What an odd coupling: Mahler's Fourth and Eighth symphonies. One can imagine the First and Second or the Fifth and Sixth or the Ninth and Tenth together, but the Fourth and Eighth stand apart in Mahler's symphonic canon -- apart from everything else and apart from each other. The Fourth is his most lightly scored symphony -- no trombones! -- while the Eighth is his most heavily scored symphony -- it's not called "The Symphony of a Thousand" for nothing. The Fourth is light and witty and floats up to heaven on the wings of a ...
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What an odd coupling: Mahler's Fourth and Eighth symphonies. One can imagine the First and Second or the Fifth and Sixth or the Ninth and Tenth together, but the Fourth and Eighth stand apart in Mahler's symphonic canon -- apart from everything else and apart from each other. The Fourth is his most lightly scored symphony -- no trombones! -- while the Eighth is his most heavily scored symphony -- it's not called "The Symphony of a Thousand" for nothing. The Fourth is light and witty and floats up to heaven on the wings of a song. The Eighth is heavy and earnest and storms the gates of paradise with wave after wave of counterpoint. The Fourth is for fun. The Eighth is for keeps. But whether they belong together or not, Mahler's Fourth and Eighth are joined here in EMI's Great Recordings of the Century series with Klaus Tennstedt leading the London Philharmonic and, in the Eighth, a veritable host of others. Whether the recordings are of Tennstedt's 1983 Fourth and 1987 Eighth rather than, say, his...
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Seller's Description:
Good. Includes disc(s), case, booklet, and back artwork. Case, booklet, and artwork will show moderate cosmetic wear. Disc(s) are professionally cleaned and may contain only light scratches that do not effect functionality.
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