
Disc 2
Part II. Final Scene from Faust
1. I. Poco adagio - 5:44
Orchestra Warsaw National Philharmonic Orchestra
2. II. Piú mosso (Allegro moderato) - 2:57
Orchestra Warsaw National Philharmonic Orchestra
3. III. Wieder langsam. Chor und Echo: Waldung, sie schwankt heran - 4:13
Choir Cracow Polish Radio/TV Chorus
Warsaw National Philharmonic Choir
Cardinal Stefan Wyszynski University Choir
Orchestra Warsaw National Philharmonic Orchestra
4. IV. Moderato. Pater ecstaticus: Ewiger Wonnebrand - 1:28
Performer Wojtek Drabowicz (baritone)
Orchestra Warsaw National Philharmonic Orchestra
5. V. Allegro (Allegro appassionato). Pater profundis: Wie Felsenabgrund mir zu FuBen - 4:27
Performer Piotr Nowacki (bass)
Orchestra Warsaw National Philharmonic Orchestra
6. VI. Allegro deciso (Im Anfang noch nicht eilen). Chor der Engel: Geretet ist das edle Glied der Geisterwelt - 0:52
Performer Jadwiga Rappe (alto)
Barbara Kubiak (soprano)
Choir Polish Radio Choir-Choir
Warsaw Boys Choir-Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
7. VII. Molto leggiero. Chor der jüngeren Engel: Jene Rosen aus den Händen - 1:45
Performer Jadwiga Rappe (alto)
Barbara Kubiak (soprano)
Choir Polish Radio Choir-Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
8. VIII. Schon etwas langsamer und immer noch mäßiger - Wie die gleiche Stelle im I. Teil. Die vollendeteren Engle: Uns bleibt ein Erdenrest - 2:10
Performer Jadwiga Rappe (alto)
Barbara Kubiak (soprano)
Ewa Marciniec (alto)
Timothy Bentch (tenor)
Choir Polish Radio Choir-Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
9. IX. Im Anfang (die ersten vier Takte) nochetwas gehalten. Die jüngeren Engel: Ich spür' soeben nebeind um Felsenhöh' - Doctor Marianus: Hier ist die Aussicht frei - Freudig empfangen wir - 1:08
Performer Jadwiga Rappe (alto)
Barbara Kubiak (soprano)
Timothy Bentch (tenor)
Choir Polish Radio Choir-Choir
Warsaw Boys Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
10. X. Sempre l'istesso tempo. Doctor Marianus: Höchste Herrscherin der Welt! - 4:28
Performer Timothy Bentch (tenor)
Choir Polish Radio Choir-Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
11. XI. Äußerst langsam. Adagissimo: Dir, der Unberührbaren. Chor der Büßerinen und Una poenitentium: Du schwebst zu Höhen der ewigen Reiche - 3:50
Performer Barbara Kubiak (soprano)
Choir Polish Radio Choir-Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
12. XII. Fließend. Magna Peccatrix: Bei der Liebe, die den Füßen - 0:55
Performer Izabela Klosinska (soprano)
Orchestra Warsaw National Philharmonic Orchestra
13. XIII. Mulier Samaritana: Bei dem Bronn, zu Demm schon weiland - 01:24
Performer Jadwiga Rappe (alto)
Orchestra Warsaw National Philharmonic Orchestra
14. XIV. Maria Aegyptiaca: Bei dem hochgeweihten Orte - 2:33
Performer Ewa Marciniec (alto)
Orchestra Warsaw National Philharmonic Orchestra
15. XV. Una poenitentium: Neige, neige, du Ohnegleiche - 0:52
Performer Barbara Kubiak (soprano)
Orchestra Warsaw National Philharmonic Orchestra
16. XVI. Unmerklich frischer werden. Selige Knaben: Er überwächst uns schon - Vom edlen Geisterchor umgeben - 3:26
Performer Izabela Klosinska (soprano)
Choir Polish Radio Choir-Choir
Warsaw Boys Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
17. XVII. Sehr langsam. Mater Gloriosa: Komm! Hebe dich zu höhern Sphären!. Hymnenartig (Ungefahr im selben Zeitmaß weiter). Doctor Marianus: Blicket auf zum Retterblik, alle reuig Zarten - 8:09
Performer Marta Boberska (soprano)
Timothy Bentch (tenor)
Choir Polish Radio Choir-Choir
Warsaw Boys Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
18. XVIII. Sehr langsam beginnend. Chorus mysticus: Alles Vergängliche ist nur ein Gleichnis - 6:25
Performer Barbara Kubiak (Soprano)
Izabella Klosinska (Soprano)
Marta Boberska (Soprano)
Jadwiga Rappé (Alto)
Ewa Marciniec (Alto)
Timothy Bentch (Tenor)
Wojciech Drabowicz (Baritone)
Piotr Nowacki (Bass)
Choir Polish Radio Choir-Choir
Warsaw Boys Choir
Cardinal Stefan Wyszynski University Choir
Warsaw National Philharmonic Choir
Orchestra Warsaw National Philharmonic Orchestra
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Review
Described by the composer as his "gift to the whole nation", Mahler's Eighth Symphony has had an equivocal reception even judged by the standards of his symphonies as a whole. Coming after three purely orchestral symphonies, each with its distinctive and provocative take on triumph and adversity, it might seem a throwback to his second and third symphonies, with their quirky though compelling hybrid of symphony and … Show entire textcantata. Yet the Eighth Symphony, in many respects, is the most integrated and organic symphony that Mahler had yet attempted - the result, in large part, of a genesis whose sheer suddenness and rapidity took even its composer by surprise. (Classics Today 10/10.)
주변이 희부옇게 밝아오는 느낌에 잠에서 설핏 깨어났습니다. 창밖에는 새들의 높고 낮은 지저귐. 이어 아득히 산과 산 사이에 메아리치는 나팔 소리. 멀리서 쿵, 하고 대포 소리 같은 것이 들렸습니다.
정신이 맑아지기는커녕 혼란스러워졌습니다. “이 느낌, 굉장히 익숙한데, 언젠가 경험한 것 같아.” 깨닫는 데 오래 걸리지 않았습니다. 구스타프 말러의 교향곡 1번 1악장 서두에 이 모든 소리의 풍경이 차례로 등장하기 때문입니다. 새소리를 묘사하는 목관, 무대 뒤에서 부는 나팔 소리, 쿵 하는 소리.
여관 주인에게 물었습니다. “쿵 하는 소리 뭐였죠?” “오늘 노동절이잖아요. 축포 소리예요.” “나팔 소리는요?” “노동절 퍼레이드의 금관 합주죠.” 바로 11년 전 5월 1일, 오스트리아의 할슈타트 호반이었습니다.
오늘날 전 세계의 음악회장에서 베토벤과 맞먹는 인기를 누리는 구스타프 말러. 그는 예술적 야망이 무척 컸습니다. 그는 “교향곡은 세계를 담아야 한다”고 말했습니다. 음악으로 표현 못할 것은 없어야 한다는 것이 당대의 시대정신이기도 했지만, 그는 세계의 모든 것이 자신의 작품 목록에 고스란히 담겨야 한다고 믿었습니다.
말러는 1번 교향곡 개정판을 발표한 1893년, 할슈타트 호에서 멀지 않은 아터 호반에 작업실을 냈습니다. 그는 높은 산과 호수가 어울리는 이 지역의 풍광을 평생 사랑했습니다. 휴일 호반의 새벽에 느낀 모든 것을 그는 교향곡 1번 서두에 집어넣었고, 우연하게도 제가 5월의 어느 날 그것과 똑같은 세계를 귀로 느꼈던 것이 아닌가, 생각해 봅니다.
교향곡 1번의 서두 부분에서 더욱 흥미로운 것은 곡이 시작되자마자 등장하는 현악의 높은 A음입니다. 신경의학자들은 이를 “외부의 모든 소리가 사라졌을 때, 한밤중이나 새벽에 귀가 느끼는 높은 주파수의 소리”를 나타낸다고 설명합니다. 이 소리에 이어 아침 풍경의 묘사가 등장하는 것을 보아도 이 부분은 아무런 청각적 자극이 없는 새벽을 나타낸다는 분석은 자연스럽습니다. ‘신호 없음’까지 소리로 표현할 정도로 말러는 정밀한 세부 묘사에 집착했나 봅니다.
말러의 예술적 야망은 1000명 가까운 연주자가 등장한다고 해서 ‘천 인의 교향곡’으로 불리는 교향곡 8번에도 나타납니다. 그는 지인에게 보낸 편지에서 “이 곡은 우주가 울리는 소리를 담고 있다”는 자부심을 드러냈습니다. 자기도취로선 스케일이 천문학적인 셈이죠. 그런 자존감이 오늘날 그를 숭배하는 수많은 ‘말러리안’을 낳은 것이 아닐까요.
유윤종 gustav@donga.com
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Warsaw Philharmonic Choir
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Warsaw Boys Choir
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Warsaw Philharmonic Orchestra
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Warsaw National Philharmonic Orchestra |