Jamie Barton on Mahler's Rückert-Lieder

By Elisabeth Schwarz, 10 January 2019

Loading, please wait...

“I tell these stories through my own experiences”

Bachtrack, 3rd March

Principal contrabassist of the Royal Stockholm Philharmonic Orchestra talks about why Mahler’s restless and volatile First Symphony is a highlight of any orchestra season.

The magical world of composers’ handwriting

Lawrence Dunn, 17th December

From Buxtehude, Bach and Handel, to contemporary composer Liza Lim, we take a tour of the myriad forms of composers’ handwriting and calligraphy – and how music makes itself on the page.

A musical melting pot: Hannu Lintu joins Singapore Symphony Orchestra

Richard Bratby, 4th November

The Finnish conductor talks about becoming Music Director at Singapore Symphony from 2026 – and creating programmes for the unique cultural melting pot that the orchestra sits at the centre of.

A walk through King’s Cross via Kings Place

Peter Quantrill, 20th October

Kings Place, of the most successful new additions to the London music scene, sits in a rapidly changing King’s Cross – an intersection of new architecture, culture and heritage.

超越的な存在としての自然：マーラーの交響曲第3番について今井仁志氏に聞く

Bachtrack, 4th April

NHK 交響楽団の首席ホルン奏者の今井仁志氏に、マーラーの交響曲第 3 番について、曲との出会いや演奏の心構え、自然への崇拝というテーマなどについて語っていただきました。

Mahler’s Third Symphony: Transcendent nature

Bachtrack, 4th April

Hitoshi Imai, Principal Horn of the NHK Symphony Orchestra, talks about discovering and playing Mahler’s longest symphony, and its theme of reverence for nature.

Elisabeth Schwarz

Elisabeth is Bachtrack’s German Editor and Press Manager. After more than five years in London, she is now back in Vienna, spending more time at the opera and in cafés than her own living room. She also organises music projects for people who have experienced homelessness and works as a freelance translator and copywriter for classical music PRs.

“Connecting to the emotional core”: Jamie Barton on Mahler's Rückert-Lieder