CSO Resound - Mahler: Symphony No. 3 - Chicago Symphony Chorus, Bernard Haitink, Chicago Symphony Orchestra & Michelle DeYoung

CSO Resound - Mahler: Symphony No. 3

Chicago Symphony Chorus, Bernard Haitink, Chicago Symphony Orchestra & Michelle DeYoung

  • Genre: Classical
  • Release Date: 2009-11-17
  • Explicitness: notExplicit
  • Country: USA
  • Track Count: 6

  • ℗ 2009 CSO Resound
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Tracks

Title Artist Time
1
Symphony No. 3 In D Minor: I. Chicago Symphony Orchestra & Bernard Haitink 35:13
2
Symphony No. 3 In D Minor: II. Chicago Symphony Orchestra & Bernard Haitink 9:54
3
Symphony No. 3 In D Minor: III Chicago Symphony Orchestra & Bernard Haitink 18:06
4
Symphony No. 3 In D Minor: IV. Michelle DeYoung, Chicago Symphony Orchestra & Bernard Haitink 9:12
5
Symphony No. 3 In D Minor: V. Michelle DeYoung, Chicago Children's Choir, Chicago Symphony Chorus, Chicago Symphony Orchestra & Bernard Haitink 4:16
6
Symphony No. 3 In D Minor: VI. Chicago Symphony Orchestra & Bernard Haitink 24:37

Reviews

  • Pittsburgh Tribune-Review of CSO's Mahler Symphony No. 3

    5
    By katefergus
    The Chicago Symphony Orchestra makes a strong statement with the first of its self-produced CSO Resound recordings. While administrators look for a music director to succeed Daniel Barenboim, the orchestra is clearly in good hands being led by principal conductor Bernard Haitink and principal guest conductor Pierre Boulez. This recording of Gustav Mahler's Third Symphony was made at Haitink's debut concerts in his new position in October, and shows the orchestra is in fabulous shape. Veterans such as principal horn Dale Clevenger and principal trombone Jay Friedman play with all the richness of experience but none of its losses, while new principal oboist Eugene Izotov and principal trumpet Christopher Martin prove to be brilliant musicians. But it is Haitink's keen ear for detail and unsurpassed mastery of the power of long-scale form that inspire the musicians and make this recording most worth acquiring. The stylistic acuity of the Scherzo is a wonder to hear, while the symphony's fulfillment in the long and slow finale is transcendental. The recorded sound is stunning in its verisimilitude. - Mark Kanny, Pittsburgh Tribune-Review, May 13, 2007

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