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Symphony No. 9 (Mahler)

January 08, 2023

The Symphony No. 9 by Gustav Mahler was written between 1908 and 1909, and was the last symphony that he completed. A typical performance takes about 75 to 90 minutes. A survey of conductors voted Mahler's Symphony No. 9 the fourth greatest symphony of all time in a ballot conducted by BBC Music Magazine in 2016.[1] As in the case of his earlier Das Lied von der Erde, Mahler did not live to see his Symphony No. 9 performed.

Symphony No. 9
by Gustav Mahler
Gustav Mahler in 1907
KeyD major (– D-flat major)
Composed1909 (1909): Toblach
Published1912, Universal Edition
RecordedBruno Walter, Vienna Philharmonic Orchestra, 1938
Movements4
Premiere
Date26 June 1912 (1912-06-26)
LocationVienna
ConductorBruno Walter
PerformersVienna Philharmonic

Though the work is often described as being in the key of D major, the tonal scheme of the symphony as a whole is progressive. While the opening movement is in D major, the finale is in D♭ major.[2]

Instrumentation

The symphony is scored for a large orchestra, consisting of the following:

Structure

 
Symphony No. 9
I. Andante comodo (25:01)
II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (15:46)
III. Rondo-Burleske. Allegro assai. Sehr trotzig (11:26)
IV. Adagio. Sehr langsam und noch zurückhaltend. (18:30)
Performed by Bruno Walter and the Vienna Philharmonic, 16 January 1938 in Vienna at the Musikverein
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The symphony is in four movements:

  1. Andante comodo (D major)
  2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major)
  3. Rondo-Burleske: Allegro assai. Sehr trotzig (A minor)
  4. Adagio. Sehr langsam und noch zurückhaltend (D♭ major)

Although the symphony has the traditional number of movements, it is unusual in that the first and last are slow rather than fast. As is often the case with Mahler, one of the middle movements is a ländler.

I. Andante comodo

The first movement embraces a loose sonata form. The key areas provide a continuation of the tonal juxtaposition displayed in earlier works (notably Symphonies No. 6 and No. 7). The work opens with a hesitant, syncopated rhythmic motif (which Leonard Bernstein suggested is a depiction of Mahler's irregular heartbeat[3]), which is heard throughout the movement.

 

The brief introduction also presents two other ideas: a four-note motif announced by the harp that provides much of the musical basis for the rest of the movement,

 

and a muted horn fanfare that is also heard later.

 

In the development, it is heard in the horns and clarinets in Mahler's original form, with a third descending into a fifth. At the height of the development, the trombones and tuba announce the rhythmic heartbeat motif, marked within the score "Mit höchster Gewalt" (with greatest force). It leads into a solemn funeral march, marked "Wie ein Kondukt" (like a funeral procession), on a timpani ostinato of the harp's four-note motif. Low bells are heard here for the first and only time in the symphony, accompanying the timpani in the four-note motif.

Near the end of the movement is a remarkable example of Mahler's linear polyphony, in which piccolo, flute, oboe, and solo violin imitate bird-calls. Alban Berg asserted that this section was a "vision of the hereafter".[4] Allusions to other music in this movement include references to Ludwig van Beethoven's Piano Sonata Op. 81a[5] and to Johann Strauss II's waltz Freuet Euch des Lebens, the latter first noted by Philip Barford in 1971.[6]

II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb

The second movement is a series of dances, and opens with a rustic ländler, which becomes distorted to the point that it no longer resembles a dance.

 

The movement contains shades of the second movement of Mahler's Symphony No. 2, in the distortion of a traditional dance into a bitter and sarcastic one. Traditional chord sequences are altered into near-unrecognizable variations, turning the rustic yet gradually decaying C major introductory ländler into a vicious whole-tone waltz, saturated with chromaticism and frenetic rhythms. Strewn amidst these sarcastic dances is a slower and calmer ländler which reintroduces the "sighing" motif from the first movement.

 

The movement ends with a cheeky pianissimo nod from the piccolo and contrabassoon.

III. Rondo-Burleske: Allegro assai. Sehr trotzig

The third movement, in the form of a rondo, displays the final maturation of Mahler's contrapuntal skills. It opens with a dissonant theme in the trumpet which is treated in the form of a double fugue[clarification needed].

 

The following five-note motif introduced by strings in unison recalls the second movement of his Fifth Symphony.

 

The addition of Burleske (a parody with imitations) to the title of the movement refers to the mixture of dissonance with Baroque counterpoint. Although the term "Burlesque" means "humorous", the actual "humor" of the movement is relatively small compared to the overall field of manic violence, considering only two small neo-classical sections that appear more like a flashback than playfulness. The autograph score is marked "to my brothers in Apollo".

IV. Adagio. Sehr langsam und noch zurückhaltend

The final movement, marked zurückhaltend ("very slowly and held back"; literally, "reservedly"), opens with only strings. Commentators[7] have noted the similarity of the opening theme in particular to the hymn tune "Eventide" (familiarly sung as "Abide with Me").

 

But most importantly it incorporates a direct quote from the Rondo-Burleske's middle section. Here it becomes an elegy. After several impassioned climaxes, the movement becomes increasingly fragmented and the coda ends quietly. On the closing pages, Mahler quotes the first violins from his own Kindertotenlieder: The day is fine on yonder heights.[8]

 

The last note is marked ersterbend ("dying away"). The last two pages last for six minutes, an unprecedented amount of time for so few notes. Leonard Bernstein speculated at the end of his fifth Norton lecture that the entire movement is symbolically prophesying three kinds of death: Mahler's own impending death, the death of tonality, and the death of "Faustian" culture in all the arts.

Mahler's death

Mahler died in May 1911, without ever hearing his Ninth Symphony performed. The work's ending is usually interpreted as his conscious farewell to the world,[9] as it was composed following the death of his beloved daughter Maria Anna in 1907 and the diagnosis of his fatal heart disease. However, this notion is disputed inasmuch as Mahler felt that he was in good health at the time of the composition of the Ninth Symphony; he had had a very successful season (1909–10) as the conductor of the New York Philharmonic Orchestra and, before that, the Metropolitan Opera (New York). In his last letters, Mahler indicated that he was looking forward to an extensive tour with the orchestra for the 1910–11 season.[10] Moreover, Mahler worked on his unfinished Tenth Symphony until his death from endocarditis in May 1911.[11]

Mahler was a superstitious man and believed in the so-called curse of the ninth, which he thought had already killed Beethoven, Schubert and Bruckner; this is proven by the fact that he refused to number his previous work Das Lied von der Erde as his ninth symphony, although it is often considered a symphony.[12]

Premieres

The work was premiered on 26 June 1912, at the Vienna Festival by the Vienna Philharmonic conducted by Bruno Walter.[13] It was first published in the same year by Universal Edition.

Interpretation

The enjoyment of Mahler's Ninth Symphony prompted the essayist Lewis Thomas to write the title essay in his Late Night Thoughts on Listening to Mahler's Ninth Symphony.[16]

Many Mahler interpreters have been moved to speak with similar profundity about the work:

  • I have once more played through Mahler's Ninth. The first movement is the most glorious he ever wrote. It expresses an extraordinary love of the earth, for Nature. The longing to live on it in peace, to enjoy it completely, to the very heart of one's being, before death comes, as irresistibly it does.  – Alban Berg[17][18]
  • It is music coming from another world, it is coming from eternity. – Herbert von Karajan[19]
  • It is terrifying, and paralyzing, as the strands of sound disintegrate ... in ceasing, we lose it all. But in letting go, we have gained everything. – Leonard Bernstein[20]
  • [Mahler's] Ninth is most strange. In it, the author hardly speaks as an individual any longer. It almost seems as though this work must have a concealed author who used Mahler merely as his spokesman, as his mouthpiece. – Arnold Schoenberg[21]
  • Mahler's Ninth Symphony is not about death, but about dying. Death and dying are two entirely different matters. While working on the Ninth, I realized that I know of no other language apart from German in which the words death (Tod) and dying (sterben) have entirely different etymologies. ... the finale is just one sole extended act of dying, the disintegration of life. The last section, particularly the last page in the orchestra score, describes that situation so perfectly that it surpasses any other depiction, whether it be in literature or the fine arts. – Ádám Fischer[22]

In the early half of the twentieth century, less favourable opinions of Mahler's symphonies as finished works were common. This quote, from 1932, is typical:

  • Someday, some real friends of Mahler's will ... take a pruning knife and reduce his works to the length that they would have been if the composer had not stretched them out of shape; and then the great Mahler war will be over ... The Ninth Symphony would last about twenty minutes. – Deems Taylor[23]

Recordings

The Ninth Symphony has been recorded over a hundred times for commercial release on 78-rpm discs, LP, CD, or DVD. An incomplete list includes:

References

  1. ^ Mark Brown Arts correspondent. "Beethoven's Eroica voted greatest symphony of all time | Music". The Guardian. Retrieved 1 May 2020.
  2. ^ 'Gustav Mahler', in New Grove, Macmillan, 1980
  3. ^ "Program Notes- Mahler Symphony No.9 in D Major" (PDF). Chicago Symphony Orchestra.
  4. ^ Constantin Floros, Gustav Mahler: The Symphonies (2000)
  5. ^ Hefling, Stephen E., "The Ninth Symphony", in The Mahler Companion (eds. Donald Mitchell and Andrew Nicholson). Oxford University Press (ISBN 0-19-816376-2), p. 474 (1999).
  6. ^ Barford, Philip, "Mahler Symphonies and Songs". BBC Music Guides, University of Washington Press (Seattle), pp. 55–56 (1971).
  7. ^ Mitchell, Donald (2002) The Mahler Companion OUP
  8. ^ Tom Service. "Symphony guide: Mahler's Ninth". The Guardian. Retrieved 1 May 2020.
  9. ^ Leonard Bernstein conducts and comments Mahler's Ninth Symphony
  10. ^ Henry-Louis de La Grange, Gustav Mahler, Vol. 4 – Oxford University Press, 2008
  11. ^ Mahler at 100: a medical history by Salvatore Mangione, Hektoen International Journal
  12. ^ Sadie, Stanley, ed. (1980). The New Grove Dictionary of Music and Musicians. Vol. 11. London, England: MacMillan. pp. 512–513. ISBN 978-0-333-23111-1.
  13. ^ "Mahler Symphony No. 9—Vienna Philharmonic Orchestra; Bruno Walter, conductor (1938)" (PDF). Library of Congress. Retrieved 26 December 2018.
  14. ^ "The Hallé – a timeline" (PDF). halle.co.uk. Retrieved 26 December 2018.
  15. ^ "Music Containing Multitudes". The Boston Musical Intelligencer. 15 April 2016. Retrieved 26 December 2018.
  16. ^ Lewis Thomas: Late Night Thoughts on Listening to Mahler's Ninth Symphony
  17. ^ Quoted in the liner notes to Mahler: Symphony No. 9, Berliner Philharmoniker/Herbert von Karajan
  18. ^ . andante.com. Archived from the original on 12 June 2008. Retrieved 1 May 2020.
  19. ^ Quoted in Herbert von Karajan: A Life in Music by Richard Osborne
  20. ^ The Unanswered Question by Leonard Bernstein
  21. ^ Adorno, Theodor W. (15 August 1996). Adorno/Jephcott: Mahler. ISBN 9780226007694.
  22. ^ Quoted from his liner notes to Mahler: Symphony No. 9, Düsseldorf Symphony/Ádám Fischer – Avi-Music 8553478
  23. ^ Chord and Discord, February 1932, p. 23
  24. ^ Published by ACCENTUS Music: No. ACC20214
  25. ^ "YouTube". YouTube. Retrieved 1 May 2020.{{cite web}}: CS1 maint: url-status (link)

External links

January 08, 2023
symphony, mahler, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, symphony, mahler, news, newspapers, books, scholar. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Symphony No 9 Mahler news newspapers books scholar JSTOR July 2011 Learn how and when to remove this template message The Symphony No 9 by Gustav Mahler was written between 1908 and 1909 and was the last symphony that he completed A typical performance takes about 75 to 90 minutes A survey of conductors voted Mahler s Symphony No 9 the fourth greatest symphony of all time in a ballot conducted by BBC Music Magazine in 2016 1 As in the case of his earlier Das Lied von der Erde Mahler did not live to see his Symphony No 9 performed Symphony No 9by Gustav MahlerGustav Mahler in 1907KeyD major D flat major Composed1909 1909 ToblachPublished1912 Universal EditionRecordedBruno Walter Vienna Philharmonic Orchestra 1938Movements4PremiereDate26 June 1912 1912 06 26 LocationViennaConductorBruno WalterPerformersVienna PhilharmonicThough the work is often described as being in the key of D major the tonal scheme of the symphony as a whole is progressive While the opening movement is in D major the finale is in D major 2 Contents 1 Instrumentation 2 Structure 2 1 I Andante comodo 2 2 II Im Tempo eines gemachlichen Landlers Etwas tappisch und sehr derb 2 3 III Rondo Burleske Allegro assai Sehr trotzig 2 4 IV Adagio Sehr langsam und noch zuruckhaltend 3 Mahler s death 4 Premieres 5 Interpretation 6 Recordings 7 References 8 External linksInstrumentation EditThe symphony is scored for a large orchestra consisting of the following Woodwinds piccolo 4 flutes 4 oboes 4th doubling cor anglais E clarinet 3 B and A clarinets bass clarinet 4 bassoons 4th doubling contrabassoon Brass 4 horns 3 trumpets 3 trombones tuba Percussion 4 timpani bass drum snare drum cymbals triangle tam tam 3 deep bells in F A and B glockenspiel Strings 2 harps 1st violins 2nd violins violas cellos double bassesStructure Edit Symphony No 9 I Andante comodo 25 01 source source II Im Tempo eines gemachlichen Landlers Etwas tappisch und sehr derb 15 46 source source III Rondo Burleske Allegro assai Sehr trotzig 11 26 source source IV Adagio Sehr langsam und noch zuruckhaltend 18 30 source source Performed by Bruno Walter and the Vienna Philharmonic 16 January 1938 in Vienna at the Musikverein Problems playing these files See media help The symphony is in four movements Andante comodo D major Im Tempo eines gemachlichen Landlers Etwas tappisch und sehr derb C major Rondo Burleske Allegro assai Sehr trotzig A minor Adagio Sehr langsam und noch zuruckhaltend D major Although the symphony has the traditional number of movements it is unusual in that the first and last are slow rather than fast As is often the case with Mahler one of the middle movements is a landler I Andante comodo Edit The first movement embraces a loose sonata form The key areas provide a continuation of the tonal juxtaposition displayed in earlier works notably Symphonies No 6 and No 7 The work opens with a hesitant syncopated rhythmic motif which Leonard Bernstein suggested is a depiction of Mahler s irregular heartbeat 3 which is heard throughout the movement source Audio playback is not supported in your browser You can download the audio file The brief introduction also presents two other ideas a four note motif announced by the harp that provides much of the musical basis for the rest of the movement source Audio playback is not supported in your browser You can download the audio file and a muted horn fanfare that is also heard later source Audio playback is not supported in your browser You can download the audio file In the development it is heard in the horns and clarinets in Mahler s original form with a third descending into a fifth At the height of the development the trombones and tuba announce the rhythmic heartbeat motif marked within the score Mit hochster Gewalt with greatest force It leads into a solemn funeral march marked Wie ein Kondukt like a funeral procession on a timpani ostinato of the harp s four note motif Low bells are heard here for the first and only time in the symphony accompanying the timpani in the four note motif Near the end of the movement is a remarkable example of Mahler s linear polyphony in which piccolo flute oboe and solo violin imitate bird calls Alban Berg asserted that this section was a vision of the hereafter 4 Allusions to other music in this movement include references to Ludwig van Beethoven s Piano Sonata Op 81a 5 and to Johann Strauss II s waltz Freuet Euch des Lebens the latter first noted by Philip Barford in 1971 6 II Im Tempo eines gemachlichen Landlers Etwas tappisch und sehr derb Edit The second movement is a series of dances and opens with a rustic landler which becomes distorted to the point that it no longer resembles a dance source Audio playback is not supported in your browser You can download the audio file The movement contains shades of the second movement of Mahler s Symphony No 2 in the distortion of a traditional dance into a bitter and sarcastic one Traditional chord sequences are altered into near unrecognizable variations turning the rustic yet gradually decaying C major introductory landler into a vicious whole tone waltz saturated with chromaticism and frenetic rhythms Strewn amidst these sarcastic dances is a slower and calmer landler which reintroduces the sighing motif from the first movement source Audio playback is not supported in your browser You can download the audio file The movement ends with a cheeky pianissimo nod from the piccolo and contrabassoon III Rondo Burleske Allegro assai Sehr trotzig Edit The third movement in the form of a rondo displays the final maturation of Mahler s contrapuntal skills It opens with a dissonant theme in the trumpet which is treated in the form of a double fugue clarification needed source Audio playback is not supported in your browser You can download the audio file The following five note motif introduced by strings in unison recalls the second movement of his Fifth Symphony source Audio playback is not supported in your browser You can download the audio file The addition of Burleske a parody with imitations to the title of the movement refers to the mixture of dissonance with Baroque counterpoint Although the term Burlesque means humorous the actual humor of the movement is relatively small compared to the overall field of manic violence considering only two small neo classical sections that appear more like a flashback than playfulness The autograph score is marked to my brothers in Apollo IV Adagio Sehr langsam und noch zuruckhaltend Edit The final movement marked zuruckhaltend very slowly and held back literally reservedly opens with only strings Commentators 7 have noted the similarity of the opening theme in particular to the hymn tune Eventide familiarly sung as Abide with Me source Audio playback is not supported in your browser You can download the audio file But most importantly it incorporates a direct quote from the Rondo Burleske s middle section Here it becomes an elegy After several impassioned climaxes the movement becomes increasingly fragmented and the coda ends quietly On the closing pages Mahler quotes the first violins from his own Kindertotenlieder The day is fine on yonder heights 8 source Audio playback is not supported in your browser You can download the audio file The last note is marked ersterbend dying away The last two pages last for six minutes an unprecedented amount of time for so few notes Leonard Bernstein speculated at the end of his fifth Norton lecture that the entire movement is symbolically prophesying three kinds of death Mahler s own impending death the death of tonality and the death of Faustian culture in all the arts Mahler s death EditMahler died in May 1911 without ever hearing his Ninth Symphony performed The work s ending is usually interpreted as his conscious farewell to the world 9 as it was composed following the death of his beloved daughter Maria Anna in 1907 and the diagnosis of his fatal heart disease However this notion is disputed inasmuch as Mahler felt that he was in good health at the time of the composition of the Ninth Symphony he had had a very successful season 1909 10 as the conductor of the New York Philharmonic Orchestra and before that the Metropolitan Opera New York In his last letters Mahler indicated that he was looking forward to an extensive tour with the orchestra for the 1910 11 season 10 Moreover Mahler worked on his unfinished Tenth Symphony until his death from endocarditis in May 1911 11 Mahler was a superstitious man and believed in the so called curse of the ninth which he thought had already killed Beethoven Schubert and Bruckner this is proven by the fact that he refused to number his previous work Das Lied von der Erde as his ninth symphony although it is often considered a symphony 12 Premieres EditThis section needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed December 2018 Learn how and when to remove this template message The work was premiered on 26 June 1912 at the Vienna Festival by the Vienna Philharmonic conducted by Bruno Walter 13 It was first published in the same year by Universal Edition Dutch premiere 2 May 1918 Amsterdam with the Royal Concertgebouw Orchestra conducted by Willem Mengelberg UK premiere 27 February 1930 Manchester with The Halle conducted by Hamilton Harty 14 American premiere 16 October 1931 Boston with the Boston Symphony Orchestra conducted by Serge Koussevitzky 15 Japanese premiere 16 April 1967 Tokyo with the Moscow Philharmonic Orchestra conducted by Kirill KondrashinInterpretation EditThe enjoyment of Mahler s Ninth Symphony prompted the essayist Lewis Thomas to write the title essay in his Late Night Thoughts on Listening to Mahler s Ninth Symphony 16 Many Mahler interpreters have been moved to speak with similar profundity about the work I have once more played through Mahler s Ninth The first movement is the most glorious he ever wrote It expresses an extraordinary love of the earth for Nature The longing to live on it in peace to enjoy it completely to the very heart of one s being before death comes as irresistibly it does Alban Berg 17 18 It is music coming from another world it is coming from eternity Herbert von Karajan 19 It is terrifying and paralyzing as the strands of sound disintegrate in ceasing we lose it all But in letting go we have gained everything Leonard Bernstein 20 Mahler s Ninth is most strange In it the author hardly speaks as an individual any longer It almost seems as though this work must have a concealed author who used Mahler merely as his spokesman as his mouthpiece Arnold Schoenberg 21 Mahler s Ninth Symphony is not about death but about dying Death and dying are two entirely different matters While working on the Ninth I realized that I know of no other language apart from German in which the words death Tod and dying sterben have entirely different etymologies the finale is just one sole extended act of dying the disintegration of life The last section particularly the last page in the orchestra score describes that situation so perfectly that it surpasses any other depiction whether it be in literature or the fine arts Adam Fischer 22 In the early half of the twentieth century less favourable opinions of Mahler s symphonies as finished works were common This quote from 1932 is typical Someday some real friends of Mahler s will take a pruning knife and reduce his works to the length that they would have been if the composer had not stretched them out of shape and then the great Mahler war will be over The Ninth Symphony would last about twenty minutes Deems Taylor 23 Recordings EditThe Ninth Symphony has been recorded over a hundred times for commercial release on 78 rpm discs LP CD or DVD An incomplete list includes Bruno Walter with the Vienna Philharmonic 1938 Hermann Scherchen with the Vienna Symphony 1950 Jascha Horenstein with the Vienna Symphony 1952 Paul Kletzki with the Israel Philharmonic Orchestra 1954 Hans Rosbaud with the Sudwestfunk Symphonie Orchester Baden Baden 1957 Dimitri Mitropoulos with the New York Philharmonic 1960 Leopold Ludwig and the London Symphony Orchestra 1960 Dimitri Mitropoulos with the Vienna Philharmonic 1960 Bruno Walter with the Columbia Symphony Orchestra 1962 Sir John Barbirolli with the Berlin Philharmonic 1964 Kirill Kondrashin with the Moscow State Philharmonic 1964 Leonard Bernstein with the New York Philharmonic 1965 Jascha Horenstein with the London Symphony Orchestra April 1966 Jascha Horenstein with the London Symphony Orchestra September 1966 Karel Ancerl with the Czech Philharmonic 1966 Otto Klemperer and the New Philharmonia Orchestra 1967 Rafael Kubelik with the Bavarian Radio Symphony Orchestra 1967 Georg Solti with the London Symphony Orchestra 1967 Vaclav Neumann with the Leipzig Gewandhaus Orchestra 1967 George Szell with the Cleveland Orchestra 1968 Bernard Haitink with the Royal Concertgebouw Orchestra 1969 Maurice Abravanel with the Utah Symphony 1969 Leonard Bernstein with the Vienna Philharmonic 1971 Carlo Maria Giulini with the Chicago Symphony Orchestra 1976 Grammy Award winner Wyn Morris with the Sinfonica of London 1978 James Levine with the Philadelphia Orchestra 1979 Kurt Sanderling with the Berlin Symphony Orchestra 1979 Klaus Tennstedt with the London Philharmonic Orchestra 1979 Leonard Bernstein with the Berlin Philharmonic 1979 Grammy Award winner Eliahu Inbal with the Japan Philharmonic Orchestra 1979 Herbert von Karajan with the Berlin Philharmonic 1979 80 Vaclav Neumann with the Czech Philharmonic 1982 Georg Solti with the Chicago Symphony Orchestra 1982 Grammy Award winner Herbert von Karajan with the Berlin Philharmonic 1982 Gramophone Record of the Year Lorin Maazel with the Vienna Philharmonic 1984 Leonard Bernstein with the Royal Concertgebouw Orchestra 1985 Kazuo Yamada with the New Japan Philharmonic 1986 Eliahu Inbal with the Frankfurt Radio Symphony Orchestra 1986 Claudio Abbado with the Vienna Philharmonic 1986 Bernard Haitink with the Royal Concertgebouw Orchestra 1987 Klaus Tennstedt with the New York Philharmonic 1988 Michael Gielen with the Sudwestfunk Symphonie Orchester Baden Baden 1990 James Judd with the Gustav Mahler Jugendorchester 1990 Libor Pesek with the Royal Liverpool Philharmonic Orchestra 1990 Gary Bertini with the Kolner Rundfunk Sinfonie Orchester 1991 Leif Segerstam with the Danish Radio Symphony Orchestra 1991 Kurt Sanderling with the Philharmonia Orchestra 1992 Yevgeny Svetlanov with the Russian State Symphony Orchestra 1992 Sir Simon Rattle with the Vienna Philharmonic 1993 Bernard Haitink with the European Community Youth Orchestra 1993 Rudolf Barshai with the Moscow Radio Symphony Orchestra 1993 Giuseppe Sinopoli with the Philharmonia Orchestra 1993 Kurt Masur with the New York Philharmonic 1994 Michael Halasz with the Polish National Radio Symphony Orchestra NAXOS 8 550535 36 1994 Pierre Boulez with the Chicago Symphony Orchestra 1995 Grammy Award winner Christoph von Dohnanyi with the Cleveland Orchestra 1997 Jesus Lopez Cobos with the Cincinnati Symphony Orchestra 1997 Giuseppe Sinopoli with the Staatskapelle Dresden 1997 James Levine with the Munich Philharmonic 1999 Benjamin Zander with the Philharmonia Orchestra 1999 Claudio Abbado with the Berlin Philharmonic 1999 Seiji Ozawa with the Boston Symphony Orchestra 2002 Michael Gielen with the Sudwestfunk Symphonie Orchester Baden Baden 2003 Riccardo Chailly with the Royal Concertgebouw Orchestra 2004 Claudio Abbado with the Gustav Mahler Jugendorchester 2004 Michael Tilson Thomas with the San Francisco Symphony 2005 Gerard Schwarz with the Royal Liverpool Philharmonic 2006 Daniel Barenboim with the Staatskapelle Berlin 2006 CD Ken ichiro Kobayashi with the Japan Philharmonic Orchestra 2006 Zdenek Macal with the Czech Philharmonic 2007 Daniel Barenboim with the Staatskapelle Berlin 2007 DVD Jonathan Nott with the Bamberg Symphony 2008 Sir Simon Rattle with the Berlin Philharmonic 2009 Esa Pekka Salonen with the Philharmonia Orchestra 2009 Eiji Oue with the Norddeutscher Rundfunk Sinfonieorchester Hamburg 2009 Alan Gilbert with the Royal Stockholm Philharmonic 2009 David Zinman with the Tonhalle Orchestra of Zurich 2009 Jukka Pekka Saraste with the WDR Symphony Orchestra of Koln 2009 Sir Roger Norrington with the Stuttgart Radio Symphony Orchestra 2010 Seiji Ozawa with the Saito Kinen Orchestra 2010 Claudio Abbado with the Lucerne Festival Orchestra 2010 24 Valery Gergiev with the London Symphony Orchestra 2011 Bernard Haitink with the Bavarian Radio Symphony Orchestra 2011 Bernard Haitink with the Royal Concertgebouw Orchestra 2011 DVD amp Blu ray Lorin Maazel with the Philharmonia Orchestra 2011 Eckehard Stier with the Auckland Philharmonia Orchestra 2012 Gustavo Dudamel with the Los Angeles Philharmonic Orchestra 2013 Eliahu Inbal with the Tokyo Metropolitan Symphony Orchestra 2014 Myung whun Chung with the Seoul Philharmonic Orchestra 2014 Donald Runnicles with the Scottish Symphony Orchestra 2014 Daniel Barenboim with the La Scala Philharmonic Orchestra Milan 2014 Michael Schonwandt with the Danish National Symphony Orchestra 2014 Ivan Fischer with the Budapest Festival Orchestra 2015 Sir Mark Elder with the Halle Orchestra 2015 Adam Fischer with the Dusseldorf Symphony 2019 Bernard Haitink with the Royal Concertgebouw Orchestra 2019 25 References Edit Mark Brown Arts correspondent Beethoven s Eroica voted greatest symphony of all time Music The Guardian Retrieved 1 May 2020 Gustav Mahler in New Grove Macmillan 1980 Program Notes Mahler Symphony No 9 in D Major PDF Chicago Symphony Orchestra Constantin Floros Gustav Mahler The Symphonies 2000 Hefling Stephen E The Ninth Symphony in The Mahler Companion eds Donald Mitchell and Andrew Nicholson Oxford University Press ISBN 0 19 816376 2 p 474 1999 Barford Philip Mahler Symphonies and Songs BBC Music Guides University of Washington Press Seattle pp 55 56 1971 Mitchell Donald 2002 The Mahler Companion OUP Tom Service Symphony guide Mahler s Ninth The Guardian Retrieved 1 May 2020 Leonard Bernstein conducts and comments Mahler s Ninth Symphony Henry Louis de La Grange Gustav Mahler Vol 4 Oxford University Press 2008 Mahler at 100 a medical history by Salvatore Mangione Hektoen International Journal Sadie Stanley ed 1980 The New Grove Dictionary of Music and Musicians Vol 11 London England MacMillan pp 512 513 ISBN 978 0 333 23111 1 Mahler Symphony No 9 Vienna Philharmonic Orchestra Bruno Walter conductor 1938 PDF Library of Congress Retrieved 26 December 2018 The Halle a timeline PDF halle co uk Retrieved 26 December 2018 Music Containing Multitudes The Boston Musical Intelligencer 15 April 2016 Retrieved 26 December 2018 Lewis Thomas Late Night Thoughts on Listening to Mahler s Ninth Symphony Quoted in the liner notes to Mahler Symphony No 9 Berliner Philharmoniker Herbert von Karajan Gustav Mahler andante com Archived from the original on 12 June 2008 Retrieved 1 May 2020 Quoted in Herbert von Karajan A Life in Music by Richard Osborne The Unanswered Question by Leonard Bernstein Adorno Theodor W 15 August 1996 Adorno Jephcott Mahler ISBN 9780226007694 Quoted from his liner notes to Mahler Symphony No 9 Dusseldorf Symphony Adam Fischer Avi Music 8553478 Chord and Discord February 1932 p 23 Published by ACCENTUS Music No ACC20214 YouTube YouTube Retrieved 1 May 2020 a href Template Cite web html title Template Cite web cite web a CS1 maint url status link External links EditExtensive history and analysis at the Wayback Machine archived 12 June 2008 Portal Classical music Retrieved from https en wikipedia org w index php title Symphony No 9 Mahler amp oldid 1128037918, wikipedia, wiki, book, books, library,

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