试听
目录
| # | 曲目 | 时长/大小 |
|---|---|---|
|
1 |
Symphony No. 5 in C Minor, Op. 67 (re-orchestrated by G. Mahler)：I. Allegro con brio | 00:06:51 28M |
| 2 | Symphony No. 5 in C Minor, Op. 67 (re-orchestrated by G. Mahler)：II. Andante con moto | 00:08:55 27M |
| 3 | Symphony No. 5 in C Minor, Op. 67 (re-orchestrated by G. Mahler)：III. Allegro – | 00:04:48 15M |
| 4 | Symphony No. 5 in C Minor, Op. 67 (re-orchestrated by G. Mahler)：IV. Allegro | 00:08:15 37M |
| 5 | Symphony No. 3 in E-Flat Major, Op. 55, “Eroica” (re-orchestrated by G. Mahler)：I. Allegro con brio | 00:13:50 51M |
| 6 | Symphony No. 3 in E-Flat Major, Op. 55, “Eroica” (re-orchestrated by G. Mahler)：II. Marcia funebre Adagio assai | 00:15:09 48M |
| 7 | Symphony No. 3 in E-Flat Major, Op. 55, “Eroica” (re-orchestrated by G. Mahler)：III. Scherzo Allegro vivace | 00:05:45 18M |
| 8 | Symphony No. 3 in E-Flat Major, Op. 55, “Eroica” (re-orchestrated by G. Mahler)：IV. Finale Allegro molto | 00:11:45 43M |
| 9 | Overture to Collin’s Coriolan, Op. 62, “Coriolan Overture” (re-orchestrated by G. Mahler) | 00:07:47 29M |
| 10 | Symphony No. 7 in A Major, Op. 92 (re-orchestrated by G. Mahler)：I. Poco sostenuto – Vivace | 00:12:07 47M |
| 11 | Symphony No. 7 in A Major, Op. 92 (re-orchestrated by G. Mahler)：II. Allegretto | 00:08:33 26M |
| 12 | Symphony No. 7 in A Major, Op. 92 (re-orchestrated by G. Mahler)：III. Presto – Assai meno presto | 00:08:10 30M |
| 13 | Symphony No. 7 in A Major, Op. 92 (re-orchestrated by G. Mahler)：IV. Allegro con brio | 00:06:28 30M |
| 14 | String Quartet No. 11 in F Minor, Op. 95, “Serioso” (arr. G. Mahler for string orchestra)：I. Allegro con brio | 00:04:23 19M |
| 15 | String Quartet No. 11 in F Minor, Op. 95, “Serioso” (arr. G. Mahler for string orchestra)：II. Allegretto ma non troppo | 00:06:56 24M |
| 16 | String Quartet No. 11 in F Minor, Op. 95, “Serioso” (arr. G. Mahler for string orchestra)：III. Allegro assai vivace ma serioso | 00:04:33 19M |
| 17 | String Quartet No. 11 in F Minor, Op. 95, “Serioso” (arr. G. Mahler for string orchestra)：IV. Larghetto espressivo – Allegretto agitato | 00:04:41 18M |
| 18 | Leonore Overture No. 2, Op. 72a (re-orchestrated by G. Mahler) | 00:13:25 44M |
| 19 | Leonore Overture No. 3, Op. 72b (re-orchestrated by G. Mahler) | 00:13:24 46M |
| 20 | Symphony No. 9 in D Minor, Op. 125, “Choral” (re-orchestrated by G. Mahler)：I. Allegro ma non troppo, un poco maestoso | 00:15:10 54M |
| 21 | Symphony No. 9 in D Minor, Op. 125, “Choral” (re-orchestrated by G. Mahler)：II. Molto vivace – Presto | 00:12:02 41M |
| 22 | Symphony No. 9 in D Minor, Op. 125, “Choral” (re-orchestrated by G. Mahler)：III. Adagio molto e cantabile – Andante moderato | 00:13:43 39M |
| 23 | Symphony No. 9 in D Minor, Op. 125, “Choral” (re-orchestrated by G. Mahler)：IV. Finale Presto – Allegro assai | 00:23:33 85M |
专辑简介
每当古斯塔夫·马勒谈到贝多芬时，他都充满了崇敬之情：“在近代的诗人和作曲家中 我们也许只能说出三位：莎士比亚、贝多芬和瓦格纳”。 理查德·瓦格纳（Richard Wagner）早已深入研究了贝多芬的乐谱，并写下了详尽的论述。随着时代的发展，古典交响乐团的音色平衡失调问题逐渐显现，由于音乐厅的规模不断扩大，要恢复到以前的状态已不可能。作为指挥家的马勒认为贝多芬的乐谱更像是一种时代的挑战，是需要根据当下的交响乐团和音乐厅进行改编才能采用的乐曲素材。人们知道这些乐谱的存在，但直到1927年，活跃在勋伯格圈子里的作曲家、钢琴家和音乐记者埃尔温·斯坦因才说，马勒的所有指挥乐谱，包括他的“润饰”（Retuschen），实际上都保存了下来。
