Symphony No. 3

The composer who dared such open rivalry with God himself was also a brilliant conductor. “Architecture is music in space, as it were a frozen music,” Schelling once wrote, and Mahler applied this in his conducting style: music is architecture transposed into the dimension of time- moving, flowing architecture. Instead of merely tracing the outlines of fellow-artists’ musical blueprints with a schoolboyish hand, Mahler built forms based on the drawings of great musical architects. To Mahler, the actual process of constructing a musical form- its deployment along the axis of time- was infinitely more important than the ultimate goal, a perfectly formed crystal. Daniel Raiskin takes on Mahler’s third symphony, putting into practice this same idea of acting as a musical architect, a master builder who immediately brings his construction project into fruition in the concert hall.

1
1
►
Symphony No. 3 in D Minor Part I
I. Kräftig. Entschieden
 
34:53
2
1
►
Symphony No. 3 in D Minor Part II
II. Tempo di menuetto. Sehr mässig
 
09:48
2
2
►
Symphony No. 3 in D Minor Part II
III. Comodo. Scherzando. Ohne Hast
 
17:27
2
3
►
Symphony No. 3 in D Minor Part II
IV. Sehr langsam. Misterioso
 
09:26
2
4
►
Symphony No. 3 in D Minor Part II
V. Lustig im Tempo und keck im Ausdruck
 
04:16
2
5
►
Symphony No. 3 in D Minor Part II
VI. Langsam. Ruhevoll. Empfunden
 
25:23