Gustav Preihee Von Pohl

From the symphony to the song would seem to be an enormous step: from the largest form for the largest orchestra to the smallest form for the smallest ensemble. Gustav Mahler nonetheless brought them together and interwove them in previous symphonies as well as in ‘Das Lied von der Erde’. "The long, endlessly stretched crescendo on the single note "e" (filled with so much desire) leads to the final part of Abschied, which I can only describe with the word ‘cosmic’. The voice is surrounded by floating meteors, objects, particles or stars, which move in various directions and speeds. We have left the atmosphere and look back on the beautiful green and blue planet." - Iván Fischer

Nikolaus Harnoncourt and Gustav Leonhardt were at the forefront of the early music movement that swept classical music in the '70s and '80s, performing pieces from the canon with period instruments in order to re-create the original intent of the composer as closely as possible. And their most enduring legacy is right here, the complete survey of Bach's sacred cantatas that they began in 1971 and completed in 1988.

From the symphony to the song would seem to be an enormous step: from the largest form for the largest orchestra to the smallest form for the smallest ensemble. Gustav Mahler nonetheless brought them together and interwove them in previous symphonies as well as in ‘Das Lied von der Erde’. "The long, endlessly stretched crescendo on the single note "e" (filled with so much desire) leads to the final part of Abschied, which I can only describe with the word ‘cosmic’. The voice is surrounded by floating meteors, objects, particles or stars, which move in various directions and speeds. We have left the atmosphere and look back on the beautiful green and blue planet." - Iván Fischer, conductor