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[수입] 말러 : 교향곡 9번 [2CD]
말러 (Gustav Mahler) 작곡, 발터 (Bruno Walter) 지휘, 콜롬비아 / SONY CLASSICAL / 2010년 3월
평점 : 
품절
최신 연주 실황 녹화로 지난번 1악장만 감상했던, 헤르베르트 블롬쉬테트(지휘) / NHK 심포니의 말러 교향곡 9번 전곡 감상의 기회를 가졌습니다.
말러 전문가 김문경님의 해설로 같이 했습니다. 소멸의 미학, 평화에서 소멸로 나아가는 교향곡 이라고 설명하셨습니다. 애이불비의 뉘앙스 만들기가 어려운 교향곡, 단체 줄넘기가 어려운 것과 같은 이유로서의 연주가 어려운 교향곡이라고 하셨습니다. 1악장은 평화에서 침공, 난리, 소멸로 끝나는 구조, 2악장은 천박함의 춤곡과 죽음의 무도, 3악장은 포스트모더니즘적 이질적 재료의 혼합, 4악장은 조용한 소멸, 브루크너풍, 장엄한, 찬송가풍, 아름다운 소멸, 연인과의 소멸 이라고 말씀해 주셨고, 곡 끝나고 나서 조용한 적막함의 지속시간이 감상자들의 수준을 보여준다는 설명이 있었습니다.
위키피디아 자료에 의하면, (http://en.wikipedia.org/wiki/Symphony_No._9_(Mahler))
말러는 당시 신예 아방가르드(전위)의 기수였다(쇤베르크가 가장유명함), 그는 과거표준을 지향하는 입장과 새로운 무조성 음악의 작곡가로 인식되는 것 사이에서 어려운 상황이었다. 9번 교향곡의 1악장은 특히 화성의 안정과 불안정을 그리고 있다.
(The Symphony No. 9 by Gustav Mahler was written in 1908 and 1909, and was the last symphony that he completed.
Mahler was at this time a champion of the emerging avant-garde movement, most notably Arnold Schoenberg, and this placed him in a difficult situation as the standard-bearer of the past while being acutely aware of the future of music (and in particular, atonality) opening up before him. The first movement of the Ninth in particular depicts this struggle between tonal stability and instability.[vague])
Jason Khogsenfield같은 학자는 이 곡 9번 교향곡과 차이콥스키의 6번 교향곡 사이의 감정적 범위의 유사성에 대한 강한 의견을 보유하고 있습니다. 왜냐하면 두곡 모두 1악장에서 자서전적인 서사, 비극을 통한 폭풍같음, 그리고 2악장에서는 춤곡, 3악장에서는 빠른 정신없는 빙빙돌기, 회상, 그리고 4악장에서는 삶과의 이별을 나타내기 때문이라고 말합니다.
(Although the symphony has the traditional number of movements (four) it is unusual in that the first and last are slow rather than fast. As is often the case with Mahler, one of the middle movements is a ländler. Some scholars, such as Jason Khogsenfield, hold strong opinions about the similarity of the emotional scope between the the 9th symphony and Tchaikovsky's Symphony No. 6, for both consider the 1st movement as an epic, autobiographical storm through the tragedies, the 2nd movement as a dance, a third movement of fast, manic spin (along with flashbacks), and the finale as a farewell to life itself.)
제1악장은 느슨한 소나타 구조로, 어떤 사람들은 그것이 삶과 죽음의 요소들간의 확장된 갈등으로 구성되있다고 생각합니다.
이 작품은 주저함, 멈춤 으로 시작하는데 중간중간 멈추는 소재, 번스타인과 같은 사람들은 이것을 말러의 불규칙한 심작박동의 묘사라고 말합니다.
그리고 주된주제는 베토벤 피아노 소나타 26번 고별(작별) 을 참조했는데 이것은 말러가 대학 졸업 리사이틀에서 이곡을연주한 경력에서 우연한 것이라고 말합니다.
The first movement embraces a loose sonata form. Some think it consists of an extended conflict between the elements of life and death[original research?], here corresponding to major/minor and providing a continuation of the tonal juxtaposition displayed in earlier works (notably the Sixth and Seventh symphonies). The work opens with a hesitant, syncopated motif (which some, including Leonard Bernstein, have suggested is a depiction of Mahler's irregular heartbeat), which is to return at the height of the movement's development as a sudden intrusion of "death in the midst of life", announced by trombones and marked within the score "with the greatest force". Moreover, the main theme also quotes the opening motif of Beethoven's Piano Sonata No. 26 "Les Adieux", Op. 81a, which coincidentally marked a turning point in Mahler's early musical career as he performed "Les Adieux" during his graduation recital in college.[citation needed] This is the descending F#-E second which is resolved only at the end of the movement.
The second movement is a dance, a ländler, but it has been distorted to the point that it no longer resembles a dance. It is reminiscent of the second movement of Mahler's Fourth Symphony in the distortion of a traditional dance into a dance of death. For example, Mahler alters traditional chord sequences into near-unrecognizable variations.
The third movement, in the form of a rondo, displays the final maturation of Mahler's contrapuntal skills. It opens with a dissonant theme in the trumpet which is treated in the form of a double fugue. The following five-note motif introduced by strings in unison recalls the second movement of his Fifth Symphony. The addition of Burleske (a parody with imitations) to the title of the movement refers to the mixture of dissonance with Baroque counterpoint. Although the term "Burlesque" means "humorous", the actual "humor" of the movement is relatively small compared to the overall field of manic violence, considering only two small neo-classical sections that appear more like a flashback than playfulness. The autograph score is marked "to my brothers in Apollo" and the movement may be intended as a sarcastic response to the critics of his music at the time.[original research?]
The final movement, marked zurückhaltend ("very slowly and held back"; literally, "reservedly"), opens for strings only. Commentators [1] have noted the similarity of the opening theme in particular to the hymn tune Eventide (familiarly sung as Abide with Me). But most importantly it incorporates a direct quote from the Rondo-Burleske's middle section. Here it becomes an elegy. After several impassioned climaxes the movement becomes increasingly fragmented and the coda ends quietly.
4악장 마지막 페이지에서 말러는 그의 죽은아이를 그리는 노래에서 제1바이올린 선율을 가져옵니다.
On the closing pages, Mahler quotes in the first violins from his own Kindertotenlieder: The day is fine on yonder heights.
이작품9번은 여러해동안 세상과의 이별을 인식하는 곡으로 해석되었으나, 10번 교향곡 원고가 발견됨으로써 잘못된 해석으로 판명났습니다.
Mahler died in May 1911, without ever having heard his Ninth Symphony performed. The work's ending was for many years interpreted as being a self-conscious farewell to the world—until increased knowledge of the draft of the unfinished Tenth S
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블롬슈테트 연주와 관련하여
제가느낀 간단한 감상은 1악장은 절제, 부조화속 아름다음, 2악장 익살스런 고요한 진행, 3악장 장중함, 불협화음, 4악장 기이한 멈춤으로 느꼈습니다.