Mahler: Symphony No. 4 - Gatti

Mahler: Symphony No. 4 - Gatti

RCO live  RCO 18004

Stereo/Multichannel Hybrid

Classical - Orchestral

Mahler: Symphony No. 4

Julia Kleiter (soprano)
Royal Concertgebouw Orchestra
Daniele Gatti (conductor)

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3 of 3 recommend this, would you recommend it?  yes | no

DXD recording

Recorded live at the Concertgebouw Amsterdam on 8 and 9 November 2017

Producer & Recording engineer: Everett Porter (Polyhymnia International B.V.)

Recording assistant: Lauran Jurrius

Editing: Everett Porter and Lauran Jurrius

Recording facility: Polyhymnia International B.V.

Microphones: Neumann and Schoeps with Polyhymnia custom electronics

DXD recording with Merging Horus AD converters

Editing & mixing: Merging Technologies Pyramix, monitored on Grimm Audio and B&W Nautilus speakers
Comments (2)

Comment by hiredfox - August 6, 2018 (1 of 2)

It's a great pity that Daniele Gatti has got himself embroiled in controversy and been dismissed as I was about to provide a glowing report of this new release of the RCO. Many may now see fit to disregard his discs.

The RCO officially premiered Mahler's 4th with the composer conducting the first performance at Het Concertgebouw, Amsterdam in 1904 and since 1939 all chief conductors of the RCO recorded this cornerstone of the repertoire almost as a rite of passage. In recent times we have had very fine recordings by Davis, Haitink, Janssons and now the most recent by Daniele Gatti.

Briefly this is a very fine performance indeed. In my view it beats all of the most recent offerings of the RCO and not least because of the thoroughly excellent recording of Everett Porter. That is all I should say at this time as any posting is likely to attract criticism in the light of recent allegations. In case the recording is pulled from the marketplace it is worthwhile to grab a copy now whilst it is still available.

Comment by SteelyTom - August 8, 2018 (2 of 2)

I wonder how the RCO's in-house label will treat the slender RCO/Gatti catalog. Will the orchestra bother to keep his recordings in print?

One gets the sense that Gatti had exhausted his goodwill with the orchestra prior to publication of Anne Midgette's piece in the Washington Post, leading the RCO to act with rather exceptional alacrity. If he had offended women in the orchestra, perhaps an effort will be made to erase signs of the short RCO/Gatti interregnum.