Many years ago I saw Eschenbach do this with the mighty Chicago symphony. It remains forever in my memory as the greatest concert experience of my life.
My tears down when reading the comments which suddenly pop-ups that Erin was gone 😢😢😢😢, like her singing so much. Was seeing her in other concert. RIP Erin ❤❤❤❤❤. I immediately downloaded this great version to remember Erin
✨✨Gustav Mahler (1860-1911)✨✨ ✨ Symphony No. 8 *(1906)* ✨ 00:01 *Introduction* Part 1️⃣ Hymnus: Veni, Creator Spiritus 02:06 _Veni, creator spiritus!_ 03:31 _Imple superna gratia [7]_ 07:41 _Infirma nostri sensibus [19]_ 09:29 *Tempo I (Allegro, etwas hastig) [23]* 10:59 _Infirma nostri corporis [30]_ 13:49 _Accende lumen sensibus [37]_ 14:55 _Hostem repellas longius [42]_ 18:27 _Spiritus, veni, creator spiritus [63]_ 19:21 _Qui Paraclitus diceris [69]_ 22:45 *Wieder frisch [81]* 23:03 _Gloria Patri Domino [83]_ 25:19 _End of Part I (applause)_ Part 2️⃣ Final Scene from Goethe’s “Faust” _A wilderness of forest and rock, with holy_ _anchorites living in clefts up and down_ _the mountainside._ 0:25:40 *Poco adagio [1]* 0:32:12 *Più mosso (Allegro Moderato) [14]* 0:36:18 _Waldung, sie schwankt heran [24]_ 0:40:33 _Ewiger Wonnebrand [32]_ 0:42:26 _Wie Felsenabgrund mir_ _zu Füßen [38]_ 0:47:25 _Geretet ist das edle Glied [55]_ 0:48:25 _Jene Rosen, aus den Händen [63]_ 0:50:28 _Uns bleibt die Erdenrest [76]_ 0:51:13 _Kein Engel trennte [78]_ 0:52:08 _Ich spur’ soeben [81]_ 0:52:45 _Hier ist die Aussicht frei [84]_ 0:53:31 _Höchste Herrscherin der Welt [89]_ 0:58:22 *Äußert langsam. [106]* 0:59:23 _Dir, der Unberührbaren [109]_ 1:02:04 _Bei der Liebe, die den Füßen [117]_ 1:03:16 _Bei dem Bronn, zu dem_ _schon weiland [121]_ 1:05:05 _Bei dem hoch geweihten Orten_ _[128]_ 1:06:19 _Die du großen Sünderinnen [136]_ 1:07:49 _Neige, neige du Ohnegleiche [149]_ 1:08:49 _Er überwächst uns schon [154]_ 1:10:08 _Vom edlen Geisterchor_ _umgeben [164]_ 1:12:06 _Komm! Komm! Hebe dich zu_ _hören Sphären [172]_ 1:13:48 _Blicket auf [176]_ 1:19:33 *Langsam [199]* 1:20:46 _Alles Vergängliche [202]_ 1:27:44 *Applause and Credits* *Soloists:* *Erin Wall, Twyla Robinson, Marisol Montalvo,* *Annette Jahns, Nikolai Schulhoff, Franco Pomponi, Denis Sedov* *Chorus: Credits for the various choirs are listed in the video beginning at:* 1:28:33 Orchestre de Paris Christoph Eschenbach, conductor *Palais Omnisports de Paris • Bercy* *Paris, France 🇫🇷 March 2008*
Nicely done, very crisp with lovely singing from the soloists. A bit too drawn out at the very end but otherwise a great performance. Great sound, too.
I don't know how many video cameras there to switch to capture the details.I was a camera man in the church. The recording team( video compose and sound) did great job besides the great music . Bravo! A master piece I ever seen.
That IS weird! He clearly cut them off. It sounded like a choir patch on a keyboard got stuck. I wonder if it was sweetened... or maybe it was just an odd musical choice to have the soprani hold over the pause.
it was just a fermata, or a cauldron that they placed between those two phrases to give more emphasis and drama to the high point of the coda of this same work, since that is where it is most exciting, I loved it
Nothing strange what-so-ever. How he views this moment is simply a tension point which he prolongs to add for a more dramatic and emotional effect. It is absolutely outstanding as it opens our eye (and ears) to a moment we have all heard 1000 times, as if it were the first time we heard it. Your confusion is you preparing yourself for the ‘same old’ approach where one could say that this moment is a ‘nuanced/fresh’ approach.
Actually, I believe the concert was in 2007, sometime during the summer. Erin and Twyla recorded it with Boulez in Berlin in April, 2007. This concert took place shortly after that recording. When Erin showed up to the first rehearsal, whoever was scheduled for soprano I had cancelled due to illness. The other soloists were asked for recommendations for someone who could fill in on very short notice. Since Erin had just worked with Twyla on the recording, Erin picked up her cell phone and called Twyla right on the spot. Twyla was free, so Eschenbach had the company engage her and she was in Paris the next day for the remaining rehearsals and concert. These things do happen and usually it works out well.
It’s not just the end that’s slow, I heard parts in the middle that were slow and it sounded like the singers were having a hard time keeping time. The glacial ending is just awful.
very bad recording. quite blah. the harps, piano, & celesta were almost absent at 1:18:50, among many other omissions. and the swooping camera angles are ridiculous. we are here for the music, not trying to over-impress already impressive music with silly pseudo-dramatic camera swoops. the music speaks for itself. mahler's amazing lily doesnt need any gilding.
peccato perché una bella direzione così avrebbe avuto bisogno di un Dr Marianus di livello....cast ottimo, coro e orchestra pure...poteva essere davvero un'edizione di livello assoluto se avesse avuto un tenore migliore, tra l'altro in questo capolavoro proprio per il tenore sono state composte alcune delle frasi più belle della storia della musica...un'invocazione come lo jungfrau così stiracchiata non si può proprio sentire
Very good performance, you really can see how people are devoted to what they're doing on the stage..BUT from the very beginning of the 2nd part, you feel the conductor is just running out of ideas. Zero tension and awkwardness of orchestral solo, and after, when the singers' solos come , Eschenbach just doesn't let them express themselves. You can't conduct this music in such a geometrical style. And the final is so insanely slow, you feel like at the funerals, instead of ascension, like it must be. Very fundamental and disappointing performance at the same time.
a rather incoherent, faulty, poorly sung and shouty performance and what was that weird holding of the soprano and alto notes just before 1'29'55" there's no "hold these notes after a long ritard as if there were an extra bar there before the last big statement of "alles vergangliche" in the score (rehearsal number 213 if you have the score handy) - Chailly in Leipzig or Lucerne, Solti, Bernstein, Abbado and Rattle are all better than this. The Chailly Lucerne Mahler 8 has unfortunate singing from the 2 solo sopranos but has the stunning Peter Mattei owning the concert with his "Ewige wonnebrand" solo which is impeccably sung and characterised.
A day without Mahler is like a day wasted.
Thank you TH-cam for not dropping the usual advertising cow patties all over this magnificent concert video.
Cow Patties! 🤣
Some of the most glorious music Mankind has ever constructed
So tragic that Erin Wall has been taken by Cancer. May she rest in peace.
and Annette Jahns too... even in the same year.
I think this is my most favorite interpretation of Mahler Symphony no 8
Unforgettable Erin
Incredible and unbelievably good! Mahler and Eschenbach perfect together Bravo !!!!!
I can't imagine being in the midst of this performance. Beyond words.
Many years ago I saw Eschenbach do this with the mighty Chicago symphony. It remains forever in my memory as the greatest concert experience of my life.
Extraordinary soloists, great conduction, Essenbach as usual, very inspired and correct.
Breathtaking performance thank you so much to all of you
One of the most inspired, expressive Mahler 8 of all time. Eschenbach have undertsand totally this piece. i can listen, now, only this interpetation.
I'm also listening to Marc Albrecht but, yes, Christoph has a very deep human touch.
I sang in this and in Marc Albrecht’s performance. Albrecht any day, this one just didn’t measure up.
Quite the range of opinions on the merits of this one...
Mahler s music was Heavenly!!!
My tears down when reading the comments which suddenly pop-ups that Erin was gone 😢😢😢😢, like her singing so much. Was seeing her in other concert. RIP Erin ❤❤❤❤❤. I immediately downloaded this great version to remember Erin
I loved every fermata he did on the coda.
The 2 female singers at the end are SUPERB!!!!
What a trouper Erin Wall was - she sang T Robinson's top C for her at the end.
Nothing short of AWESOME!
✨✨Gustav Mahler (1860-1911)✨✨
✨ Symphony No. 8 *(1906)* ✨
00:01 *Introduction*
Part 1️⃣
Hymnus: Veni, Creator Spiritus
02:06 _Veni, creator spiritus!_
03:31 _Imple superna gratia [7]_
07:41 _Infirma nostri sensibus [19]_
09:29 *Tempo I (Allegro, etwas hastig) [23]*
10:59 _Infirma nostri corporis [30]_
13:49 _Accende lumen sensibus [37]_
14:55 _Hostem repellas longius [42]_
18:27 _Spiritus, veni, creator spiritus [63]_
19:21 _Qui Paraclitus diceris [69]_
22:45 *Wieder frisch [81]*
23:03 _Gloria Patri Domino [83]_
25:19 _End of Part I (applause)_
Part 2️⃣
Final Scene from Goethe’s “Faust”
_A wilderness of forest and rock, with holy_
_anchorites living in clefts up and down_
_the mountainside._
0:25:40 *Poco adagio [1]*
0:32:12 *Più mosso (Allegro Moderato) [14]*
0:36:18 _Waldung, sie schwankt heran [24]_
0:40:33 _Ewiger Wonnebrand [32]_
0:42:26 _Wie Felsenabgrund mir_
_zu Füßen [38]_
0:47:25 _Geretet ist das edle Glied [55]_
0:48:25 _Jene Rosen, aus den Händen [63]_
0:50:28 _Uns bleibt die Erdenrest [76]_
0:51:13 _Kein Engel trennte [78]_
0:52:08 _Ich spur’ soeben [81]_
0:52:45 _Hier ist die Aussicht frei [84]_
0:53:31 _Höchste Herrscherin der Welt [89]_
0:58:22 *Äußert langsam. [106]*
0:59:23 _Dir, der Unberührbaren [109]_
1:02:04 _Bei der Liebe, die den Füßen [117]_
1:03:16 _Bei dem Bronn, zu dem_
_schon weiland [121]_
1:05:05 _Bei dem hoch geweihten Orten_
_[128]_
1:06:19 _Die du großen Sünderinnen [136]_
1:07:49 _Neige, neige du Ohnegleiche [149]_
1:08:49 _Er überwächst uns schon [154]_
1:10:08 _Vom edlen Geisterchor_
_umgeben [164]_
1:12:06 _Komm! Komm! Hebe dich zu_
_hören Sphären [172]_
1:13:48 _Blicket auf [176]_
1:19:33 *Langsam [199]*
1:20:46 _Alles Vergängliche [202]_
1:27:44 *Applause and Credits*
*Soloists:*
*Erin Wall, Twyla Robinson, Marisol Montalvo,*
*Annette Jahns, Nikolai Schulhoff, Franco Pomponi, Denis Sedov*
*Chorus: Credits for the various choirs are listed in the video beginning at:* 1:28:33
Orchestre de Paris
Christoph Eschenbach, conductor
*Palais Omnisports de Paris • Bercy*
*Paris, France 🇫🇷 March 2008*
absolutely nailed the high C
Which one? There are like 900 of them.
53:48 When the players are feeling it.
Best version 😢
Everything is just perfection
Bravo, bravo. Viva, Mahler.
What a majestic finale~~!
RIP Erin Wall 💔
Premiered exactly 111 years ago! 💐💐💐
Sublime
Di ako nandito para makipag away, andito ako para sa module
😂
Nicely done, very crisp with lovely singing from the soloists. A bit too drawn out at the very end but otherwise a great performance. Great sound, too.
I actually like the drawn out ending, but it did seem a bit out of sync
huge performing space. The back of the chorus looks half a mile away
I don't know how many video cameras there to switch to capture the details.I was a camera man in the church. The recording team( video compose and sound) did great job besides the great music . Bravo! A master piece I ever seen.
R.I.P. Mrs Wall...
ce n'est pas la salle Pleyel, c'est le stade de Bercy, ce n'est pas en 2006 mais en 2008
1:25:56 (score m.1505) is strange. chorus is too long. they should end with orchestra. which version?
Absolutely- this sounds ridiculously out of synch!
A good tune.
Quite an understatement, that. 😎🎹
Wait ,what the heck happened at 1:24:57. Can someone explain this
Strange...don't know if the orchestra stopped too early or If the choir continued for too long but there's definitely something wrong
That IS weird! He clearly cut them off. It sounded like a choir patch on a keyboard got stuck. I wonder if it was sweetened... or maybe it was just an odd musical choice to have the soprani hold over the pause.
it was just a fermata, or a cauldron that they placed between those two phrases to give more emphasis and drama to the high point of the coda of this same work, since that is where it is most exciting, I loved it
It IS strange… but I kinda liked it!
Nothing strange what-so-ever. How he views this moment is simply a tension point which he prolongs to add for a more dramatic and emotional effect. It is absolutely outstanding as it opens our eye (and ears) to a moment we have all heard 1000 times, as if it were the first time we heard it. Your confusion is you preparing yourself for the ‘same old’ approach where one could say that this moment is a ‘nuanced/fresh’ approach.
i can't believen that im know to Erin Wall after of her died :c
1:24:31
I. 2:06
II. 25:40
23:59-24:06
At last a nice interpretation in HiFi sound on TH-cam. For example, I consider nice Sinopoli 's as well. It lacks sound quality though.
I have the feeling that it's a 2008 concert. Not 2006.
Actually, I believe the concert was in 2007, sometime during the summer. Erin and Twyla recorded it with Boulez in Berlin in April, 2007. This concert took place shortly after that recording. When Erin showed up to the first rehearsal, whoever was scheduled for soprano I had cancelled due to illness. The other soloists were asked for recommendations for someone who could fill in on very short notice. Since Erin had just worked with Twyla on the recording, Erin picked up her cell phone and called Twyla right on the spot. Twyla was free, so Eschenbach had the company engage her and she was in Paris the next day for the remaining rehearsals and concert. These things do happen and usually it works out well.
Yes. March 2008 😎🎹
Schukoff is a very good tenor. Eschenbach let's it play a bit too slow.
Where i can find the cd of this?
This conductor is getting paid by the hour.
Begins to lose cohesion when it’s too dragged out.
Pano to iexpress through drawing?😭
#module
1:11:54
Odd choices by the conductor but I like it. Good Mahler 8th.
My MAPEH subject brought me here
I put the playback speed up to 1.25...tighter, more forceful.
The end is extremely slow, the brass is extremely difficult in a heavy symphony like this. The best remains Abbado.
It’s not just the end that’s slow, I heard parts in the middle that were slow and it sounded like the singers were having a hard time keeping time. The glacial ending is just awful.
very bad recording. quite blah. the harps, piano, & celesta were almost absent at 1:18:50, among many other omissions. and the swooping camera angles are ridiculous. we are here for the music, not trying to over-impress already impressive music with silly pseudo-dramatic camera swoops.
the music speaks for itself. mahler's amazing lily doesnt need any gilding.
peccato perché una bella direzione così avrebbe avuto bisogno di un Dr Marianus di livello....cast ottimo, coro e orchestra pure...poteva essere davvero un'edizione di livello assoluto se avesse avuto un tenore migliore, tra l'altro in questo capolavoro proprio per il tenore sono state composte alcune delle frasi più belle della storia della musica...un'invocazione come lo jungfrau così stiracchiata non si può proprio sentire
Eschenbach kind of looks like Dr Evil.
the ending is so so slow
that is sooo gooood really
All a matter of taste
This is the ultimate "sing"-phony!
Very good performance, you really can see how people are devoted to what they're doing on the stage..BUT from the very beginning of the 2nd part, you feel the conductor is just running out of ideas. Zero tension and awkwardness of orchestral solo, and after, when the singers' solos come , Eschenbach just doesn't let them express themselves. You can't conduct this music in such a geometrical style. And the final is so insanely slow, you feel like at the funerals, instead of ascension, like it must be. Very fundamental and disappointing performance at the same time.
I was in the adult choir for this. It was seriously underwhelming. Far better performances under Colin Davis, Rattle, Abbado, MTT, Marc Albrecht.
Rattle and abbado yes!
Bland
a rather incoherent, faulty, poorly sung and shouty performance and what was that weird holding of the soprano and alto notes just before 1'29'55" there's no "hold these notes after a long ritard as if there were an extra bar there before the last big statement of "alles vergangliche" in the score (rehearsal number 213 if you have the score handy) - Chailly in Leipzig or Lucerne, Solti, Bernstein, Abbado and Rattle are all better than this. The Chailly Lucerne Mahler 8 has unfortunate singing from the 2 solo sopranos but has the stunning Peter Mattei owning the concert with his "Ewige wonnebrand" solo which is impeccably sung and characterised.
and Chailly gets better orchestral ensemble and expression than this fairly clumsy lumpy performance
Disagree
This is one of the worst performances of this work I’ve ever heard. Have you heard Simon Rattle and the NYO? Far better.
Disagree. It’s all a matter of taste.