Notes and Editorial Reviews
Without dispute Teodor Currentzis is today’s hottest & most sought after conductor, alongside his orchestra & choir MusicAeterna. “The Greek-Russian conductor who has taken the classical music world by storm” (THE TIMES) This is Currentzis’s first ever recording of Mahler. Mahler’s symphonies feature heavily in their tour programme – but this is the first time Currentzis has gone into the studio with this composer. His last recording of major symphony repertoire (Tchaikovsky 6) is the highest shipped single album for Currentzis repertoire to date. The Album won Japanese Recording Academy’s highest accolade Gold Award, received 5-star reviews from The Times, NRC
Handelsblad, a Diapason D’or Award and was named in many Top albums for 2017 including Best classical recording in Spiegel Online and appeared on the New York Times Best Classical Music Recordings for 2017.
Anyone who thrilled (as I did) to Teodor Currentzis’s Tchaikovsky Pathétique will find distinct parallels here. The impulse, the imperative, of this Mahler Sixth is extraordinary – a headlong ride to the abyss with every rhythm and counter-rhythm fiercely articulated, every accent, every slicing sforzando grimly incisive. Inner parts pull focus as they have rarely done so before surprising even those of us for whom the piece is frighteningly familiar.
Currentzis is not quite the iconoclast he’s sometimes made out to be – it’s more that he appears able to shoulder the weight of accumulated performing tradition and then, decisively, shrug it off. If you can imagine a Mahler 6 in which the urgency and raw edge of Roger Norrington rubs up against the red-blooded glitz of Leonard Bernstein, this is it.
– Guardian (UK) Read less
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