Artist: Berliner Philharmoniker, Sir Simon Rattle
Album: Mahler: Symphony No. 8
Genre: Classical
Release Date: 2021
Audio Format:: FLAC (tracks) 24bit, 48 kHz
Duration: 01:18:18
Total Tracks: 15
Total Size: 787 MB

Tracklist:

01. Berliner Philharmoniker – I. Veni, creator spiritus (05:48)
02. Berliner Philharmoniker – II. Infirma nostri corporis (11:29)
03. Berliner Philharmoniker – III. Veni, creator spiritus (04:06)
04. Berliner Philharmoniker – IV. Gloria Patri Domino (02:27)
05. Berliner Philharmoniker – V. Poco adagio (09:39)
06. Berliner Philharmoniker – VI. Waldung, sie schwankt heran (04:27)
07. Berliner Philharmoniker – VII. Ewiger Wonnebrand (01:41)
08. Berliner Philharmoniker – VIII. Wie Felsenabgrund mir zu Füßen (04:24)
09. Berliner Philharmoniker – IX. Gerettet ist das edle Glied der Geisterwelt vom Bösen (03:02)
10. Berliner Philharmoniker – X. Uns bleibt ein Erdenrest (03:04)
11. Berliner Philharmoniker – XI. Höchste Herrscherin der Welt! (07:14)
12. Berliner Philharmoniker – XII. Bei der Liebe, die den Füßen (04:42)
13. Berliner Philharmoniker – XIII. Neige, neige, du Ohnegleiche (05:02)
14. Berliner Philharmoniker – XIV. Blicket auf zum Retterblick (05:36)
15. Berliner Philharmoniker – XV. Alles Vergängliche ist nur ein Gleichnis (05:31)

Download:

Symphony No. 8 in D major by Gustav Mahler was mainly composed between late 1887 and March 1888, though it incorporates music Mahler had composed for previous works. It was composed while Mahler was second conductor at the Leipzig Opera, Germany. Although in his letters Mahler almost always referred to the work as a symphony, the first two performances described it as a symphonic poem and as a tone poem in symphonic form respectively. The work was premi`ered at the Vigad’o Concert Hall, Budapest, in 1889, but was not well received Mahler made some major revisions for the second performance, given at Hamburg in October 1893; further alterations were made in the years prior to the first publication, in late 1898. Some modern performances and recordings give the work the title Titan, despite the fact that Mahler only used this label for the second and third performances, and never after the work had reached its definitive four-movement form in 1896.