GUSTAV MAHLER, SYMPHONY N. 1 IN D MAJOR, TITAN - Symphony Orchestra of the Conservatory C. Pollini of Padua

GUSTAV MAHLER, SYMPHONY N. 1 IN D MAJOR, TITAN ( CVLD304 )

Author : Gustav Mahler
Performer : Symphony Orchestra of the C. Pollini Conservatory of Padua

Available in: HD File, CD

Traces

1 - Langsam, schleppend, 4.40pm
2 - Kraftig bewegt, doch nicht zu schnell, 7:32
3 - Feirlich und gemessen, ohne zu schleppen, 11.11am
4 - Sturmisch bewegt - Energisch 9.20pm

total time: 56:44

Symphony Orchestra of the C. Pollini Conservatory, conductor Giuliano Medeossi

24bit / 88.2kHz original live recording made at Auditorium Pollini, Padua, March 25, 2018

Production: Velut Luna and Conservatorio C.Pollini of Padua
Executive Producer: Marco Lincetto
Rec ording and Balance Engineer: Marco Lincetto
Musical Consultant: Mattia Zanatta
Mix and Mastering Engineer: Marco Lincetto
Cover photo: Marco Lincetto

NOTES ( by Leopoldo Armellini, director of the C.Pollini Conservatory )

The decision to perform Mahler's Symphony No. 1, "Titan," was difficult, but not excessively so. Certainly, the desire to tackle a piece from the great symphonic repertoire—well-known, musically complex, and technically challenging—prevailed. The risk of appearing both presumptuous and inadequate was dangerously looming. But be that as it may, temerity prevailed, and it was right that it should be so, even from a purely educational perspective. Performing "Titan" significantly raised the bar for the students called upon to compose a 100-piece symphony orchestra. However, had the performance been even adequate, it would have represented a milestone for the young orchestra members, ideally establishing a before and after "Titan." So, starting from the end, I'll never forget the students' eyes after the concert: 50 incredibly tense minutes, from start to finish, never once slacking in concentration, not even for a second indulging in self-congratulatory reflections after having mastered a difficult passage. None of this occurred, and the students noticed, because from their expressions, you could see that musically, and perhaps even humanly, they had made a leap. It was as if at that point nothing could be impossible for them, considering the starting point of the first rehearsals, those for the orchestral sections.
I believe that a good portion of the orchestra believed that Il Titano would not actually be performed, that after the first rehearsals, the Orchestral Rehearsal Teacher, Giuliano Medeossi, would have said: "Well, guys, let's go back to Viennese classicism, it's better!" And yet, day after day, bar after bar, the point of no return was reached, when the common realization that "it can be done!" It can't be said to have been easy; it was very complicated, especially because, since the performers were students (often even high school or university students), it was impossible to require everyone to be present simultaneously on every day of rehearsals. In this, the Teacher was a true magician, or rather, an alchemist: with what he had at his disposal, day after day, he built a sonic cathedral of incredible beauty.
The performance was a source of intense emotion. From the stalls, at times, you could clearly hear the audience breathing with the orchestra, and the level of empathy, thanks also to the splendor of the music, was such that many spectators found themselves in tears at the end of the performance. The CD of "The Titan" performed by the Padua Conservatory Symphony Orchestra is not for listeners who demand Euclidean perfection. To those, I recommend purchasing a studio-recorded version, with hundreds of cuts and inserts. This is a live performance and is clearly audible, including the dragging of a chair by a performer, which curiously sounds like the off-beat attack of a horn. However, since the person telling you this story is a veteran orchestral musician who has endured many battles, I can assure you that the dynamics (piano-forte excursion), the colors, the timbre, and the overall energy expressed by the orchestra are absolutely captivating and moving. The inaccuracies (admittedly few) are contained and absorbed by an overall context of intense involvement and emotion. Furthermore, for anyone who wants to check, you can listen to less-than-perfect performances by renowned orchestras on YouTube. So, this album has a purpose. First, to nurture a hundred extraordinary young people, and second, to allow a wider audience to experience the unforgettable emotion of an evening—that of March 25, 2018—which will remain in the hearts and memories of all those who attended the "C. Pollini" Auditorium in Padua.