Mahler: Symphony No.3/Kindertotenlieder

On this CD:

1. Symphony No. 3 in D minor
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra, Josef Pomberger
Conducted by Lorin Maazel

2. Kindertotenlieder, cycle of 5 songs for voice & piano (or orchestra) No.1: Nun will die Sonn' so hell aufgeh'n
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra, Agnes Baltsa
Conducted by Lorin Maazel

3. Kindertotenlieder, cycle of 5 songs for voice & piano (or orchestra) No.2: Nun seh' ich wohl, warum so dunkle Flammen
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra, Agnes Baltsa
Conducted by Lorin Maazel

4. Kindertotenlieder, cycle of 5 songs for voice & piano (or orchestra) No.3: Wenn dein Mütterlein
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra, Agnes Baltsa
Conducted by Lorin Maazel

5. Kindertotenlieder, cycle of 5 songs for voice & piano (or orchestra) No.4: Oft denk'ich, sie sind nur ausgegangen
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra, Agnes Baltsa
Conducted by Lorin Maazel

6. Kindertotenlieder, cycle of 5 songs for voice & piano (or orchestra) No.In diesem Wetter
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra, Agnes Baltsa
Conducted by Lorin Maazel

Tracks:

Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan

Tracks:

Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...

Tracks:

Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...

Tracks:

Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
Three Ruckert Songs: Um Mitternacht - Jennie Tourel
Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
Kindertotenlieder: In Diesem Wetter! - Jennie Tourel

Tracks:

Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
Sym No.4 in G: Movt I: Tempo I - Reri Grist
Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
Sym No.4 in G: Movt III: Andante - Reri Grist
Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein

Tracks:

Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein

Tracks:

Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein

Tracks:

Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
Kindertotenlieder: In Diesem Wetter! - Janet Baker
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein

Amazon.com

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde

Customer Reviews:

Groundbreaking but partly outdated.......2007-03-26

Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.

How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.

The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.

The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.

If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.

Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.

Outstanding Mahler Compilation.......2007-01-29

I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.

Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.

Great price, great compilation. Lot of Mahler.

Bernstein or Tennstedt: read on...........2006-07-12

If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:

No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.

Comparing the two Bernstein Mahler cycles.......2006-06-27

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

Mahler complete symphonies........2006-02-24

"Mahler was an altogether great man" -One who also knows a thing or two.

Average customer rating:

Great Mahler and Bernstein, not so great lieder
short recommendation
Groundbreaking performance! But sound quality...
Bernstein in an Historical Recording of Mahler's Third Symphony
very good overall

Mahler: Symphony No. 3 / Lieder

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JQGV
Release Date: 1999-07-27

Tracks:

Symphony No. 3 In D Minor: Part One - Movement I: Kraftig. Entschiedne
Symphony No. 3 In D Minor: Part One - Movement I: Langsam. Schwer
Symphony No. 3 In D Minor: Part One - Movement I: Tempo I
Symphony No. 3 In D Minor: Part One - Movement I: a tempo
Symphony No. 3 In D Minor: Part One - Movement I: Immer dasselbe Tempo (Marsch). Nicht eilen
Symphony No. 3 In D Minor: Part One - Movment I: Imalten Marschtempo (Allegro moderato)
Symphony No. 3 In D Minor: Part One - Movement I: Tempo I
Symphony No. 3 In D Minor: Part Two - Movement II: Tempo di Menuetto. Sehr massig
Symphony No. 3 In D Minor: Part Two - Movement II: a tempo
Symphony No. 3 In D Minor: Part Two - Movement II: Ganz plotzlich gemachlich. Tempo di menuetto
Symphony No. 3 In D Minor: Part Two - Movement III: comodo. Scherzando. Ohne Hast
Symphony No. 3 In D Minor: Part Two - Movement III: Wiedersehr gemachlich, wie zu Anfang
Symphony No. 3 In D Minor: Part Two - Movement III: Etwas zuruckhaltend - Sehr gemachlich
Symphony No. 3 In D Minor: Part Two - Movement III: Tempo I. Mit geheimnisvolles Hast!
Symphony No. 3 In D Minor: Part Two - Movement III: Wieder sehr gemachlich, beinahe langsam
Symphony No. 3 In D Minor: Part Two - Movement IV: Sehr langsam. Misterioso. Durchaus ppp
Symphony No. 3 In D Minor: Part Two - Movement IV: Piu mosso subito
Symphony No. 3 In D Minor: Part Two - Movement V: Lustig im Tempo und keck im Ausdruck

Tracks:

Symphony No. 3 In D Minor: Part Two - Movement VI: Langsam. Ruhevoll. Empfunden
Symphony No. 3 In D Minor: Part Two - Movement VI: Nicht mehr so briet
Symphony No. 3 In D Minor: Part Two - Movement VI: Tempo I. Ruhevoll!
Symphony No. 3 In D Minor: Part Two - Movement VI: a tempo (Etwas bewegter)
Symphony No. 3 In D Minor: Part Two - Movement VI: Tempo I
Symphony No. 3 In D Minor: Part Two - Movement VI: Langsam. Tempo I
Three Ruckert-Lieder: Ich atemt einen linden Duft
Three Ruckert-Lieder: Ich bin der Welt abhanden gekommen
Three Ruckert-Lieder: Um Mitternacht
Des Knaben Wunderhorn: Das irdische Leben
Kindertotenlieder: Nun will die Sonn so hell aufgehn
Kindertotenlieder: Nun seh ich wohl, warum so dunkle Flammen
Kindertotenlieder: Wenn dein Muterlein
Kindertotenlieder: Oft denk ich, sie sind nur ausgegangen
Kindertotenlieder: In diesem Wetter

Customer Reviews:

Great Mahler and Bernstein, not so great lieder.......2007-02-13

This CD package has a superb interpretation of a Mahler symphony by one of his best interpreters (see other reviews) with a few bits and pieces of his lieder suites tacked on at the end by B list performers. This is a great buy if you can get it at a bargain price for a single disk, not at a premium price.

short recommendation.......2006-05-10

There are numerous fine performances of Mahlers 3rd symphony, to name a few of my favourites:
Kubelik (DG and Audite), Haitink (RCO studio and live), Boulez (DG).

This performance by Bernstein ranks at the top in my opnion
(Which I like best I don't know, probably Kubelik live or Haitink live)

Never did I hear Bernstein give such a natural reading of a Mahler symphony, his spontaneity this time is more subtle, it doesn't interfere with the music or with the natural pulse of the music.
I particuarly am very impressed with the performance of the second and 3rd movement. (my favourite movements of this symphony), the right balance between refinement, subtlety (beauty of tone) and sharper edges, brighter colors.

(The perfect balance between Haitink and Kubelik if you like)

The sound of this recording however isn't that good...

Groundbreaking performance! But sound quality..........2000-07-19

Bernstein's performance of Mahler's 3rd is groundbreaking! Truly powerful! But the quality of the sound can be a little distracting from time to time. You hear that "sshhhh" sound throughout the symphony. Don't get me wrong. This is the best performance of the 3rd that you can pay for. The next best thing would have to be London/Decca's Solti interpretation. The performance is top notch and the sound quality is crisp and clear. I have to admit the third is my true favorite. If you're going to enjoy it on CD, either find another excellent Bernstein interpretation of Mahler's third, or buy London/Decca's Solti interpretation.

Bernstein in an Historical Recording of Mahler's Third Symphony.......2000-05-21

Bernstein is rightly regarded as the conductor who championed all of Mahler's symphonies in the 1960s when most were unfamiliar to audiences. That so many Mahler symphonies appear each year on every American orchestra's schedule is one of the great, but often overlooked, Bernstein legacies. His recordings of all the Mahler symphonies in the 1960s was an historical landmark, and the lesser-known of the symphonies (such as the 3rd, 6th, and 9th) had the most to gain by their new found exposure at the hands of a master conductor at the top of his form.

The New York Philharmonic musicians in 1961 were probably far less familiar with the long and complicated Mahler's 3rd than they are today. As an apparent result, there are many places throughout the performance where everything doesn't quite line up correctly. There are several key, extended solos in the 3rd symphony---the violin and posthorn (trumpet) solos are outstanding, but the trombone solo suffers from inconsistent intonation (as do the trumpet and horn sections elsewhere).

The orchestra plays quite well throughout---particularly the woodwind section---and Bernstein leads them in a well constructed and often joyous performance. The first movement has a very nice pace to it and an exciting ending. The 3rd movement, however, seems a bit labored and slow, rather than rolling along with the lilting pastoral feeling at its heart. The finale is extremely successful in Bernstein's hands, with a slow and measured pace leading up to a gorgeous climax.

At times Bernstein seeks the broad gesture instead of carefully crafted ensemble work from his musicians. I had very high expectations of this recording when I purchased it, primarily because it has been so favorably mentioned over the years. The recording is exciting and well worth investigating, but I was still slightly disappointed that it did not live up to my hyped-up expectations.

While this recording may be of particular interest to Bernstein fans or Mahler afficionados, it is not the best recording of the 3rd symphony around. Better to buy Horenstein's with the London Symphony Orchestra or James Levine's with the Chicago Symphony Orchestra; apparently Salonen's recording with the Los Angeles Philharmonic Orchestra is fine, but I was not overwhelmed when I heard them perform the work live.

The recording is supplemented by a series of songs: one from Des Knaben Wunderhorn (another poem from this set is used in the 5th movement of the 3rd symphony); the three Rueckert-Lieder; and the desolate Kindertotenlieder. All are well sung by Jennie Tourel and convey the beauty of Mahler's compositional style even in the shorter forms.

very good overall.......2000-01-20

Interpretively this is an excellent recording. Bernstein broke a lot of new ground with this release in the 60's. The ensemble is not as good as in Bernstein's second version, but the many of the solos and the general sound of the orchestra are better in this version. One thing that surprised me was two audible coughs, one in the first movement and one in the last. Considering this is a studio recording this is very surprising. Overall, this is a great recording to own, but if you only want one version of this, there are other performances available that are more insightful. check out Bernstein's second recording, Salonen's new recording with the LA Phil, Horenstein's with the London Symphony, or Lopez-Cobos's with the Cincinnati symphony.

Average customer rating:

excellent recorded sound, good orchestral playing, poor interpretation
Mahler Symphony #3
Good, but by no means great Mahler
Hard to beat
what i have longed to hear

Mahler: Symphony No. 3 [Hybrid SACD]

Manufacturer: San Francisco Sym
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008V6WI
Release Date: 2004-11-09

Customer Reviews:

excellent recorded sound, good orchestral playing, poor interpretation.......2007-05-09

This is the worst Mahler 3rd I've listened to on record. The first three movements---the first half of the symphony, and the entirety of disc 1---are simply lethargic and boring as read here. Tilson Thomas has the San Francisco Symphony amble uncomprehendingly through them as though in a daze, in an unbroken monotone that offers almost no interpretive ebb and flow of tension and expression whatsoever. I can't begin to imagine what he was trying to get at. Every other reading I know of this music has so much more to say: pass this one by and try either of the New York Philharmonic Bernstein recordings, or Solti and Chicago, or Ozawa and Boston, or the L.A. Philharmonic with Salonen, or the Berlin Philharmonic with Abbado... virtually any reading other than this one.

The last third of this symphony is an adagio, and the music comes off better there, as though the score had slowed down to meet Tilson Thomas' languid pace. The Kindertotenlieder are likewise passable. But this is most decidedly a bad record. Look elsewhere.

Mahler Symphony #3.......2007-02-08

CD arrived in New condition. A wonderfully recorded and performed work. Michael Tillson Thomas is one of the world's greatest interpreters of Mahler and the San Francisco Symphony has never sounded better.

Good, but by no means great Mahler.......2006-11-11

Michael Tilson Thomas is a phenomenal music director. He inherited the San Francisco Symphony in 1995 and has, since then, turned the band, which was already quite accomplished under Herbert Blomstedt's tutelage, into a world class ensemble in the truest since. Despite its few (but glaring) weakness - bad flutes and violins that tend towards thinness - the San Francisco Symphony boasts consistently fine playing and musically intelligent contributions from the soloists - droll clarinets, boisterous bassoons, a horn section second to none, beautiful lower strings, and rich, big toned lower brass. Listening to this ensemble - an ensemble in the truest sense of the word - is always a joy. Thus, when one hears a performance like this, which, despite first class playing, falls short of being a success, the blame clearly lies at the hands of the conductor.

Objectively looking at Michael Tilson Thomas's ongoing Mahler cycle has been increasingly difficult for me mainly because, the more familiar I become with Thomas's conducting style, the more egregious the apparent faults become. Thomas's penchant for rubato and mannered stylization started off as an interesting, if unnecessary, detail in the 6th and 1st symphonies. It became a bit more problematic in the 2rd. And finally, it became irritatingly obnoxious in the 7th and 5th symphonies. Thomas's insistence on smothering his interpretations with a thick coat of decorative frosting and fussy, mannered detail leaves a fluffy, decadent, at times even saccharine aftertaste which belies the often overwhelmingly high-level of musical nourishment these recordings offer. Indeed, nearly every other musical choice Thomas makes is a good one - it's just a shame he cannot discern between the good and bad.

There is really only one real high point to this release - the second movement - which is nearly perfect. Although a tad too precious for my tastes, the movement possesses all the correct tempo changes, perfectly balanced ensemble, and the correct amount of nimble buoyancy. Everywhere else, Thomas misses the mark.

The main problem with the first movement is epitomized by Thomas's handling of the "summer storm" outburst. Where Mahler asks for vulgar, Thomas responds with a perfectly balanced, overly polite disintegration that is hardly earth shattering. Overall, the dichotomy between the two marches is missing; the minor march lacks the craggy darkness and grotesqueries while the major march lacks the sense of awakening and rebirth. And although the contributions from the players are wonderful - Mark H. Lawerence's solo is like a dream - the movement lacks in the emotional extremes so necessary for this movements success. Thomas does shape the transitions between the two marches effectively and many beautiful moments abound throughout the movement, but on the whole, Thomas takes too much time to say what he has to say. As a direct comparison, listen to Bernstein's recording which finds the conductor leading a determinedly forward moving movement. For all the criticism Bernstein receives as an overly emotional conductor, his conception of this movement is quite controlled, focused, and flowing as compared to Thomas's meandering stroll through the music's various episodes.

The scherzo proper goes well enough. The winds have character, the horns capture the earthy quality of the score, and the strings really dig into their parts. And then there's the trio, which is excruciatingly slow, again, despite wonderful playing from the posthorn and other soloists. At the return of the trio, it seems Thomas is going even slower than before, dragging the music almost to the breaking point before the coda. However, the coda goes well enough (although more tam tam would have been nice) with the proper amount of pomp and circumstance.

The two vocal movements run smoothly but lack any real character. Michelle DeYoung is usually a vocally magnificent soloist, but here her singing seems overly reserved and calculated; the movement as a whole sounds chillingly cool. Her wide vibrato does not always suite the music well either. The chorus, particularly the Pacific Boys Choir, sings faithfully in the fifth movement, however, again, the humanity Mahler is so desperately trying to represent is somehow conspicuously absent from the reading. It sounds calculated, micro-managed, and lacks the necessary transcendence. However, the top to bottom clarity of texture is quite extraordinary - the fact that the bassoons are perfectly audible during the large brass swells at the close of the fifth movement really says something about Thomas's sense of orchestral balance.

The finale features wonderful contributions from the strings, which add a great deal of warmth to this otherwise cooler account of the symphony. Thomas stretches the music to the breaking point several times, and even though Tempo I is quite flowing and well paced, the movement as a whole still feels long. Thomas seems to climax too soon, resulting in an episodic finale that doesn't quite build towards the final passages as others do - Ricardo Chailly's Royal Concertgebouw 3rd is a fantastic example of a well-balanced architectural finale that concludes with tremendous level of satisfaction. In Thomas's hands, the final passages, as powerful as they are here, are so painfully slow - it feels as if Thomas has purchased gravitas (or at least his idea of gravitas) at the expense of taste. Beautiful, hair-raising moments abound in this finale, but on the whole, it never really captures the brilliant architecture of the music. Chailly's architectural grasp, on the other hand, is astounding. His recording, along with Bernstein's legendary New York Philharmonic recordings, are reference.

On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, and at times even coquettish. The brass is rich, powerful, but never overbearing. The percussion, while excellent as a section, has never been captured faithfully by the engineers - only in forte does the timpani cut through the texture with any real acuity. The strings are rich, plush and bright. Again, the orchestra itself really is something, and, as far as orchestral perfection goes, the San Francisco Symphony delivers a near perfect performance, despite its bright sheen.

Overall, Michael Tilson Thomas is quite well versed in Mahler and there is, despite all the shortcomings, a profundity of incite here. The playing is top notch, the contributions from the soloists are wonderful, and many of Thomas choices are good. However, his insistence on micro-managing every aspect of the score prevents his orchestra from creating a true idiomatic Mahler sound. The first movement lacks the necessary dichotomy between the marches and, thus, the tension falls flat. Thomas's tight grip keeps the forth and fifth movement stubbornly earthbound. And the architecture of the finale is as odd with Thomas's overly expressive account. It is frustrating, really, when everything is perfect on paper but fails in reality. This most expansive and disparate of Mahler symphonies needs a conductor who can pull together the sprawling universe of Mahler's sound world and instill cohesion and apply structure. Here, Thomas fails.

The kindertotenleider fares no better. A tepid, lifeless contribution from the orchestra is met with dry-eyed singing from Michelle DeYoung. Disappointing.

Hard to beat.......2006-09-09

I'll admit it. I'm a Bernstein fan, and Bernstein's Mahler cycle on DG, though thoroughly quirky, is difficult to beat. In fact, the only way to top it is to try to match it through individual recordings. Such is the case with the present recording with MTT and the SFSO. Having the advantages of a more modern recording and less concern over capturing a live performance, this recording often exceeds what Bernstein achieved with the New York Philhamonic twenty years ago. Of course, MTT is no stranger to recording this work, having already offered a fine recording with the LSO. The playing of the SFSO in this recording is magnificently defined and polished without losing the fire required by the Third. I certainly prefer Christa Ludwig to Michelle DeYoung, but as a solitary drawback, this can easily be overlooked. There are a lot of generic recordings of Mahler's Third, including Abaddo and Chailly. It's nice to have a fresh offering so full of power and life!

what i have longed to hear.......2005-08-26

having heard many recordings and the berlin philharmonic play this under claudio abbado, i know what i want to hear in this piece. hearing all those other performances, i find passages that i want different. this recording seemed to fill in all the holes that other recordings had and then some. the sound on this disc is much more consistent with the SFSO recording of Mahler's 1st and sounds dramatically different than their recording of Mahler's 2nd. the playing throughout, as usual with the SFSO, is superb. while they do not change color and character as swiftly as the Royal Concertgebouw under Chailly, i feel that they have a better overall interpretation of the symphony's mood. the whole orchestra seems to understand, better than any other recording i have heard, what their individual roles are in the piece. my only problem with the disc is the advertising. the SFSO webpage and the liner itself states that this is a 5.1 SACD. it is not, as all the other SFSO SACDs. it is a 5.0 SACD, lacking a low-frequency channel. i hihgly recomend this recording and any other by the SFSO under MTT.

A Celebration of Defining Moments in Recording History

Average customer rating:

Interesting, and so cheap!
Not that great

A Celebration of Defining Moments in Recording History

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Das Lied Von Der Erde - Otto Klemperer
Violin Concerto No.1 - David Oistrakh
Boris Godunov - Boris Christoff
Piano Concerto No.22 - Annie Fischer
La Boheme - Jussi Bjorling
Symphony No.2 'Resurection' - Otto Klemperer

Tracks:

Bachianas Brasileiras - Heitor Villa-Lobos
Die Zauberflote - Herbert Von Karajan
Preludes II - Walter Gieseking
Symphonie Fantastique - Sir Thomas Beecham
Il Trovatore - Maria Callas
String Quartet - Alban Berg Quartett
Wesendonck-Lieder - Elisabeth Schwarzkopf
Horn Concerto No.3 - Dennis Brain
Fidelio - Otto Klemperer
Piano Concerto In G - Arturo Benedetti Michelangeli
Kindertotenlieder - Bruno Walter
Dialogues Des Carmelites - Pierre Dervaux
Violin Concerto - Yehudi Menuhin
Salome - Herbert Von Karajan
Tout Un Monde Lointain... - Mstislav Rostropovich
Il Barbiere Di Siviglia - Vittorio Gui
Fantasia On 'Greensleeves' - Sir John Barbirolli
Die Lustige Witwe - Nicolai Gedda
Symphony No.9 'Choral' - Wilhelm Furtwangler

Customer Reviews:

Interesting, and so cheap!.......2005-03-17

In response to the reviewer below, yes, some of the recordings do not have the best sound quality. But that's not what this is about, it's about great recordings of the century.
There are two discs, each with about 18 tracks, averaging about 4 minutes each, of excerpts and individual movements of the some of the most famous of the 150 "GROCs."

In the booklet it has a few interesting (sometimes not that interesting) facts about each of the 150 performances.

If you don't mind excerpts of pieces or isolated movements, this would be a worthwhile purchase, especially for the bizarrely reasonable price.

Not that great.......2004-11-19

If this is supposed to be an album of "the greatest" -- I wasn't too impressed. The quality didn't seem that good and the selections, well, not all that popular to my mind.

Kathleen Ferrier - Mahler ~ Kindertotenlieder & Gluck ~ Greene ~ Handel ~ Mendelssohn ~ Purcell / Baillie, Moore, B. Walter

Average customer rating:

Buen documento para conocer y disfrutar a Kathleen Ferrier
The incredible Kathleen Ferrier recordings!
A Terrible Beauty
What is to say - It's Ferrier...
How can you go wrong?

Kathleen Ferrier - Mahler ~ Kindertotenlieder & Gluck ~ Greene ~ Handel ~ Mendelssohn ~ Purcell / Baillie, Moore, B. Walter
Kathleen Ferrier , Bruno Walter , Vienna Philharmonic , and Isobel Baillie
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mahler: Das Lied von der Erde / Bruno Walter
Edition V8 / Blow the Wind Southerly
A Tribute
Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch
Gluck: Orfeo ed Euridice

ASIN: B00000I7W5
Release Date: 1999-03-09

Tracks:

Birthday Ode For Queen Mary: Soun The Trumpet
The Indian Queen: Let Us Wander, Not Unseen
King Arthur: Shepherd, Shepherd, Cease Decoying
Ottone: Spring Is Coming
Ottone: Come To Me, Soothing Sleep
Orfeo ed Euridice: Chiamo il mio ben cosi (Act 1)
Orfeo ed Euridice: Deh! placatevi con me (Act 2)
Orfeo ed Euridice: Che puro ciel! (Act 2)
Orfeo ed Euridice: Che feci mai?...Che faro senza Euridice? (Act 3)
O Praise the Lord
I will lay me down in peace
I would that my love, Op. 63 No. 1 - Felix Mendelssohn
Greeting, Op. 63 No. 2 - Felix Mendelssohn
Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen
Kindertotenlieder: Wenn dein Mein tritt zur Tein
Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen!
Kindertotenlieder: In diesem Wetter, in diesem Braus

Amazon.com essential recording

Even before her tragic death at 41 (in 1953), Kathleen Ferrier became a legend for her incomparable voice, her simplicity and sincerity of expression, and her indomitable courage. This compilation of recordings originally made in the 1940s includes four arias from Gluck's Orfeo ed Euridice recorded live in Holland, which show why Euridice was one of her signature roles. Two beautifully sung Handel arias, two sacred songs by Maurice Greene, and delightful duets by Purcell and Mendelssohn (sung in English with another beloved English singer, Isobel Baillie) are greatly enhanced by the inimitable pianist Gerald Moore. But the core of this recording is the Mahler cycle. Here, Ferrier's voice takes on a new warmth and intensity; her deeply inward, direct expressiveness gives the bereaved parent's grief and anguish a devastating impact. Her reading of the last song could be a bit more spooky, but the end is heartbreaking in its submissive resignation. The Vienna Philharmonic and Bruno Walter are in their native element. --Edith Eisler

Customer Reviews:

Buen documento para conocer y disfrutar a Kathleen Ferrier.......2004-03-27

Este disco realiza un repaso bastante acertado a la carrera de la mitica contralto Kathleen Ferrier, una de esas voces que hicieron historia y que pasaron a la historia, y con razon.
Junto a unos duetos de Purcell y Mendelshon, y otras canciones, asi como unas arias de Haendel, en las que Ferrier ya va mostrando su gran talento, lo mejor de este disco esta indudablemente en la seleccion del 'Orfeo ed Euridice' de Gluck, tomada de unas funciones en directo a principios de los 50. La Ferrier sienta catedra en la interpretacion del personaje: lo lleva dentro, y lo canta de una forma admirable. Sin duda esta es una de las mejores encarnaciones de 'Orfeo' jamas escuchadas.
El otro pilar del disco son los 'Kindertotenlieder' de Mahler, otra de las maximas especialidades de Ferrier, de los que realiza una version antologica, por voz, diccion y expresion, magistralmente dirigida por Bruno Walter. Un lujazo, vamos.
El disco se consigue actualmente a precio medio, y las remasterizaciones son de calidades variadas (puesto que las grabaciones son de años diferentes) pero el nivel general de las mismas es bastante bueno.
Indudablemente este es un disco que hay que poseer, ya que quizas se trate de uno de los mejores documentos existentes para apreciar el tremendo talento de la gran Kathleen Ferrier.

The incredible Kathleen Ferrier recordings!.......2003-05-20

Voice fans, rejoice -- EMI has finally remastered these recordings and released them as one CD at budget price!
While Mahler's "Kindertotenlieder" would be the chief reason for purchasing this CD right away, it also contains several morsels, equally fascinating. Purcell and Mendelsohn's duets, Handel's arias, Greene's spirituals, and 3 live arias from Gluck's "Orfeo ed Euridice". In general, particularly Mahler, the sound is nothing short of phenomenal. BUT why could not these engineers do the same for "Orfeo" selections? There's a lot of noise on these. On all the selection Ferrier's exceptionally dark mezzo (or contralto with a huge upper register) shines brilliantly. Of course, Mahler's songs bemoaning the death of children are not an easy listen by any means. But the melodies are amazingly harmonious and Bruno Walter's superb orchestra provides ideal background for them, with Ferrier's voice blending gorgeously with strings. Only Mussorgsky could take a subject such as this and make it so breathtakingly captivating. It's actually frightening in by itself. Gerald Moore (well-known for his collaboration with Dietrich Fischer-Dieskau) accompanies expertly on Purcell and Mendelsohn's selections.
It would be a treat to hear Ferrier in more alto repertoire; I am just not sure how many were commercially available at the time. Right now, Vivica Genaux is the leading artist in this area, but it would be fascinating to compare these two.
For the sheer vocal marvel experience, do not delay in getting this CD.

A Terrible Beauty.......2002-11-14

Nothing will change my opinion that Mahler should be approached with caution. Like Wagner, the scale and power of his work means that it is simply not for everyone, but inspite of that, this recording is an indespensible part of any serious music lover's collection. Music like this simply is not made any more, but rather this is a glimpse into a past where artists and not accountants ran the music industry.

Mahler's wife Alma bitterly opposed his setting of Ruckert's Kindertotenlieder to music and considering the death of their daughter soon after, it's doubtful if she ever forgave him for it. But the finished work has an indescribable beauty that Kathleen Ferrier and Mahler's protégé Bruno Walter give full expression to in away that no other interpreter's have even approached. More than 50 years on this is both a lasting tribute to the artists involved and an indictment of the decline in standards since.

What is to say - It's Ferrier..........2002-03-31

I bought the CD for the Kindertotenlieder and that's what I am going to write about (though the rest of the program is equally impressive). Ferrier's Mahler interpretations are always in the 5+ star area. When Walter is accompanying her the results are even better (unlike the case of Klemperer). The first song - Nun Will Die Sonn'... the darkness of the music is so prominent, it's breathtaking. All the rest Kindertotenlieder come in the same fashion. If interested in a release with better sound but not these Olympian contritutors, Janet Baker and Christa Ludwig have made some very good discs

How can you go wrong?.......2001-10-22

I said it before, in my review of the Ferrier/Walter performance of Das Lied von der Erde, recently rereleased by Decca; Ferrier is the authoritative interpreter of Mahler songs--and I have never heard anything to equal this performance of Kindertotenlieder.

Mahler: Symphony 9 and Kindertotenlieder / Norman Foster / Jascha Horenstein (2 CDs)

Average customer rating:

Absolute must for you to get this album!
The Greatest Mahler of All
The Greatest Mahler of All
An old chestnut

Mahler: Symphony 9 and Kindertotenlieder / Norman Foster / Jascha Horenstein (2 CDs)

Manufacturer: Vox
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Jascha Horenstein conducts Strauss, Wagner, Mahler, Schönberg
Jascha Horenstein Conducts Bruckner/Liszt/Wagner
Mahler: Symphony No.1 In D
Mahler: Symphony No. 1
Das Lied Von Der Erde

ASIN: B000001KC5
Release Date: 1995-04-16

Tracks:

Nun Will Die Sonn' So Hell Aufgeh'n
Nun Seh' Ich Wohl, Warum So Dunkle Flammen
Wenn Dien Mutterlein Tritt Zur Tein
Oft Denk' Ich, Sie Sind Nur Ausgegangen
In Diesem Wetter, In Diesem Braus
I. Andante Commodo

Tracks:

II. Im Tempo Eines Gemlichen Llers; Etwas Tisch Und Sehr Derb
III. Rondo, Burleske; Allegro Assasi, Sehr Trotzig
IV. Adagio

Customer Reviews:

Absolute must for you to get this album!.......2005-07-08

Today we are celebrating an additional anniversary of Mahler's birth, July seven 1860.
And in this ocassion it is absolutely important to recommed this outstanding version of the Ninth. Horenstein owned that intuition and touch of genius that allowed him to win every time he decided to record Mahler.
The Kinder are extraordinary too. A low budget prize for a true legend director!

The Greatest Mahler of All.......2001-11-06

Many of us consider Jascha Horenstein to be the greatest Mahler conductor of all, and these Vox recordings (very attractively priced) show why. Horenstein manages to project every nuance of these impossibly complex scores while never sounding pedantic. These performances are absolutely corruscating experiences! The Vienna Symphony misses a note now and then in the performance of the Ninth Symphony. But no orchestra knew Mahler's music better when these performances were recorded (ca. 1955) and their experience shows. (Beginning in 1950, the orchestra played all the symphonies under Scherchen, Horenstein, Klemperer and F. Charles Adler. No other orchestra played that much Mahler.) The sound is mono, but quite good mono (even better in the "Kindertotenlieder.") Note that in November 2001 BBC Classics will release a 'live' stereo performance of the Ninth with Horenstein dating from the early 1960s. Previous issues of that performance have left a lot to be desired technically, but the BBC label will have access to the master tapes which should sound quite wonderful. The BBC CDs will, however, cost more than three times the price of the Vox set. Some of us will have to have both!

The Greatest Mahler of All.......2001-11-06

Many of us consider Jascha Horenstein to be the greatest Mahler conductor of all, and these Vox recordings (very attractively priced) show why. Horenstein manages to project every nuance of these impossibly complex scores while never sounding pedantic. These performances are absolutely corruscating experiences! The Vienna Symphony misses a note now and then in the performance of the Ninth Symphony. But no orchestra knew Mahler's music better when these performances were recorded (ca. 1955) and their experience shows. (Beginning in 1950, the orchestra played all the symphonies under Scherchen, Horenstein, Klemperer and F. Charles Adler. No other orchestra played that much Mahler.) The sound is mono, but quite good mono (even better in the "Kindertotenlieder.") Note that in November 2001 BBC Classics released a 'live' stereo performance of the Ninth with Horenstein dating from the early 1960s. Previous issues of that performance have left a lot to be desired technically, but the BBC label has access to the master tapes. The BBC CDs, however, cost more than three times the price of the Vox set. Some of us will have to have both!

An old chestnut.......2000-11-20

For over a decade, this Ninth was one of the more respected versions. As long-time Mahlerians know, Jascha Horenstein was one of the great early Mahler conductors. Unlike his contemporaries, Walter and Klemperer, Horenstein did not have a distinct approach - he seemed to blend naturally into the spirit of every symphony he conducted. He also knew a thing or two about how to get a true "Mahler sound" out of every orchestra he led (often, he conducted second-rate groups). In short, with Horenstein, you may not always get precision and accuracy, and the production values may not be top-notch, but when all is said and done, you will hear Mahler in a way that some conductors with better forces (i.e. Maazel, Abbado, Mehta, Ozawa, etc.)cannot duplicate.

This 1952 performance of the Ninth is a case in point. The sonics are dated and there are bloops and bleeps (particularly from the horns - and check out the way the solo clarinet goes sharp on the last note of I), but this recording is nonetheless a text-book example of how to conduct this symphony. I is awe-inspiring - one cannot argue with the intensity, logic, and power of Horenstein/Mahler's vision. Rarely will you find this movement delivered with as much warmth and richness either (in this aspect, only the out-of-print Levine/Philadelphia is better). But the movement that really tests the mettle of the Mahler conductor is II. Tempo I should be a heavy-footed landler tread, and the other two tempi must be coordinated accordingly. Too many conductors rush through the opening briskly, as if embarassed by the (deliberate!) banality of the theme. There are good performances with less-than-ideal tempi in II (Barbirolli and Lopez-Cobos come to mind). But II really works better if it begins with a true landler. Horenstein manages the tempi better than either Walter or Klemperer. Indeed, only Solti/LSO and Levine compare. Despite ensemble problems, Horenstein manages to combine the banalities and grotesqueries with an appropriately achy world-weariness.

III is conducted to the hilt. Horenstein squeezes as much fury out of this music as is possible given the limitations of the orchestra and the recording technology. Notice how he abruptly reestablishes the main tempo in the final bars to keep the orchestra from going too crazy. IV is a wonderful, brooding vision. One senses that, according to Horenstein, Mahler is expressing that in life, nothing can be resolved. The result is a deeply emotive, yet dignified reading, lacking the extreme agony of Levine's long-lined account yet possessing more depth than Walter's fast, sing-songy reading. Note also, Horenstein's decision to have the first violins play their unaccompanied descending line (at the climax) without slurs. Several critics have suggested that Horenstein was attempting to link this passage to the opening of I.

If you are willing to ignore the flubs, this performance will provide you with great pleasure as it did for many early Mahlerians who saw the light before the Mahler boom of the mid-to-late 60's. Speaking from experience, you will not need another performance if you don't mind the less-than-great production values. And, of course, note the price.

Customer Reviews:

A cycle flawed by poor sonics and erratic playing.......2007-06-12

Usually I go into detail when reviewing a complete Mahler cycle, but I have found Sinopoli's too discouraging to criticize blow by blow. I bought these performances as they came out, and some were my first digital versions. As such, DG has not done the best job sonically; quite a few of the recordings sound fuzzy, thick, and distant. In addition, the Philharmonia of that era (mid-80s to the late 90s) was a shadow of its former glorious self, and the execution cannot compare with the best orchestras. If you want to stay in London for Mahler, Tennstedt's bargain cycle on EMI with the London Phil. is better all around.

The last lingering interest for me is Sinopoli's conducting, and being as original as he was, there are quite a few highlights. By general consensus the best performance here is the Eighth, and the Seventh is quite fine as well. I would single those out as touchstones for buying the entire set. But the Ninth strikes me as a failure, lacking drama and conviciton, and the Third, which should have been great, is ordinary. Some critics rave about Sinopoli's Fifth, but no one seems to have much enthusiasm for any other reading.

In aum, I can't give you a definitive response, but being fairly familiar with six of these performances, including the 2nd, 4th, and 6th, my reaction is lukewarm to the cycle as a whole.

transcendent momentum.......2004-04-30

I'm often amused by the fatuous pretentions of university wits and would-be conservatory aesthetes who see fit to weigh empty claims over one of the more controversial conductors in recent memory. Sinopoli is a titanic presence on these recordings, which hold one's attention rapt over the full 17+ hours of these shimmering, bold, and brilliant interpretations. His legacy is replete with unique achievements, and this Mahler set ranks among the best. Few in the throes of armchair fetishism realize that this resurgimiento of Mahler commenced forty years ago, largely thanks to Lenny and the NYP. Yes, not every conductor embraces all ten symphonies of Mahler, but not every conductor has the formidable quality of a sustained attention span.

While the 7th, 8th, 9th, and Das Lied Von der Erde are definitive, I would have to call attention to the meticulous and exquisite reading of the 3rd, especially the closing Langsam section, which stands up easily to Zander and Bernstein. The excerpted, unfinished 10th is similarly exalted, and the 2nd is overwhelming, superior even to Kaplan.

The Kubelik import box is an equally forceful document--I can't comment on the domestic release issue as my copy of Sinopoli, like the Kubelik, was made in Germany.

The 8th is Stupendous.......2004-02-20

I'm afraid I can only discuss Sinopoli's recording of the 8th. It is the only one from this cycle I own.

However, it is fabulous. Yes, I've heard (and own) the Solti, the first Bernstein, the Haitink, the Abbado, and others.

This is the best. On every single level. Superior sonics. Superior soloists (especially the vastly underrated soprano Angela Maria Blasi and the absolutely fearless tenor Keith Lewis).

The fabled Philharmonia Orchestra and Chorus cover themselves with glory, as usual.

Are the other recordings in this set on equal par? I have no idea. As with any project as enormous as this, there are sure to be highs and lows.

However, this 8th is so head-and-shoulders above the rest I'm very tempted to plunk down the big bucks and find out.

There are Better Mahler Cycles.......2003-08-04

Sometimes, you're just left scratching your head over UNI's release strategies. Why DG/Universal chose to issue Giuseppe Sinopoli and the Philharmonia Orchestra's Mahler Cycle domestically instead of Rafael Kubelik's with the Bavarian RSO is beyond me. (Thankfully Kubelik's set is available as an import -- see my review.) I mean if you have to have a digital Mahler Cycle, and your going to be paying a hefty chunk of change anyway, why not just get Bernstein's digital set. Sure, you get Lieder, Wunderhorn, and Song of the Earth on the Sinopoli Box, but you can buy the best analog Cycles available (Bernstein, Kubelik and Solti in my opinion), and then go buy individual discs of the aforementioned works, and still pay less than you would on this title. What I like the most about the Box Sets in DG/Archiv's Collector's Edition is you get a lot of great music for a surprisingly small amount of money (per disc), and with this title you unfortunately get neither.

Average customer rating:

No Words/Translations Included in Mine
Excellently Economical Collection, including the Deutche Kitch
A grab bag of good and not so good
The Four Mahler Song Cycles in One Generous and Fine Album
Songs of Pleasure, Loneliness, Sadness, and Loss ...

Gustav Mahler: Orchestral Songs

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Norman, Jessye | Divas | Opera & Vocal | Styles | Music
Similar Items:

Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al
Mahler: Das Lied von der Erde / Bruno Walter
Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Mozart: Violin Concertos

ASIN: B0000041EH
Release Date: 1996-04-09

Tracks:

The Song of The Earth: 1. Das Trinklied vom Jammer der Erde
The Song of The Earth: 2. Der Eisame im Herbst
The Song of The Earth: 3. Von der Jugend
The Song of The Earth: 4. Von der Schonheit
The Song of The Earth: 5. Der Trunkene im Fruhling
The Song of The Earth: 6. Der Abschied
Kindertotenlieder: 1. Nun Will die Sonn' so Hell Aufgehn
Kindertotenlieder: 2. Nun seh'ich wohl, Warum so Dunkle Flammen
Kindertotenlieder: 3. Wenn dein Mutterlin

Tracks:

Kindertotenlieder: 4. Oft denk' ich, sie sind nur ausgegangen
Kindertotenlieder: 5. In diesem Wetter
Songs of a Wayfarer: 1. Wenn mein Schatz Hochzeit macht
Songs of a Wayfarer: 2. Ging heut' Morgen ubers Feld
Songs of a Wayfarer: 3. Ich hab' ein gluhend Messer
Songs of a Wayfarer: 4. Die zwei blauen Augen von meinem Schatz
Des Knaben Wunderhorn: 1. Der Schildwache Nachtlied
Des Knaben Wunderhorn: 2. Verlone Muh'
Des Knaben Wunderhorn: 3. Trost im Ungluck
Des Knaben Wunderhorn: 4. Wer hat dies Liedlein erdsacht?
Des Knaben Wunderhorn: 5. Das irdische Leben
Des Knaben Wunderhorn: 6. Revelge
Des Knaben Wunderhorn: 7. Des Antonius von Padua Fischpredigt
Des Knaben Wunderhorn: 8. Rheinlegendchen
Des Knaben Wunderhorn: 9. Lied des Verfolgten im Turm
Des Knaben Wunderhorn: 10. Wo die schonen Trompeten blasen
Des Knaben Wunderhorn: 11. Lob des hohen Verstands
Des Knaben Wunderhorn: 12. Der Tambourg' sell

Customer Reviews:

No Words/Translations Included in Mine.......2007-05-28

A major tip on this set - it does not have the printed words and translations included. Major dissapointment. Unless you have a book, like Deryck Cooke's (which I have fortunately), with the words in it, you are out of luck. First time listeners beware.

Also, I am not fond of Janet Baker's voice, and have never understood the hype over her. She always sounds like she has cotton in her mouth.

A better alternative for Das Lied Von Der Erde, with words included and beautifully recorded sound is Eiji Oue with the Minnesota Orchestra. Michelle DeYoung's voice is beautiful and clear too. Check it out - worth the extra money: Das Lied von der Erde.

Excellently Economical Collection, including the Deutche Kitch.......2007-01-02

I bought this omnibus of Mahler's 'Das Lied von Der Erde', 'Kindertotenlieder', 'Lieder eines fahrenden Gesellen', and 'Des Knaben Wunderhorn' AFTER I bought the Phillips 432 279-2 of just 'Das Lied von Der Erde', which is the identical performance as the one on the less expensive and fuller two CD set. This 'Das Lied...' is every bit as good as when I reviewed alone, and it is by far the most interesting collection on the two CDs. I was never a big fan of 'Kindertotenlieder', given its subject, but I love listening to 'Des Knaben Wunderhorn' as it is by far the most gloriously simple borrowing of traditional German popular folk music of the 19th century into a classical interpretation. one can literally hear the oompah bands doing the works from which this was adapted. I love it to pieces.

A grab bag of good and not so good.......2005-09-27

For a long time British critics have hailed Haitink's Das Lied, even though James King blares through the tenor part without regard for the words and the marvelous Janet Baker was caught about seven years past her prime. As for the Kindertotenlieder, Prey's version is good, certainly, and it's appealing to hear this cycle, which is for male voice, despite the fact that so many of the classic performances on CD (Ferrier, Ludwig, and Baker in particular)have been by women. But Prey is not a revelaiton by any means--if only Thomas quasthoff would record tis cycle.

The major disappointment, however, is the Knaben Wunderhorn cycle with Norman and Shirley-Quirk. She is in glorious voice but sounds too stiad and self-involved, and he simply has no proper German style--one keeps thinking that an English gentleman is trying not very hard to impersonate the tragic, bumptious soldiers that are the chief characters in the male songs. Overall, even at a bargain price I would look elsewhere for all these pieces.

The Four Mahler Song Cycles in One Generous and Fine Album.......2005-09-17

Any time there is a chance to hear the favored orchestra for Mahler - the Royal Concertgebouw Orchestra Amsterdam - involved in performances of any of Mahler's four song cycles, it is a reason for rejoicing. Somehow the sound of this orchestra and Mahler were meant to be one. Add to this bit of good fortune the fine conducting of Bernard Haitink and a group of first class soloists and Voila! - an album of 2 CDs, modestly priced, and a must for every collector of Mahler's music.

'Das Lied von der Erde', that would-be 9th symphony of the paranoid superstitious Mahler, is one of his most powerful symphony of songs. Here it is given a warm and introspective performance by Dame Janet Baker (just try to find a more poignant 'Der Abschied') and James King in his prime. This is followed by a soulful 'Kindertotenlieder' this time rendered by a male voice - Hermann Prey - giving these five melancholic songs a special Mahlerian significance, paying homage to the Mahler's inspiration for composing them. Prey then segues into the youthful 'Lieder eines fahrenden Gesellen': again one song in particular is glowingly memorable with Prey's interpretation - 'Die zwei blauen augen von meinem Schatz'.

'Lieder aus Des Knaben Wunderhorn' served Mahler well in providing melodies and songs for his first four symphonies and hearing the cycle sung with the grace and fun and dignity by Jessye Norman and John Shirley-Quirk plumbs the depths of Mahler's ongoing inspiration. Haitink offers the support and orchestral playing that fits these soloists like a glove. In all, these are fine performances of these cycles, the binding thread being the same orchestra and conductor. Yes, we all have our favorite recordings of each of these works, but on the whole this album is difficult to match. Highly Recommended. Grady Harp, September 05

Songs of Pleasure, Loneliness, Sadness, and Loss ..........2004-02-03

"Already the wine beckons in the golden goblet..."
"Autumn mists float blue over the lake..."
"In the middle of the little pool/Stands a
pavillion of green..."
"Young maidens pick flowers..."
"If life were only a dream, Why then trouble
and care?"
"The sun departs behind the mountains..."
These are English translations of the German
text to 6 Chinese poems that were translated into
German by Hans Bethege in -Die chinesische Flote-
[The Chinese Flute], a collection of free
translations of Chinese poetry. The 6 poems,
sung in German, with orchestral accompaniment
by the composer Gustav Mahler, form the wondrous
content of the song cycle, "Das Lied von der
Erde" [The Song of the Earth]. The titles of
the 6 songs in English are: (1) "The Drinking Song
of Earth's Sorrow", sung by tenor James King;
(2) "Autumn Sorrow", sung by mezzo-soprano Janet
Baker; (3) "Youth", sung by James King; (4) "Beauty",
sung by Janet Baker; (5)"Wine in Spring", sung by
James King; (6) "The Farewell", sung by Janet Baker.
The orchestra for all of the song cycles on this double
CD is the Royal Concertgebouw Orchestra, and the
conductor is Bernard Haitink.
The 2nd song group is "Kindertotenlieder" (Songs
on the Death of Children). There are 5 songs in
the group based on poems by Friedrich Ruckert.
The songs are sung by Hermann Prey, baritone.
According to the liner notes by Michael Kennedy,
these poems "struck a poignant chord with Mahler,
who had seen several of his brothers die in childhood.
For each poem Mahler finds the exact musical response,
with extraordinarily graphic and telling orchestration,
refined, subtle, amost bare."
The 3rd song group is "Lieder eines fahrenden
Gesellen" (Songs of a Wayfarer). The music is
set "to the texts of four poems he [Mahler] wrote
himself. *** They were inspired by an unhappy love
affair ... for the wanderer in these poems...sees
his world collapse during the beauty of spring."
The singer is Hermann Prey, baritone.
The 4th song group is titled "Lieder aus Des
Knaben Wunderhorn" and contains texts gained
from an "anthology of German folk poetry published
in two volumes between 1805 and 1808." There are
12 of the 14 "Wunderhorn" settings which Mahler
composed on the 2nd disc in this set. The songs
cover "soldiers, and soldiers' ghosts, their
sweethearts and their fate" *** "a harrowing tale
of a starving child", "a parable of a song contest
between a cuckoo and a nightingale judged by a
donkey", and St. Anthony preaching to the fishes,
who all listen but never change their ways."
These songs are sung by Jessye Norman, soprano
and James Shirley-Quirk, bass.
This is an excellent collection of all of these
song cycles on one source, with exceptional
artists, and inspired playing and conducting.
-- Robert Kilgore.

Average customer rating:

Mahler: Symphony No.3/Kindertotenlieder

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mahler: Symphony No. 8

ASIN: B0000026GC
Release Date: 1990-10-25

Mahler: The Complete Symphonies & Orchestral Songs / Bernstein

Average customer rating:

Which of Bernstein's two Mahler cycles is better?
Not an essential set
Get the DVDs instead!
A conductor serving himself more than the music
Get the Sony set instead

Mahler: The Complete Symphonies & Orchestral Songs / Bernstein
Gustav Mahler , Leonard Bernstein , Barbara Hendricks , Dietrich Fischer-Dieskau , Wiener Philharmoniker , Christa Ludwig , Philip [1] Smith , Joseph Alessi , Helmut Wittek , Jaap Van Zweden , Lucia Popp , Andreas Schmidt , Agnes Baltsa , Judith Blegen , José Van Dam , Hermann Prey , Thomas Hampson , James King , and Glenn Dicterow
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DI2T
Release Date: 1998-11-10

Amazon.com essential recording

This 16-disc set contains what is without a doubt the most distinguished collection of Mahler performances ever to have been assembled in one place. DG has sensibly collected all of Bernstein's Mahler for Polygram labels, including the London "Das Lied von der Erde," and all of the orchestral song cycles: "Song of a Wayfarer," "Kindertotenlieder," "Rückert-Lieder," and "Des Knaben Wunderhorn." All of these recordings have been issued separately to general critical acclaim, and despite a veritable warehouse of new Mahler discs in the '90s, Bernstein's versions by and large still reign supreme. For this, his second complete symphony cycle, Bernstein chose three great orchestras and programmed with each one the most suitable symphonies. The New York Philharmonic, probably the greatest Mahler orchestra in the world, gets Symphonies Nos. 2, 3, and 7. The Vienna Philharmonic plays Nos. 5, 6, 10, and 8 (a live recording from the Salzburg Festival that replaces what would have been a New York Eighth had Bernstein not died). Finally, Europe's great Mahler orchestra, the Royal Concertgebouw of Amsterdam, gets Nos. 1, 4, and 9. At mid-price, this is Mahler deluxe, an essential set for anyone interested in the composer, and a terrific gift idea if you're looking to make a convert or two. --David Hurwitz

Customer Reviews:

Which of Bernstein's two Mahler cycles is better?.......2006-06-27

Most buyers aren't in the market for a complete Mahler cycle from one conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of the Sixties cycle on Sony and this later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good--in fact, there's no need to comment on the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (Mahler champions as prominent as Bruno Wlater never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

Not an essential set.......2004-10-25

Leonard Bernstein was indeed a great exponent of Mahler's music, especially during the sixties. But, I am sad to say, he was not always its best interpreter. Bernstein's presentations of Mahler are often big and bold - or, in other words, overloaded - and occasionally he even adds instrumental effects just to make the music to sound even more swollen (consider, for example, the addition of a bass drum stroke in the ultimate chord of symphony no. 1). Passages that require sophistication are often underlined with broad, syrup-sentimental strokes. This is especially the case with these late Mahler recordings, which Bernstein made for DG.

In some people's taste, this is just wonderful. They want showpieces and nothing else. But other people might have other intuitions regarding Mahler's music. For example, they want orchestral balance and not too deliberate takes.

Now this DG set is incredibly expensive - $191! My advice, if you want a set with Bernstein's Mahler, is to look for the set with his earlier recordings for CBS/SONY. You get it for a third of the price ($ 63), and the interpretations are usually far better in all respects (with the exception of No. 5).

But if you just want the best box with the complete symphonies of Gustav Mahler, I would recommend Rafael Kubelik's set (DG collectors series) as the first choice. Kubelik's interpretations are far more balanced and presented without mannerism, and, overall, his set is more consistent than any of Bernstein's. For reference, you could then add the selected gems of Bernstein's early Mahler recordings: Nos. 2, 3, 7, 8, and 9.

Thus I give two stars for this DG set, three stars for the earlier CBS/SONY set, and four stars for Kubelik's set.

Get the DVDs instead!.......2003-07-10

Although I am a fan of Bernstein's Mahler, I would not recommend this set, especially at its price point. Why do I say this? First, during the last few years of his career (and also, his life), the period in which these recordings were made and where he became increasingly beset by health problems, is riddled by performances in which Bernstein's ability to take great romantic pieces, in this case, the Mahler symphonies, to their emotional and dramatic extremes has degenerated into a heavy handed, enervating self indulgence, marked by dragging tempos and mannered, pompous distentions of phrasing. Secondly, because for the price of two hundred dollars for the set and on DVD (or twenty nine dollars per disc if purchased separately), there are available from the Leonard Bernstein zShop at the amazon.com site live accounts from the early and middle 1970s by Bernstein conducting the Vienna Philharmonic (with the exception of the second symphony being with the London Symphony) of all of the symphonies (but not any of the song cycles). Those performances retain the energy, vigor and intensity of his groundbreaking 1960s cycle, but with added nuance and depth of expression, together with more beautiful and sensitive orchestral playing, and also, a warmer, more full bodied sound (all are in stereo) than one gets from the often dry sounding 1960s studio recordings. Two hundred is expensive, granted, but it is not that much more than the Mahler symphony sets at full price, and, moreover, you get to see as well as hear Bernstein conduct, which is a treat in itself (the videos are in quite decent color). Unfortunately, these recordings have not been issued domestically. The only drawback is that the notes for these recordings, which are imports from Japan, are only in Japanese. Nevertheless, I would strongly recommend that set, for the performances contained therein represent Bernstein at his apogee in this music.

A conductor serving himself more than the music.......2002-07-31

Ten years ago, I would not have evaluated this set in the same way. At that time, I thought Bernstein's Mahler and Mahler's Mahler were one and the same. Now my perception is that while Lenny did Mahler a great service in the '60s with his pioneering complete set on CBS (now Sony), in the '80s Bernstein smothered the music with his own apparent agenda. Put another way: If Bernstein in the '60s was "selling" Mahler to a skeptical audience, in the '80s he seemed to be selling his own interpretive stamp as the ONLY way to play this composer's music, overshadowing the less interventionist viewpoints of any rival conductors. It takes an outsized musical personality to eradicate most of what is recognizably Mahlerian in these scores and turn the composer into a hybrid--Mahlerbernstein or even Bernsteinmahler--but Bernstein was just the man for the job.

Compared to the more consistent (if in some ways outmoded) CBS series, the DG cycle is uneven in its successes, if quite uniform in its overall approach (less nervous energy, more world-weariness--even in the "young man's music" that is Mahler's First Symphony--and more spotlighting and underlining of details). The Sixth and (especially) Seventh Symphonies as presented here are among the most convincing available, while the First and Third Symphonies are also recommendable, even if both are marred by tempo and phrasing exaggerations and inflated sonorities. (The finale of the Third may be the slowest on disc, running for 28 minutes--not 25:01 as indicated on the original CD release and accepted without question by critics ever since.) As for the remainder, it's a very mixed bag, despite the (very high) level of commitment Bernstein gets from his orchestras. This performance of the "Resurrection" Symphony reminds me of William Shatner doing one of his indescribable spoken-word records, while the Fifth and Ninth Symphonies take an enervated, depressed, mannered view of these scores, forgetting all about such niceties as momentum. Yes, there is "intensity" here, but it's forced. Tempi, dynamics, expressive markings are either exaggerated and distorted, or else Bernstein blots them out and substitutes his own. The Fourth Symphony here never quite comes together as Bernstein's underrated 1960 version did, and it's worth noting that the Eighth (a 1975 concert from the archives that was pressed into service when Bernstein's death in 1990 prevented DG from completing the series with a newly-minted Eighth) sounds more tired as it goes, and from the outset there are patches where everybody goes off-key.

The song cycles are also uneven. Thomas Hampson's contributions are fine, but the overblown set of "Wunderhorn" songs completely misses the rusticity and innocence inherent in even the most sardonic songs. (Soloists Andreas Schmidt and the late Lucia Popp have much better work in Mahler than this to their credit.) For "Das Lied von der Erde," DG borrows the 1966 Decca recording (also issued separately on that label) in which Bernstein took the less-common option of two male voices. Unfortunately, one of those voices is Dietrich Fischer-Dieskau at his most histrionic (although his murmurs of "ewig" in the closing bars of "Der Abschied" are as spellbinding as the deathly hush Bernstein casts over the orchestra). However, the overall "sound-world" of this "Das Lied" is closer to Bernstein's CBS set, and unintentionally makes much of the latter-day cycle sound bloated by comparison.

In and of themselves, these recordings are distinguished, and never, ever dull. Even at their most wrong-headed they make an undeniable impression that you're in the presence of a high-powered musical entity. But what is on display here is rarely the music of Mahler as he composed it.

Get the Sony set instead.......2001-07-31

I like Bernstein's Mahler very much, but find the freshness of the original Sony set much more palatable. Other than a few places in #5, the ensemble is fantastic (...the NY Phil of that time was a phenomenon of an orchestra and that Sony set reflects that). If there were no Sony set, this would probably be a 4 or 5 star set, because it does boast many first rate performances, including a 1 and 5 that are superior to the Sony set. But the Sony set offers better performances (to a greater or lesser degree) for the rest, including what perhap the finest 3 and 7 anywhere. The sound on the Sony set is fine throughout, not modern sound but very clear and lifelike (and better than the New York recordings in the DG set - 2, 3, and 7).

So buy the Sony set, #5 from this set, and the newly remastered Das Lied with Fischer-Dieskau and Bernstein on Decca, and you will have all the best of Lenny's Bernstein... rather than spending considerably more for less with this set.

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