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Resurrezione ebrea di Mahler
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अश्वमित्रः
May 5, 2012, 10:28:47 PM5/5/12
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L'ultimo movimento della Resurrezione di Mahler cantato in ebreo?? Deve senza dubbio essere stato "surreale". Non ce n'è una registrazione?
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http://www.echo.ucla.edu/volume3-issue2/knapp_draughon/knapp_draughon1.html
Nor should we ignore Leonard Bernstein’s efforts to universalize the theme of resurrection in Mahler’s Second Symphony, performing it in November 1948 in Israel to mark the first season of the renamed Israel Philharmonic, performing it in November 1963 to express a world’s mourning after the assassination of the Catholic John F. Kennedy, and performing its final, most Christian movement, even as land mines continued to explode nearby, to celebrate the reopening of Mt. Scopus in Jerusalem after the Six-Day War in 1967—although we may note that he was not without opposition in any of these three instances, particularly with his attempted musical alchemy of converting the base metal of Mahler’s conversion to Christianity into a shining symbol of Jewish renewal (Page, 78–84, 240–250, 309–315). (One particular awkwardness was the German language of the original; the solution for the Mt. Scopus performance was to sing it in Hebrew—which, given this text, produces an almost surreal effect.)
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http://www.echo.ucla.edu/volume3-issue2/knapp_draughon/knapp_draughon1.html
Nor should we ignore Leonard Bernstein’s efforts to universalize the theme of resurrection in Mahler’s Second Symphony, performing it in November 1948 in Israel to mark the first season of the renamed Israel Philharmonic, performing it in November 1963 to express a world’s mourning after the assassination of the Catholic John F. Kennedy, and performing its final, most Christian movement, even as land mines continued to explode nearby, to celebrate the reopening of Mt. Scopus in Jerusalem after the Six-Day War in 1967—although we may note that he was not without opposition in any of these three instances, particularly with his attempted musical alchemy of converting the base metal of Mahler’s conversion to Christianity into a shining symbol of Jewish renewal (Page, 78–84, 240–250, 309–315). (One particular awkwardness was the German language of the original; the solution for the Mt. Scopus performance was to sing it in Hebrew—which, given this text, produces an almost surreal effect.)
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