Mahler Symphony No. 5 Hartmut Haenchen

Cover Mahler Symphony No. 5

Album Info

Album Veröffentlichung:


Label: PentaTone

Genre: Classical

Subgenre: Orchestral

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  • 1I. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt - Plotzlich schneller...12:26
  • 2II. Sturmisch bewegt. Mit grosster Vehemenz - Bedeutend lamgsamer - Tempo I subito14:40
  • 3III. Scherzo: Kraftig, nicht zu schnell17:07
  • 4IV. Adagietto: Sehr langsam08:54
  • 5Rondo - Finale: Allegro14:46
  • Total Runtime01:07:53

Info zu Mahler Symphony No. 5

Mahler’s symphonic output is in one sense much smaller than, say, Mozart’s: 11works (including Das Lied von der Erde and the unfinished Tenth Symphony), compared with about 50. But if you multiply those numbers by the respective durations of the two men’s works, the result is two roughly equal figures, and if the size of Mahler’s orchestral forces and the complexity of his textures are taken into account, it can be seen that in purely quantitative terms there is a lot more symphony here. - The Fifth Symphony is a characteristic though not extreme example of Mahler’s symphonic scale, and the formidable group of tempo and expression markings that heads the movements is typically Mahlerian in its mixture of German and Italian terms. The list suggests, moreover, an overall structure very different from that of earlier symphonies. Here the divisions are laid out according to two distinct lines of demarcation: there are five movements, yet three parts.

The central scherzo ('Powerful, not too fast') stands alone. The outer segments comprise two movements each, slow followed by fast in both cases. In Part I a solemn funeral march ('With measured tread; rigorous, like a cortege') leads into a strident quick movement ('Stormily agitated; with the greatest vehemence'). Part III correspondingly links an exquisite Adagietto, or 'little Adagio' (marked 'Very slow'), for strings and harp with a cheerfully energetic rondo. – In one sense this scheme can be regarded as a gigantic expansion of a regular three-movement structure, with each of the outer quick movements preceded by a slow introduction. That formulation has its validity, and it is useful insofar as it underlines the new trend exemplified by this first of Mahler’s middle-period symphonies: the trend toward concentration rather than expansion. Its three immediate predecessors had all, in one way or another, modified the four-movement pattern of the First Symphony’s final version. (Bernard Jacobson)

“Haenchen produces an unprecedented robust fierce and vehement Fifth, in many places overwhelmingly intensified” (Kasper Jansen, NRC Handelblad)

'Very nice dynamics, and a lovely variation in tempo that never drags or goes too fast. I can confidently recommend this album” (Vonwegen,

Netherlands Philharmonic Orchestra
Hartmut Haenchen, conductor

Live recording
Recorded at Enregistrement, Amsterdam, The Concertgebouw, 3/2001
Recording producer: Erdo Groot
Balance engineer: Erdo Groot
Recording engineers: Roger de Schot, Taco v.d. Werf, Dirk Fischer

high intellect and musical integrity have secured his place in the forefront of musical life. Born in Dresden and raised in the post-war German Democratic Republic.

Despite the severe restrictions imposed by the former East German regime, Haenchen was granted special permission to work with the West’s finest ensembles, including the Berlin Philharmonic and the Concertgebouw Orchestra

His career was reborn when in 1986 he moved to the Netherlands. A new public welcomed his interpretative genius, and he was appointed Music Director of both the Netherlands Philharmonic and De Nederlandse Opera. His breadth of experience and depth of understanding have won respect, while audiences have warmed to the humanity of his interpretations. He is particularly renowned and respected for his readings of works by Richard Strauss, Wagner and Mahler.

In October 2008 he was awarded the Federal Cross of Merit of the Republic of Germany, in recognition of his outstanding contribution to music and the arts.

Haenchen recently conducted important Mahler and Strauss projects with the Orchestre du Théâtre Royal de la Monnaie and the Royal Stockholm Philharmonic Orchestra. In Japan he will be working with the Yomiuri Nippon Symphony Orchestra. The conductor enjoys ongoing relationships with many orchestras worldwide. He regularly appears with, among others, the Stockholm Philharmonic, the Oslo Philharmonic, the Montreal Symphony Orchestra, the Japan Philharmonic, the Netherlands Philharmonic, the Tonhalle Orchestra Zurich, the Gewandhaus Orchestra, the Dresden Staatskapelle, the WDR Symphony Orchestra Cologne, the Orchestre Philharmonique de Radio France, the Orchestre National de France and the Orchestre de Paris.

The Netherlands Philharmonic Orchestra
and its partner the Netherlands Chamber Orchestra together constitute the Stichting Nederlands Philharmonisch Orkest. These two leading orchestras are the principal orchestras for the productions of De Nederlandse Opera in Het Muziektheater in Amsterdam. The two orchestras present regular concert series in the Amsterdam Concertgebouw alongside their operatic commitments; they are welcome guests in other Dutch cities and also make frequent appearances in concert halls and festivals outside Holland. The NedPhO|NKO brings classical music to life at the highest level and collaborates closely with international guest soloists and conductors. Both orchestras take great pleasure in developing and welcoming new musical talent. As of the start of the season 2011/2012, Marc Albrecht is the chief conductor of the Netherlands Philharmonic Orchestra; the artistic director and concertmaster of the Netherlands Chamber Orchestra is master violinist Gordan Nikolić.

Two of the NedPhO|NKO’s most important trademarks are their inviting programming and their accessible concert presentation. Everyone feels welcome at a NedPhO|NKO concert, experienced concert-goers and first-timers alike. The musicians guarantee exceptional listening experiences thanks to the enthusiasm with which they share their passion for music with the audience. The orchestras’ concerts also form the basis for related events, including opportunities for audience members to meet soloists and orchestral players.

The NedPhO|NKO is well-known for its active involvement in cultural and social matters. Its large-scale educational programme NedPhO GO! brings classical music within everyone’s reach: the performances they give in unusual venues in the suburbs are combined with appealing educational activities for children and young people. The musicians of the NedPhO|NKO acknowledge their responsibility towards the future of classical music by passing on their passion for music and its live performance to a new generation; their concerts kindle an enthusiasm for classical music and at the same time create an entirely new audience.

Booklet für Mahler Symphony No. 5

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