{"product_id":"paco232","title":"WALTER Mahler \u0026 Vaughan Williams live in New York (1953) - PACO232","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size:18px;\"\u003e\r\n  \u003cb\u003eMAHLER\u003c\/b\u003e Das Lied von der Erde\u003cbr\u003e\r\n  \u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Fantasia on a Theme by Thomas Tallis\r\n\u003c\/p\u003e\r\n\r\n\u003cp style=\"font-size:12px;\"\u003e\r\n  Live concert recording, 1953\u003cbr\u003e\r\n  Total duration: 74:18\r\n\u003c\/p\u003e\r\n\r\n\u003cp style=\"font-size:16px;\"\u003e\r\n  \u003cb\u003eSet Svanholm\u003c\/b\u003e, tenor\u003cbr\u003e\r\n  \u003cb\u003eElena Nikolaidi\u003c\/b\u003e, contralto\r\n\u003c\/p\u003e\r\n\r\n\u003cp style=\"font-size:16px;\"\u003e\r\n  \u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e\r\n  conducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\r\n\u003c\/p\u003e\r\n\r\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO232.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"release-notes\"\u003e\n\n  \u003cp\u003e\n    Bruno Walter’s relationship with Mahler’s \u003cem\u003eDas Lied von der Erde\u003c\/em\u003e was not merely interpretative but personal.\n    As Mahler’s close associate and trusted interpreter, Walter returned to this work repeatedly across his career, each\n    performance reflecting a slightly different emotional climate. This Carnegie Hall concert from 22 February 1953\n    preserves one of his most compelling late readings: urgent, humane, and shaped with the authority of lived experience.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The performance survives as part of a radio broadcast, and unusually for \u003cem\u003eDas Lied von der Erde\u003c\/em\u003e, the programme opens\n    not with Mahler but with \u003cem\u003eFantasia on a Theme by Thomas Tallis\u003c\/em\u003e. The presence of Vaughan Williams’s \u003cem\u003eFantasia\u003c\/em\u003e is\n    more than incidental. Heard here in close proximity to Mahler’s farewell to life, it sets a reflective, spacious frame —\n    English modal stillness giving way to Mahler’s more restless, questioning voice. In restoring this broadcast, the spoken\n    announcements (fragmentary and incomplete) have been removed, but the Vaughan Williams has been retained and identified\n    as part of the original event.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Walter’s Mahler is distinguished by forward motion and natural speech-rhythm. Tempi are spacious without ever becoming\n    indulgent, and the long paragraphs unfold with a sense of inevitability rather than careful calculation. This is not\n    Mahler as monument, but Mahler as lived drama. Climaxes are allowed to arrive rather than be manufactured, and the quieter\n    passages carry an intensity born of concentration, not restraint.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Set Svanholm’s contribution is particularly striking in this newly restored transfer. Long characterised in earlier issues\n    by a metallic edge, his tenor here emerges with a far more integrated tonal profile. The brilliance remains — necessary for\n    the drinking songs’ biting irony — but the hardness has vanished. What comes through instead is clarity of line, stamina,\n    and an expressive directness that serves Mahler’s alternation between bravado and disillusion with remarkable honesty.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Elena Nikolaidi brings a contrasting strength: centred, steady, and unsentimental. She does not seek an otherworldly aura,\n    but communicates Mahler’s text with gravity and poise. In \u003cem\u003eDer Abschied\u003c\/em\u003e, her long phrases are sustained with calm\n    authority, allowing the movement’s emotional weight to accumulate gradually. The result is a farewell that feels earned\n    rather than consoling — deeply human, and all the more moving for it.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Because this is a live performance, the orchestra plays with a heightened sense of alertness. Woodwind lines flicker in and\n    out of focus, inner voices speak clearly, and tuttis have weight without heaviness. Walter’s control of balance ensures that\n    the singers remain integrated within the orchestral texture, never riding above it, never submerged by it.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Sonically, this restoration represents a decisive reappraisal of the performance. Earlier transfers inevitably reflected the\n    limitations of their time, but here the sound is open, present, and remarkably immediate. There is no residual hum, no veil of\n    age: orchestral colour is vivid, voices are firmly placed, and the dynamic range allows Walter’s long arcs to register fully.\n    What emerges is not merely a “valuable historical document”, but a performance that can be heard on its own musical terms.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    This Carnegie Hall \u003cem\u003eDas Lied von der Erde\u003c\/em\u003e stands alongside Walter’s finest Mahler recordings as a testament to his unique\n    authority in this music. Framed by Vaughan Williams’s \u003cem\u003eFantasia on a Theme by Thomas Tallis\u003c\/em\u003e, it captures a concert\n    occasion of rare coherence and depth — Mahler’s farewell illuminated by a conductor who understood its meaning from the inside.\n  \u003c\/p\u003e\n\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003cdiv class=\"tracklist\"\u003e\n\n  \u003cp style=\"font-size:24px;\"\u003e\n    \u003cb\u003eWALTER\u003c\/b\u003e Mahler \u0026amp; Vaughan Williams live in New York\n  \u003c\/p\u003e\n\n  \u003cp style=\"font-size:18px;\"\u003e\n    \u003cspan style=\"font-size:16px;\"\u003e1.\u003c\/span\u003e\n    \u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Fantasia on a Theme by Thomas Tallis \u003cspan style=\"font-size:14px;\"\u003e(14:41)\u003c\/span\u003e\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size:20px;\"\u003eMAHLER\u003c\/span\u003e\u003c\/b\u003e\n    \u003cspan style=\"font-size:20px;\"\u003e Das Lied von der Erde\u003c\/span\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e2.\u003c\/span\u003e\n    \u003cspan style=\"font-size:16px;\"\u003eDas Trinklied vom Jammer der Erde \u003cspan style=\"font-size:14px;\"\u003e(8:57)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e3.\u003c\/span\u003e\n    \u003cspan style=\"font-size:16px;\"\u003eDer Einsame im Herbst \u003cspan style=\"font-size:14px;\"\u003e(8:41)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e4.\u003c\/span\u003e\n    \u003cspan style=\"font-size:16px;\"\u003eVon der Jugend \u003cspan style=\"font-size:14px;\"\u003e(3:33)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e5.\u003c\/span\u003e\n    \u003cspan style=\"font-size:16px;\"\u003eVon der Schönheit \u003cspan style=\"font-size:14px;\"\u003e(6:28)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e6.\u003c\/span\u003e\n    \u003cspan style=\"font-size:16px;\"\u003eDer Trunkene im Frühling \u003cspan style=\"font-size:14px;\"\u003e(4:36)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e7.\u003c\/span\u003e\n    \u003cspan style=\"font-size:16px;\"\u003eDer Abschied \u003cspan style=\"font-size:14px;\"\u003e(27:22)\u003c\/span\u003e\u003c\/span\u003e\n  \u003c\/p\u003e\n\n  \u003cp style=\"font-size:18px;\"\u003e\n    \u003cb\u003eSet Svanholm\u003c\/b\u003e, tenor\u003cbr\u003e\n    \u003cb\u003eElena Nikolaidi\u003c\/b\u003e, contralto\n  \u003c\/p\u003e\n\n  \u003cp style=\"font-size:18px;\"\u003e\n    \u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e\n    conducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    XR remastered by Andrew Rose.\u003cbr\u003e\n    Recorded live at Carnegie Hall, New York City, 22 February 1953.\u003cbr\u003e\n    Total duration: 74:18.\n  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