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Mahler, Symphony No. 2
Gustav Mahler

Mahler, Symphony No. 2

Adam Fischer

Label: CAvi
Format: CD
Barcode: 4260085534852
barcode
Catalog number: AVI 8553485
Releasedate: 05-03-21

- The series of the complete Mahler Symphonies with the Düsseldorf Symphonic under the baton of Ádám Fischer gets completer with the release of the Symphony No. 2, only to be missed - No. 6 (will be releases later in 2021) to complete the cycle

- Over the last four years Ádám Fischer’s Mahler recordings grew to a most successful recording project, winning the BBC Music Magazine Award, and the OPUS KLASSIK Trophy in Germany.

- The No. 2 is Mahler’s very opulent Symphony with soloists and choir. Especially the 4th movement “Urlicht” is the most popular piece.

ADAM FISCHER’s remarks on Mahler’s Second


….“ Apart from these considerations in terms of content, Mahler’s Second Symphony has special significance
for me – for entirely different reasons.


The first reason is biographical. Mahler finished writing the first movement in Budapest where he was musical director at the opera. When I was likewise general music director at Budapest Opera, I imagined that Mahler had sat in the same room and gotten angry over the same things as I did. Work at the opera must have been so nerve-wracking that he found no time for anything else. I can only confirm that.

A second thought leads me to Haydn. We know that famous quote from Hans von Bülow, who is reported to have exclaimed that Wagner’s Tristan, compared with the first movement of Mahler’s Second Symphony, was as tame as a Haydn symphony. This mainly leads me to think that von Bülow was probably not yet aware of the direct connection that leads from Haydn to Mahler, which I sense. As far as I am concerned, Mahler is just as much a part of Vienna Classicism as Haydn.

The third personal story has to do with the third movement, which is based on Mahler’s song Saint Anthony of Padua’s Sermon to the Fishes. For the past thirty years I have been working in favor of a series of human and citizens’ rights organizations. I find that no other piece better describes the dilemma experienced by these organizations and movements than Mahler’s song. '

I am most probably not the only one to feel that it exactly describes what we experience in our work: we preach, we are applauded and praised, and then everyone goes on doing things as before. The song symbolizes our engagement with the citizens’ rights movement, and after all we have endeavored to set in motion I am terribly disappointed with the lack of results. Yet something in the song still comforts me: I am always glad to hear that the fishes at least “liked the sermon”, as it says in the end. . ..……….. (from Adam Fischer’s preword of the Booklet)

Soprano Tünde Szabóki

Born in Budapest, soprano Tünde Szabóki first studied piano at the Franz Liszt Academy in her
home town, and went on to study voice at the University of the Music and the Performing Arts in
Graz. As a member of the NOVA Ensemble she has guested at renowned festivals including Salzburg,
Bregenz, and the Berlin Musikbiennale.


As a soloist, Tünde Szabóki has sung at Rheingau Festival, the Schleswig-Holstein Festival,
Styriarte in Graz, the Bernstein Festival in Jerusalem, Festival de Montpellier, and the Budapest
Spring Festival.


Later she was able to embark on the path to the opera stage: Szabóki has covered the roles of
Leonore (Fidelio), the Countess (The Marriage of Figaro), Vitellia (Titus), Donna Elvira (Don
Giovanni), Marschallin (Rosenkavalier), Ariadne, Elisabeth (Tannhäuser), Elsa (Lohengrin),
Sieglinde (Die Walküre), Kundry (Parsifal), Judith (Bluebeard’s Castle) and a multitude of further
roles in Baroque and contemporary opera.


Under the baton of Adám Fischer, Tünde Szabóki has sung solo with the Hungarian Radio Choir
and Orchestra, as well as at the Budapest Wagner Festival and Budapest State Opera. Further
musical collaborations have taken place with Ivan Fischer and the Budapest Festival Orchestra,
with Krysztof Penderecki on the occasion of the première of his Eighth Symphony in Budapest,
and with Stephan Soltesz in a Rosenkavalier production at Budapest State Opera.


2019 saw the release of her latest CD recording with chamber music works by Ferenc Farkas on the
Toccata Classiks label (CH), as a continuation of her recording of Farkas’ art songs for Hungaroton.
In 2011, the Hungarian State awarded Tünde Szabóki the Franz Liszt Prize.

NADINE WEISSMANN   ALTO


Born in Berlin, Nadine Weissmann studied voice at the Royal Academy of Music in London and at
Indiana University in Bloomington. Her first opera house contract was in 2002 with Osnabruck
Theatre; later on she enjoyed great success as Carmen at the Weimar German National Theatre,
where she also covered her first Wagnerian roles. Weissmann garnered international recognition as
Erda in the Petrenko/Castorf Ring cycle in Bayreuth from 2013 to 2017.


Weissmann has sung at Glyndebourne and at Edinburgh Festival, as well as in Barcelona, Madrid,
Valencia, Monte Carlo, Paris, Marseille, Munich, Berlin, Frankfurt, Dresden, Hamburg, Helsinki,
and Amsterdam.
Her repertoire includes such roles as Laura (La Gioconda), Baba the Turk (The Rake’s Progress),
Leokadja Begbick (Mahagonny), Herodias (Salome), Waltraute (Götterdämmerung), and Old Lady
(Candide).


Weissmann is regularly invited to perform at the Komische Oper Berlin, where she has covered
the roles of Third Lady (Magic Flute), Gora (Reimann‘s Medea), and Ježibaba (Rusalka). Further
appearances on concert and opera stages have led her to perform in Weimar, Geneva, Paris,
Bournemouth, Seoul, Australia, New Zealand, and Salzburg.


Weissmann has collaborated with conductors including Michael Boder, Ivor Bolton, Jesús
López-Cobos, Christoph Eschenbach, Lawrence Foster, Pablo Heras-Casado, Valery Gergiev, Marek
Janowski, Kirill Karabits, Lothar Koenigs, Fabio Luisi, Antonello Manacorda, Zubin Mehta, Kirill
Petrenko, Donald Runnicles, and Christian Thielemann.
www.nadineweissmann.com


ADAM FISCHER    CONDUCTOR

At the beginning of the 2015/16 season, Adam Fischer was appointed Principal Conductor of the
Düsseldorfer Symphoniker and Artistic Consultant of the Düsseldorf Tonhalle. He is also Honorary
Conductor of the Austrian-Hungarian Haydn Orchestra, founder of the Eisenstadt Haydn Festival, and
founder and director of the Wagner Festival in Budapest. Well-known for his courageous political commitment,
Adam Fischer has spoken out often in favor of human rights.

Together with András Schiff he initiated
and signed a petition against racism and discrimination, which they submitted to the European Union.
Born in 1949 in Budapest, Adam Fischer studied composition and conducting in the Hungarian
capital, and with professor Hans Swarowsky in Vienna.


After appointments as Kapellmeister in Helsinki, in Karlsruhe and at Munich State Opera, Fischer
held the post of General Music Director successively at the opera houses of Freiburg, Kassel and
Mannheim, and was also Music Director of Hungarian State Opera in Budapest. Since 1999 he has
been Chief Conductor of the Danish National Chamber Orchestra in Copenhagen.


Regular engagements have led Adam Fischer to perform in the great opera houses of Europe and the
US, including Vienna, Milan, Munich, Covent Garden, the New York Met and Bayreuth Festival. In
orchestra appearances he also conducts the Vienna Philharmonic, the Vienna Symphony, the Munich
Philharmonic, the Orchestre de Paris, the London Philharmonic (LPO), the Orchestra of the Age
of Enlightenment, the Chicago and Boston Symphonies and the NHK Symphony in Tokyo.


Fischer’s award-winning CD releases include the complete symphonic works of Haydn (distinguished
with the German national prize “Echo Klassik”) and Mozart as well as the symphonies of Beethoven.
He has also been awarded the Grand Prix du Disque twice: for his recordings of Die Königin von
Saba (Goldmark) and of Bluebeard’s Castle (Bartók).

In 2017, Adam Fischer was named Honorary
Member of Vienna State Opera.