Symphony 2 / Resurrection

On this CD:

1. Symphony No. 2 in C minor ("Resurrection")
Composed by Gustav Mahler
Performed by Vienna Philharmonic Orchestra with Hilde Rossl-Majdan, Galina Vishnievskaya
Conducted by Otto Klemperer

Symphony 2 / Resurrection, Music, Mahler, Klemperer, Vishnevskaya, Rossl-Majdan, Classical

Mahler: Symphony No. 2 / Mehta, Vienna Philharmonic Orchestra
Average customer rating:

An attempt at an informed opinon

bad recording

Musically Flawless

No finer Mahler recording

How did Zubin Mehta become Mr. Slick?

Mahler: Symphony No. 2 / Mehta, Vienna Philharmonic Orchestra
Gustav Mahler , Zubin Mehta , Ileana Cotrubas , Christa Ludwig , and Wiener Philharmoniker
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TEUZ
Release Date: 2000-06-13

Tracks:

Symphony No. 2 In C Minor - 'Resurrection': I. Allegro maestoso - Mit durchaus ernstem und feierlichen Ausdruck
Symphony No. 2 In C Minor - 'Resurrection': II. Andante moderato - Sehr gemachlich
Symphony No. 2 In C Minor - 'Resurrection': III. In ruhig fliesender Bewegung
Symphony No. 2 In C Minor - 'Resurrection': IV. Urlicht - Sehr feierlich, aber schlicht
Symphony No. 2 In C Minor - 'Resurrection': V. Im Tempo des Scherrzo - Wild herausfahrend
Symphony No. 2 In C Minor - 'Resurrection': Maestoso. Sehr zuruckhaltend -
Symphony No. 2 In C Minor - 'Resurrection': Sehr langsam und gedehnt
Symphony No. 2 In C Minor - 'Resurrection': Aufersteh'n ja auffersteh'n wirst du : Langsam, Misterioso -
Symphony No. 2 In C Minor - 'Resurrection': O glaube, mein Herz, o glaube : Etwas bewegter

Amazon.com

"Beg to report safe delivery of a strong, healthy last movement to my Second. Father and child doing as well as can be expected." So ran Mahler's jubilant message on completion of his "Resurrection" Symphony, which after several years' painful gestation had come together in his mind with a sudden flash of inspiration. It had begun as a single-movement funeral rite, and gradually taken shape under the influence of Schubert's music, but the choral conclusion of Beethoven's Ninth was its Grail. Zubin Mehta's 25-year-old recording is a superb addition to the ranks of contending interpretations. It is lighter on its feet than Bernstein's classic version, with all the elements in Mahler's tonal landscape brought out in high relief: by turns lush, austere, grandiose, and intimate. Here is the Vienna Phil at its best, with two incomparable voices on the bridge--Christa Ludwig's steely mezzo and Ileana Cotrubas's soaring soprano. The "Legendary" on the cover is not hype: This is still as good as it gets. --Michael Church

Customer Reviews:

An attempt at an informed opinon.......2007-03-20

Question: What do my favorite symphony and my favorite soprano have in common?
Answer: They are both on this CD!!

Ok, that said even Ileana Cotrubas can't carry this over the Klemperer/Schwazkopf recording. In my opinion (and this is probably because I was introduced to the other recording first), the tempos on this disc are too fast, and take away from the dramatic buildup that I think Klemperer does better. In the third movement the quicker tempo is nice but in the second section of the fifth movement (track six) the "swinging" of the violins for example doesn't have the same effect. Anyway you really can't go wrong with either recording, and if you think I'm a complete ignoramus, thats ok. I can see that this opinion may not be taken too well by some.

bad recording.......2006-11-11

I received the first recording and in the final movement there was a bad skipping. I notified Amazon and they sent me another recording which had the same problem. I received a credit and Amazon said the recording was evidently a bad one and they would check it out. Thanks Billy Ledet

Musically Flawless.......2006-06-03

So how about that? A Mahler second that actually moves! The result is one of the most exciting readings of all time. It's truly legend.

This is one of the two greatest Mahler seconds. Here Mehta, who can often be an oddly questionable interpreter, lightens the music at just the right level, making it brilliantly unique. Instead of allowing the music to sink into itself, like most imitations of Bernstein's classic reccording.

Music has to move, it has to speak, it has to breathe..

Never has Mahler been so logically accessible and tended for. The experience gained from this recording is greatly edifying, if not spiritual.

Technically however, its not perfect: one thing that makes it somewhat lacking. Sometimes the orchestra is not really synchronized. Precision is sometimes sacrificed for Mehta's ingenious creativity. However, to me these sort of flaws just make the piece more homely and natural.

The Vienna is of course fantastic in sound. Brilliant, but deep and always resonant.

This is some masterpiece material. A truly excellent CD.

No finer Mahler recording.......2006-01-09

I have heard the Mahler Symphony #2 many time in performance and on recordings. In my opinion, none equals this fantastic effort by Mehta. It is a revelation from beginning to end. My first experience with the piece was hearing Bruno Walter conduct the New York Philharmonic in a captivating performance long ago. That introduction to this apotheosis of Romantic music pales by comparison. There is a very good reason why this recording has never been out of print. It is simply the best.

How did Zubin Mehta become Mr. Slick?.......2005-10-01

(I don't believe in doublng up on the same review, but I am posting this one twice--for Metha's Mahler Fifth and Mahler Second--for the purpose of comparison.)

How did Zubin Mehta move from the highly promising conductor of the Mahler Second heard on Decca with the Vienna Phil. to the veteran hack we hear on the Mahler Fifth from New York? As a student Mehta studied in Vienna, and he fully desrved to lead the Philharmonic when he recorded this "Resurrection," at the height of his populairty in L.A. But from the moment he took over the New York Phil., succeeding the controversial Pierre Boulez, he started on a decline into slick, routine, uninvolved conducting that has few highlights to redeem it.

His numerous NY Phil. recordings for CBS are essentially forgotten, and with good reason. Listen to his return engagement condcuting the Mahler Fifth, and what do you hear? Impatient, rushed tempi, blatant phrasing that dumbs down Mahler's musical intent, indifference to emotion and inner meaning, apparent ignorance of Mahler style. None of those defects exist in the excellent and idiomatic reading of the Ressurection. The gaudy brass playing in the Fifth sticks out like a sore thumb, a far remove from the brilliant and musically satisfying brass on the Vienna recording.

The other sad waste of conducting talent must be Lorin Maazel, whose superficiality and apparent boredom are equal to Mehta's. It's too bad the NY Phil. is burdened with Maazel now--no doubt they are headed into a totally forgettable era to mirror the one Mehta reigned over thirty years ago.

Average customer rating:

Groundbreaking but partly outdated
Outstanding Mahler Compilation
Bernstein or Tennstedt: read on....
Comparing the two Bernstein Mahler cycles
Mahler complete symphonies.

Mahler: The Complete Symphonies
Dame Janet Baker , Jennie Tourel , Lili Chookasian , Martha Lipton , Israel Philharmonic Orchestra , New York Philharmonic , Hans Vollenweider , Adele Addison , Dame Gwyneth Jones , Erna Spoorenberg , Lee Venora , Lucine Amara , Reri Grist , John Mitchinson , and Richard Tucker
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mendelssohn: 5 Symphonies; 7 Overtures
Schubert: 8 Symphonies
Bruckner: The Complete Symphonies
Johannes Brahms: The Symphonies
Dvorák: The Symphonies

ASIN: B0000589BP
Release Date: 2001-01-30

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:

Hunt-Lieberson and symphony's ending steal the show
OH MY GOD!
Mahler 2-wow !!
Absolutely Thrilling
The final performance was the greatest

Mahler: Symphony 2
Gustav Mahler , Isabel Bayrakdarian , Lorraine Hunt Lieberson , Michael Tilson Thomas , and San Francisco Symphony
Manufacturer: San Francisco Sym
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006A9F5A
Release Date: 2004-11-09

Customer Reviews:

Hunt-Lieberson and symphony's ending steal the show.......2006-12-27

I want to like this better than I do, as the good moments are truly great. But upon repeated listenings, once again, MTT finds spots to just suddenly slow down for no real or good reason. Here, it's in the scherzo; towards the end. In particular, there's a passage where Mahler makes it sounds as though time is standing still for a bit. Naturally, MTT feels that he has to exaggerate that which Mahler has already built into the music. It's so typical of what he's been doing in his on-going cycle. Also, slow and soft passages throughout the performance are, indeed, SLOW! If I'm not mistaken, MTT's finale stretches well beyond 35 minutes. And, as with his earlier SFSO recording of the Mahler third symphony, the second movement is somewhat faceless and prosaic. Too bad, because there are some other really fine things that happen here - the climax to the first movement being one of them. Not only does MTT nail that climax, but he also erases the awkwardness of the next moment by having the low strings jump right back with their fast, ascending flourishes - almost without any waiting. That's a brilliant interpretive touch. But then there's that faceless second movement, followed by the scherzo with the strange dragging of tempo, here and there. Too bad, because then we get Lorraine Hunt-Lieberson, who has graced this recording with possibilly the greatest vocal performance ever! In addition, the end of the symphony is quite thrilling; although, the organ sounds far stronger on the more natural sounding Blomstedt/SFSO M2 from Decca (as a trade-off, the alternating salvos of the percussion are stronger here).

In the final analysis, although the mezzo is nowhere as good, I just feel that the Blomstedt/SFSO M2 flows better from begining to end. I also like the stronger organ and firmer sounding chorus. MTT's strange tempo anomolies grow tiresome upon repeated listening too. If you want to hear darn near everything done right in this large and multi-faceted work, I recommend the recent Ivan Fischer/BFO Mahler 2nd on Channel Classics. If a more historical perspective is your interest, you can't beat Walter or Klemperer - especially his live stereo one from Munich with Janet Baker.

OH MY GOD!.......2006-06-19

I haven't written a review on this site in a really long time. But there are just some things that require coming out of exile.

The performance and recording of the massive work are massive, phenomenal. I have LOTS of recordings of this piece, and I've listened to each and every one of them LOTS and LOTS. Mahler is a God to me. He (and Bruckner) got me through my teenage-years... This performance is special. There is so much power, SO much beauty, SO much intensity, SO much care taken... I've never heard such ferocity (and irony, and agony, and ecstacy) in the first movement, such delicacy (and verve) in the second and third movements, and as for the last movement -- hot damn, son of a gun -- the things Michael Tilson Thomas does with it are just spectacular.

This is my favorite, my absolute favorite. Please give it repeated listenings. There are so many rewards in store for you.

Mahler 2-wow !!.......2005-10-24

This is one of the finest recordings of Mahler 2 ever!!! The interpretation is superb..very Bernsteinish (who singlehandedly brought Mahler back into the public eye on his recordings with the Vienna Phil) The only problem is that the recording is too soft for those of us who like to listen in the automobile...otherwise wonderful

Absolutely Thrilling.......2005-05-19

Michael Tilson Thomas's fifth Mahler recording with the San Francisco Symphony Orchestra in his series of the complete Mahler symphonies is just as wonderful and exciting as any Mahler performance can be. The second, commonly called the Resurrection Symphony, is the most successful of the first four symphonies in structure, clarity, and overall architecture. Unlike the unbalanced third and forth symphonies and the sometimes indulgent first, the second is strong in its architecture, powerful in its emotional scope, and wonderfully rich in its musical language. The second is Mahler's answer to death and resurrection, a powerful transition from minor to major, that, when well performed, is chilling in its emotional impact.

The symphony begins with an arresting funeral march in dark minor. The stirring of the low string in fff is frightening as they call together the whirling activity. The movement is in sonata form, with a double development, each capped of with terribly exciting climaxes. The lovely andante is calming in its gentle swing, but is still filled with the passion of the first movement. The enigmatic scherzo, with its wonderfully vertiginous orchestration, is a dark compilation of Jewish melodies. The lovely forth movement, with its wonderful vocal writing, acts as an introduction of sorts to the dramatic and gigantic finale. The finale is a vivid journey through darkness and adversity, leading to the wonderful glory drenched ending of the symphony.

There are few faults in this consistently splendid recording of the symphony. The San Francisco Symphony is in great form, delivering a performance congruous with Mahler's idiomatic sound world. The first movement begins with tremendous energy; the lower strings really dig into their parts with the necessary vehemence. Thomas's tempo is a bit slower than usual - however, he uses the tempo to judiciously draw out aspects of the score. At times, tension sags due to heavy rubatto, but overall, the good outweighs the bad: the orchestra really delivers a dark, rich sonority; the dichotomy between the dark and light episodes is accentuated effectively; the final climax before the recapitulation has never been bettered; and Thomas immediate transition into the recapitulation after the climax maintains a great deal of tension, eliminating the awkwardness of the moment. All in all, this is not only Thomas' best conception of a sonata-form movement within the cycle, but it also stands up handsomely to the competition, including Bernstein's recording on DG, which also suffers from slow tempos and slackening tension.

The second movement goes well enough. The strings sing their part warmly, offering a plush sound which is remarkably lovely - even if it is somewhat at odds with the rustic charm of the dance. Thomas indulges his penchant for rubato in excess ever so slightly - a tighter grip would have improved this otherwise wonderful movement.

The scherzo, however, hangs fire. There are too many wonderful moments here to highlight but of particular note are the droll clarinets, Thomas's wonderful transition into the trio, and the magnificent "cry of despair" which captures the all dread and intensity frighteningly well. The clarity of texture, not to mention the top-to-bottom perfection of ensemble, is a joy.

And then there is the Urlicht, one of the finest on disc, so faithfully performed by the late Lorraine Hunt Lieberson. Never has a voice so rich, so powerful, yet so sensitive graced this movement. She draws the text from the score masterfully, highlighting all the correct emotions, while imbuing the lied with a gravitas that never sounds forced. Thomas's sensitive accompaniment only adds to this gem, this brief dream before the onslaught of the finale.

The finale is uniformly spectacular, from the opening Bb minor outburst to the final "resurrection" in Eb. All offstage effects register with immaculate clarity, the various marches all embody the correct character, the orchestra really digs into their parts, delivering the vile sounds of purgatory with utmost character while expertly contrasting that with true visions of heaven. The entrance of the chorus is hair-raising and Hunt Lieberson is just as fine here as ever. Isabel Bayrakdarian, however, is a bit more problematic. Her small voice and quick vibrato do not suite the music well, keeping her vocal line stubbornly earthbound when transcendence is so necessary. However, her part is small and is easy to overlook when compared to the closing passages, where Thomas really creates a "resurrection." Expertly paced, perfectly balanced, and magnificently captured, the final passages are astoundingly powerful, carrying a great deal of tension and gravitas. Thomas may not revel in this music like Bernstein, who really plods through the final passages, but allows this conclusion to arrive naturally, creating a thrillingly satisfying close to this symphony. A magnificent installment in the ongoing series and a highlight in the discography of Mahler seconds.

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, at times even coquettish. The brass is rich, powerful, but not overbearing. The percussion, especially the bass drum and tam tam (wow), is astoundingly powerful. The strings have a bright sheen, but deliver some of their darkest timbres on disc here. Regardless, the real matter of interest in this recording is what is being said. Michael Tilson Thomas is quite well versed in Mahler and there is a profundity of incite here. There is no such thing as definitive when it comes to a Mahler performance. This recording, however, comes remarkably close.

The final performance was the greatest.......2005-03-05

I attended multiple performances of these recording sessions, and I can assure you that the final performance, the season finale Saturday night, was the greatest musical experience of my life. I was unable to move at the end of it. And I have all the definitive recordings of this symphony, which I consider second only to LvB9.

I have not heard this disc because I want to keep that memory pristine in my mind. The disc, I understand, was edited from several performances (and a member of the chorus told me there was a patch session after the last performance). I just hope they took much of it from Saturday...and I wish they allowed me to buy that performance (complete with the idiot making noise backstage in the 1st mov't) separately, so I could relive it.

I hope this disc is a shadow of what I experienced that night. I honestly have never heard MTT do anything even close to that, and I'm there all the time.

Average customer rating:

Superb Mahler, superbly stated.

Mahler: Symphony No 2 (Resurrection )
Gustav Mahler , Simon Rattle , Arleen Auger , Janet Baker , and City of Birmingham Symphony Chorus and Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 9
Mahler: Symphony No6; Rückert Lieder
Mahler: Symphony No7
Mahler - Symphony 10 / Berliner Philharmoniker · Rattle

ASIN: B000EF5MIQ
Release Date: 2006-03-07

Tracks:

I. Allegro Maestoso (Mit Durchaus Ernstem Feierlichem Ausdruck)

Tracks:

II. Andante Moderato (Sehr Gemachlich)
III. In Ruhig Fliebender Bewegung
IV. Urlicht (Sehr Feierlich, Aber Schlicht)
V. Im Tempo Des Scherzo. Wild Herausfahrend --
Wieder Sehr Breit --
Ritardando... Maestoso --
Wieder Zuruckhaltend
Langsam. Misterioso --
Etwas Bewegter --
Mit Aufschwung, Aber Nicht Eilen

Customer Reviews:

Superb Mahler, superbly stated........2007-06-08

The "Recordings of the Century" series is simply a must-own for anyone who loves fine classical music. From the tyro to the scholar, these recordings represent the finest of the genre. If you need some Mahler - if you need Mahler's 2nd - this is among the finest. The pacing, the silences, the majestical bombast, the magnificence of the human voice; Everything one looks for in Mahler is here. While each listener may have his own desires and demands in classical music, this and others in the series cannot seriously be faulted. And if you need to really hear the best of Bjoerling, listen to his CD in this series.

Average customer rating:

Mahler Lover
Mahler Symphony No. 2
The definitive performance
Comparing two Mahler Seconds from Bernstein
This Recording Has Been Re-Released in a Box Set for a Bargain Price

Mahler: Symphony No. 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Tracks:

Symphonie No. 2: 1st Movement : Allegro maestoso (Totenfeier) - Mit Durchaus Ernstem Und Feierlichem Ausdruck
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Symphonie No. 2: Schnell
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Symphonie No. 2: Tempo Sostenuto
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Symphonie No. 2: Nicht Eilen. Sehr Gemaechlich
Symphonie No. 2: In Tempo I Zurueckkehren
Symphonie No. 2: Energisch Bewegt
Symphonie No. 2: Wieder Ins Tempo Zurueckgehen. Tempo I

Tracks:

Symphonie No. 2: 3rd Movement : In Ruhig FlieBender Bewegung
Symphonie No. 2: Sehr Getragen Und Gesangvoll
Symphonie No. 2: Zum Tempo I Zuruckkenhren
Symphonie No. 2: 4th Movement : Sehr Feierlich, Aber Schlicht
Symphonie No. 2: 5th Movement : Im Tempo Des Scherzos. Wild Herausfahrend
Symphonie No. 2: Langsam
Symphonie No. 2: Im Anfang Sehr Zuruckgehalten
Symphonie No. 2: Wieder Sehr Breit
Symphonie No. 2: Molto Ritenuto
Symphonie No. 2: Wieder Zuruckhaltend
Symphonie No. 2: Sehr Langsam Und Gedehnt
Symphonie No. 2: Langsam. Misterioso
Symphonie No. 2: Langsam. Nicht Schleppen
Symphonie No. 2: Etwas Bewegter
Symphonie No. 2: MIt Aufschwung, Aber Nicht Eilen

Amazon.com essential recording

This is the most imposing performance of this symphony currently available. The tempos are rather slow, but Leonard Bernstein sustains the music's tension superbly, and the climaxes are every bit as overwhelming as they must be to justify the time he takes getting there. The concerts from which this recording derives were among the musical events of a lifetime, and much of that sense of occasion has found its way onto this disc. If you want to be blown away by music, then this baby's for you. --David Hurwitz

Customer Reviews:

Mahler Lover.......2007-01-03

I highly respect Bernstein and his conducting. His recording of Mahler One is my favorite, and several of his Shostakovich Symphonies (his 5th in particular) are genuine works of art. When it comes to this recording of Mahler Two, I felt that is was big let-down. The end, which is one of the most powerful outpouring of emotions I have ever come across in music, was taken awfully slow. It was overdramatic, and lost my interest because of the tempo. The soloists didn't do to much to blend with each other either. Often they overpowered the orchestra, and the string section was lost. The full choir, though the most beautiful I have heard on a recording of Mahler Two as of yet, was overpowered by the orchestra. I would suggest listening to other recordings, such as Zubin Mehta and the Vienna Philharmonic. If you listen to this recording first, however, the magic will not lost. It is my opinion that other conductors shaped the music better than Bernstein did.

Mahler Symphony No. 2.......2006-12-13

If you've read the many reviews of this performance as I have you will have heard both praise and criticism in almost equal doses. For one, I love this symphony above all others and this performance of it above all others.

There are more cerebral interpretations of Mahler including those of Boulez and Abbado. They emphasize the sublety, structure and harmonic complexity of Mahler, aspects of his symphonies which are often overlooked. However at the core of this work is lyricism, energy and emotion all of which are wonderfully evoked by Leonard Bernstein.

For Bernstein, this recording is the culmination of many memorable performances of this work. His three recordings of this work are all remarkable in their own way but the first two ultimately lead the path to this remarkable 1988 recording. Many memorable live performances of this work also shaped Bernstein's understanding of this beautiful score.

Listen to the lyricism and haunting passages in the softer parts of each movement for they contain some of the most beautiful orchestral phrasing one will ever hear. By the time he made this recording Bernstein had long ago harvested all of the "low hanging fruit" of this work and is introducing us to the sweet nectar from the highest of its limbs.

As other reviewers have pointed out, some of the tempi in this performance are slower than other recordings incluing his prior two. This is because by the time he made this recording, Bernstein had more to bring to each passage of this symnphony than possibly any other conductor has.

The final movement of this work represents the culmination of Bernstein's career as it is part of a culmination of the symphonic form. This performace is an incredible journey through the beauty, majesty, symmetry and emotion that are embodied by Mahler and Bernstein.

The definitive performance.......2006-10-28

Like several others who have written reviews here, I, too, was in the audience when this concert was recorded. Unlike the others, I have yet to hear the cd, although I've spent nearly 20 years wanting to hear it and to experience that evening again. It was, by far, the single most powerful musical experience of my life. Just thinking of it brings back the tremendous emotions of that night in April 1987.

Allow me to add some things that no one else who was there has mentioned. Not only were we informed beforehand that the concert was being recorded -- can't say that I remember being given cough drops -- I must say I was in a daze afterward and have been ever since -- but we knew that at the end of the concert, Bernstein would be given the Albert Schweitzer Music Award.

Despite rather extreme poverty, I had treated myself to the concert as a 32nd birthday present to myself. It was worth far far more to me than the month of peanut butter sandwiches that followed. The only seat I could afford was in one of the upper balconies on the right side of the auditorium; I sat close to the railing and could see the orchestra, the soloists and Bernstein from above.

Once the music started, I don't remember moving, blinking or even breathing until the last note played. It was shattering. It was exhilarating. When the music ended, the audience took a collective breath and exhaled very slowly. All around me, I could hear people sobbing. After what seemed like several minutes, but was probably only a few seconds, the cheering started, rolling over me in waves. Before I even knew I'd left my seat, I was on my feet. I glanced at my watch, realizing to my amazement how much time (94 minutes, according to others who have written here) had elapsed. The cheering continued for a good 10 minutes or so. I'm not exagerrating when I say that never before or since have I heard anything like it -- just when you thought the applause couldn't get any louder or more passionate, it grew -- not unlike the end of the Mahler 2nd itself -- and grew and grew and grew in intensity. Wanting to record this night in my memory, I took a slow look around the theater, and saw tears on nearly every face. Everyone was standing; everyone was cheering.

Then, just when we'd forgotten all about it, Bernstein was presented with the Albert Schweitzer Music Award. The applause and cheers started all over again. I do recall looking at my watch as I gathered my things to leave and being stunned to realize that nearly half an hour had passed since the music ended.

The crowd surrounded me as I left Avery Fisher Hall. There was an emotional bond among us. Behind me, I heard someone read my mind, saying just what I was thinking: "This piece should never be performed again. No one could ever come close to this performance."

During the next several minutes as I left the theater and walked up Broadway to my apartment, that same thought echoed around me, spontaneously, it seemed. Everyone who was there seemed to have come to the same conclusion: "No one should ever attempt to play Mahler's Second again." "This was the definitive performance." "It can't be topped." "This was it. No one should ever conduct this piece of music again."

Since that night, I have never again listened to Mahler's 2nd. Not a recording, and certainly not in person. I couldn't. I'd heard the best, and nothing else will do.

I'm placing my order right now. I've waited nearly 20 years to get this recording, and I really don't care how much it costs. It's worth every penny to me.

Comparing two Mahler Seconds from Bernstein.......2006-01-18

Bernstein so closely identified himself with the Mahelr Second that he made three recordings. For a long time two have stood out: the first, from 1963, with the New York Phil. (Sony) and the last, from 1988, from a live concert, also in New York (DG). Sony owns another live concert from 1974 with the London Sym. and the unmatched Janet Baker as soloist in "Urlicht," but it has boomy cathedral sound and is hard to find. Comparing the two major recordings brings out interesting contrasts.

Sony 1963: Bernstein was 45 and freshly arrived at Mahelr when he made this recording. The phrasing in every movemeent has a spontaneous freshness that few have ever duplicated, including Bernstien himself. Nothing is played for rhetorical effect. Tempos are moderate; the orchestra plays beautifully and is captured in spacious sonics at Manhattan Center. The two vocal soloists, mezzo Jennie Tourel and soprano Lee Verona, were Bernstein favorites, but neither is ideal. Tourel sounds mature and doesn't blend well with Verona in the finale; her Urlicht is sincere and moving, however. The professional chorus is excellent but recorded too far back for us to make out the words or for maximum impact.

DG 1988: Twenty-five years later, when Bernstein was 70, he retained the basic shape of his earlier interpretation but slowed it down, by almost 4 min. in the finale, which is quite broad now. Spontaneity has been exchanged for a deeper, more settled view but also some rhetoric. The sound is multi-miked, often close up, and with not as much air around it as for Sony. there is more underlining for emphasis, but not to an extreme. I think the finale suffers fromB ernstein's earnestness to make sure it sounds cosmic, yet even here he applies convincing points--the stupendous coda does sound cosmic. He uses another aging mezzo, Christa Ludwig, for the Urlicht, which she sings beautifully. It's too bad that LB takes two min. longer in this short movement; it sounds funereal. Soprano Barbara Hendricks sounds ideal. The chrosu is also better than on Sony and recorded, like the organ in the finale, with much more impact than before; we canmake out more words thanks to the multi-miking.

As interpretations, I think there is little to choose for the first three movements. After that, Bernstein is more musically fresh in 1963 but captured in more dramatic sonics in 1988. Chorus and soloists are also better in the 1988 set. The later performance ends in wrenching catharsis, and for some lsiteners that will make the difference. Both sets are five-star readings on the highest plane of performance and musicality.

(Since it is full price with no fillers, this DG set might lose out economically, but it has recently been reissued at mid-price in a box set of Bernstein's Mahler.)

This Recording Has Been Re-Released in a Box Set for a Bargain Price.......2005-12-19

Fans of Bernstein's Deutsche Grammophon Mahler performances from the 1980's have reason to rejoice, all these super expensive CDs have been re-released in slim, streamlined cardboard box-sets for a bargain price. Amazon now carries them and so do other retailers, so there is no reason to buy this ridiculously expensive record I've reviewing here, unless you're insane and are willing to pay just for the cool looking cover! The covers on the new box-sets are nice photographs of Bernstein himself. Be that as it may, I'm not a fan of Bernstein's Mahler records from the 1980's, his earlier renditions were better, it's just that these 80's DG records have much better sound with which his earlier ones can't compete.

As for this performance itself. it is not a good entry into the world of Mahler's Resurrection Symphony. This is a long, bloated, elephantine performance that would make even Mahler scoff. However if you already have other, more standard versions of this work, say for instance the Zubin Mehta or the Klemperer recording, then you can appreciate Bernstein's unique view for itself. Obviously it's a distortion of Mahler's music, but hey, Berstein is a compelling musician and this can be a fun ride in and of itself, I just recommend you have other versions of this symphony before this one.

This work typically runs 82 minutes or so, Bernstein stretches it out to 94 minutes and it is very much a daunting task to sit through this recording. The first movement is 25 minutes long where Mehta's famous version clocks in at 21. The inner movements are not heavily distorted tempo wise, but they do sound leaden, like you want to smack Lenny and tell him to get moving. But the last movement is an unheard of 38:42! Mehta's for comparison is 33 and a half.

This is Bernstein pouring on the heavy schmaltz and adding whipped cream with a cherry on top of a mountain of chocolate sauce. But there are benefits to Bernstein's kitschy approach, right? Indeed, well mostly in the finale with the chorus, Bernstein really lets loose with a massive crescendo of cathedral like sound, possibly the best I've heard so far of the final moments. You do of course have to deal with the rest of this performance which I find uniquely boring and uninvolving, leading to big climaxes here and there but remaining stagnant for the most part.

If you must have this performance, do what I did and buy it in the inexpensive 6CD set which contains Symphonies 1, this number 2, 3, 4, Das Knaben Wunderhorn and Lieder eines
fahrenden Gesellen, all stemming from the 1980's DG cycle.

Average customer rating:

Are you sure?
Abbado's Best "Resurrection" And A Fine Mahler Fourth
Wimpy Mahler :(
An absolutely breathtaking peformance. Abbado triumphs.
A "Resurrection" to leave you in tears

Mahler: Symphony No. 4; Symphony No. 2
Gustav Mahler , Claudio Abbado , Marilyn Horne , Frederica von Stade , Carol Neblett , and Chicago Symphony Orchestra & Chorus
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Tracks:

Symphony No. 4: 1. Bedachtig. Nicht eilen
Symphony No. 4: In Gemachlicher Bewegung. Ohne Hast
Symphony No. 4: Ruhevoll
Symphony No. 4: Sehr Behaglich
Symphony No. 2 'Resurrection': 1. Allegro maestoso
Symphony No. 2 'Resurrection': Sehr massig und zuruckhaltend
Symphony No. 2 'Resurrection': Sehr langsam beginnend

Tracks:

Symphony No. 2 'Resurrection': 2. Andante moderato
Symphony No. 2 'Resurrection': 3. (Scherzo.) In ruhig fliessender Bewegung
Symphony No. 2 'Resurrection': 4. 'Urlicht'. Sehr feierlich, aber schlicht - 'O Roschen rot'
Symphony No. 2 'Resurrection': 5. Im Tempo des Scherzos. WIld herausfahrend
Symphony No. 2 'Resurrection': Langsam
Symphony No. 2 'Resurrection': Im Anfang sehr zuruckgehalten
Symphony No. 2 'Resurrection': Wieder sehr breit
Symphony No. 2 'Resurrection': - Maestoso. Sehr zuruckhaltend
Symphony No. 2 'Resurrection': Wieder zuruckhaltend
Symphony No. 2 'Resurrection': Langsam. Immer noch mehr zuruckhaltend
Symphony No. 2 'Resurrection': Sehr langsam und gedehnt
Symphony No. 2 'Resurrection': Langsam. Misterioso
Symphony No. 2 'Resurrection': Etwas bewegter
Symphony No. 2 'Resurrection': Wieder etwas zuruckhaltend

Customer Reviews:

Are you sure?.......2005-03-23

A prior reviewer states "Lena Horne's singing is simply sublime."

True, indeed.

However, regarding this particular recording, would you care to rethink that assessment?

Abbado's Best "Resurrection" And A Fine Mahler Fourth.......2002-06-21

Elsewhere I have read glowling accounts singing the praises of Abbado's early Chicago Symphony Orchestra account of Mahler's 2nd "Resurrection" Symphony; indeed many find it more preferable to his recent live recording with the Vienna Philharmonic. This is certainly one of the best recordings I have heard of Mahler's 2nd, emphasizing the lyrical textures in Mahler's score. Abbado does a magnificient job leading the chorus and orchestra. As for the soloists, Lena Horne's singing is simply sublime. Abbado's early account with the Vienna Philharmonic of Mahler's 4th Symphony is nearly as fine, blessed with Frederica von Stade's elegant singing. Yet it suffers by comparison with more recent performances from the likes of Bernstein and Boulez, with regards to sound quality; as for Abbado himself, somehow I did not find this performance as electrifying as those from Bernstein or Boulez. Still I strongly recommend this CD because of Abbado's excellent version of Mahler's 2nd Symphony.

Wimpy Mahler :(.......2001-06-21

The other two reviewers here give high praise to this recording. If its the only version of these two works you have heard I can understand why, but having heard numerous versions of these works both recorded and live I must say that these renditions are not at the level I am used to. One would think that with the Chicago Symphony at his disposal Abbado would let loose a little more, but instead of a blazing interpretation we get a rather tame, definetly non-Mahlerian piece of hash. Abbado never really lets the brass shine the way they could and the recording quality is sub-par for DG. As for the recording of the fourth symphony with the Vienna Philharmonic, I was even more dissapointed than with the Ressurection symphony. Very dull sounding and lacking a lot of character found in other renditions. All in all not an invalid interpretation of these two works, but you can certainly do A LOT better than this.

An absolutely breathtaking peformance. Abbado triumphs........2000-10-23

Abbado is one of my favorite conductors. And Mahler is probably my favorite composer. But this truly is Mahler and Abbado at their best. The 2nd symphony is undescribably magnificant. Even though I've listened to it probably 30 or 40 times, the last movement of the 2nd still always gives me chills down my spine. And sometimes even a few tears to my eye. The building is so incredible is the last movement! The 4th symphony is one of the most beautiful pieces of music I have ever heard. The sound of sleigh bells in the opening(and a violin solo in the first movement), to the beauty of the 3rd movement, to the heavenly singing of Frederica von Stade in the last movement to the soft, tranquill ending with the harp solo in the last few bars. And the cost is unbelievable. It is two for the price of one. I have seen recordings of just the 2nd for as much as 33 dollars. But with this, you get it and the 4th for half the price of just the 2nd! Beautifully recorded, great price, great music. Nothing can beat this.

Christmas is coming soon, people. This will be a great gift for any classical fan. Even if they haven't heard anything by Mahler before, you will want all his symphonies after you hear this. I strongly recommend this to any classical fan, Mahler fan(even if you have these symphonies already), or just for people who like great music.

A "Resurrection" to leave you in tears.......2000-03-06

My first encounter with this recording of the Mahler Second was in the listening library at Brandeis, and I'm sure the rest of the room thought I was insane. (I tend to get into the music a bit...) Marilyn Horne's "Urlicht" is enough reason to get this recording in the first place, but what a pity it would be to miss the other seventy-five minutes! As would be expected, Abbado leads the symphony in an appropriately operatic fashion. The first movement "Totenfeier" is appropriately martial and Germanic without being overly weighty. The contrasts between the percussive march and lyrical "Pastorale" sections are marked, but executed seamlessly. The second movement, often considered to be a good deal less exciting than those that surround it, leaves itself suspended slightly on every note so that you absolutely MUST hear what follows. The Scherzo is snarling at points, lyric at others, until it erupts in a violent finish. Enter Ms. Horne with the "Urlicht" or "First Light" from Des Knaben Wunderhorn. When I first listened to this, the tears kept streaming down my face well into the next movement, which alternates Armageddon/Resurrection like no other. Particularly effective are two parts: the long percussion crescendo before the c minor march, and the suspended "Last Trumpet" before the choir enters with the hymn "Aufersteh'n" of Klopstock. This is where Abbado's operatic conducting shines; the voices are always primary with exquisite orchestral coloring that never overtakes the soloists as is very possible in Mahler. The end is slow, exultant, and sublime.Lest you forget that this set also includes an entire other symphony! (the fourth) Von Stade's "Himmlisches Leben" is just as serene and pure as any boy soprano's, although it does lack the eerie quality that only a young boy can give to the part. The rest of the fourth is lustrous, including a very slow, very marvelous third movement and a haunting second.

Mahler: Urlicht - Primal Light / Caine, Bensoussan, et al.

Average customer rating:

jaw-dropping interpretation of Mahler
Mahler revered
Uri Caine's mutiny against Mahler
raw, gritty and fertile freshly tilled earth
The New quintessential performance of Mahler

Mahler: Urlicht - Primal Light / Caine, Bensoussan, et al.
Uri Caine
Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

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Amazon.com

This auspicious, surprising, release debuted the Winter & Winter imprimatur, which carries on German producer Stefan Winter's longstanding role in blurring musical boundaries, as he did for so many years with the jazz label JMT. Pianist Uri Caine, known mainly for playing in the polystylistic mode of New York's downtown jazz scene, steeped himself in Mahler's music in preparation for the 1995 series of concerts leading up to this CD. Caine's ensemble--14 members strong, at points--recasts portions of Mahler's symphonic cloudbursts into a setting that smacks of klezmer, jazz, and crazy combinations of the scores' lavish bombastics. It's clear that Mahler's works tested the boundaries of so many available sounds at the turn of the century, from cantors to martial brass to Wagnerian bulk. Caine attempts it all, succeeding most somberly in the sections based on the Resurrection Symphony and most clangorously in the First Symphony's third movement, transformed into a serious klezmer bash by Caine, clarinetist Don Byron, and drummer Joey Baron. --Andrew Bartlett

Customer Reviews:

jaw-dropping interpretation of Mahler.......2006-12-03

I am a Mahler fan - and I don't like jazz! So I was rather nervous at listening to this first time around. But I found it simply stunning. The resurrection symphony slow movement, complete with screeching solo violin emulating a searingly distorted electric guitar was, in fact, profoundly moving. And the sheer musicianship of the performers, in the more sensitive sections earned my utmost respect. This album is shocking, unbearable, gripping, lighthearted, exciting, mocking, reverential, tender - everything Mahler was. Fantastic buy!

Mahler revered.......2006-11-16

On his 1997 release Urlicht / Primal Light, Uri Caine took some of Gustav Mahler's most famous compositions, and, well, jazzed them up, with some of the most prominent musicians on the downtown New York scene, including Dave Douglas and Joey Baron.

What still surprises me about this beautiful album is just how faithful Caine is to Mahler. Unlike his later Goldberg Variations, this isn't Mahler deconstructed, it's Mahler revered, in a small group jazz (and at times, thanks to Don Byron , klezmer) setting. It makes perfect sense -- if some of the greatest jazz performances have come from mediocre show tunes, why not use symphonies and lieder as a starting point for improvisation?

Uri Caine's mutiny against Mahler.......2006-09-30

I've been a big Mahler fan since Bernstein's first recording (4th Symphony) as well as a knowledgeable follower of jazz. These pieces are grotesque caricatures of Mahler melodies and while I have not heard Caine's other depredations, after listening to this one I think I'll pass. If this is something released after a jam session that somehow was rescued from the cutting room floor, my apologies. But Mahler's melodies do not belong in a setting like this and who is Caine to try to improve on Mahler's orchestrations? Save your money.

raw, gritty and fertile freshly tilled earth.......2005-12-13

it's not pure as in so many anally treated works of Mahler. admittedly i am not interested in listening to see if the sonority of the instruments is perfect to some pompous standard, and it's not but there is another dedication here and an unmeasurable energy. i love the youthfulness of this work.

The New quintessential performance of Mahler.......2005-07-06

This is the story i was told when buying this record, it's been many years so this is as close as i could remember it:

"There is an annual competition where orchestras from all over the world come together to perform Mahler pieces. It's been going many many years... then along came Uri Caine. His orchestra included Cantors (jewish religious singers) and a cacophony of other messy instruments and ideas to perform with. They won to competition to the horror of stuffy stuck-up Mahler purists the world over.. How could this horrible mess win over all ther other very traditional (very similar and boring) performances!? Uri Caine's orchestra has continued to win every year since. Why? Because Uri's interpretation gives a fuller understanding of Gustav Mahlers background, his roots, he brings so much life to the music."

So then i actually listened to the music myself and it was breathtaking, funny, it told stories, it had personality, it was bursting at the seams with new ideas.

I listen to all kinds of music, but rarely jazz and rarely classical. I was not familiar with Uri Caine or Gustav Mahler, but after hearing that story, then listening for myself i had to have this cd. And while often my purchases are terrible mistakes, this one was a resounding success. This cd is my most treasured.

Average customer rating:

This one is all you'll ever need!
The best recorded sound
A great 2nd
Straightforward approach
The St. Louis Symphony and Slatkin at their best

Mahler: Symphony No. 2 "Resurrection"

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Tracks:

I. Allegro Maestoso
II. Andante Moderato
III. In Sehr Ruhig Fliessender Bewegung

Tracks:

IV. 'Urlicht:' Sehr Feierlich, Aber Schlicht
V. Im Tempo Des Scherzos - Wild Herausfahrend - Allegro Energico - Langsam - Misterioso

Amazon.com

Leonard Slatkin's recording of the Resurrection Symphony was one of Telarc's early digital triumphs--an outstanding achievement, both technically and musically. The account is noteworthy for the powerful, disciplined playing of the Saint Louis Symphony, as well as for Slatkin's clear, intelligent presentation of the score and the excellent solo contributions--25 years after she recorded the piece with Walter, here again is Maureen Forrester, singing as beautifully as ever. It reaches a very satisfying climax in the final movement, and Telarc's pickup does not let Mahler down. --Ted Libbey

Customer Reviews:

This one is all you'll ever need!.......2006-06-20

Mahler is a difficult composer: brilliant, tortured, expansive, fussy... and it is easy to go to excess with him, Mahler himself having once stated that a symphony should include "everything." I grew up with the [now considered rather restrained] Bruno Walter recording, but auditioned and owned many other recordings over the years as well, also listening on the radio or TV when broadcast. I must say, this recording contains all the passion, lace-like delicacy, brute force, anger and triumph you'll ever need without resorting to excess. Yes, some avid Mahlerites will speak of this or that conductor's moments and I will agree that if you are passionate about this score, there may be instances here and there where you might wish for just a bit "more" but in so many other versions, that "more" also comes with down-sides, like making this work too episodic. Slatkin gives us all the "moments" as part of a well-conceived "whole" and that is what a symphony is, or should be... a journey consisting of moments, yes, but unified from a starting point to an inevitable finish.
Slatkin delivers as does his orchestra and chorus, from airy strings in the second movement to very distant horn and trumpet calls in the last... from awesome tam-tam smacks to the deep bell plates Mahler requires [NOT chimes!] it is all there, even the organ. Battle & Forrester are superb, the latter being in as good form as she was on the Walter recording I first heard back in 1960!
Then there is Telarc's engineering, and this SACD release FINALLY lets us hear everything they captured on the superior "Soundstream" 50k digital recording system. Such a pity the inferior Sony/Phillips 44.1k system won out. We've been missing so much for all these years. But now it is here, like you've never heard before AND at a 2-discs-for-one price no less!
If you like Mahler, add this one to your collection and you won't be disappointed at all. If you've heard Mahler on the radio and now want a recording at home, yes, this is the only one you'll need and you'll be missing nothing, music OR sound-wise.

The best recorded sound.......2001-07-02

This is the only version of the Mahler 2nd that I am familiar with, this recording is THE best recorded sound in my collection of approximately 300 classical CD's. The climax at about 2 minutes into the first movement is especially thrilling and every thing that follows is as good. As a bonus, the playing of the St. Louis Symphony and singing of the soloists, especially Ms Forrester, are as good as anyone could expect. I am planning to get a copy of the Bernstein or Rattle version of this music, and I hope to hear something new in interpreting this music, but I don't expect better sound.

A great 2nd.......2001-04-16

I am not a fun of Slatkin's music but I was amazed with this one. The music is fabulous and you can feel the conductor's passion. The Saint Louis orchestra is in top form and as for the solists probably the best in this work since Schwarzkopf and Rossl-Majdan on Klemperer's account. Although I still prefer the later, I still believe that this is one of the best modern accounts available (along with Rattle's and Abbado's).

Straightforward approach.......2001-04-07

Worth buying and treasuring just for the amazing, disciplined playing and singing, coupled with gorgeous tones all around.

Slatkin's approach is, not unusual, straightforward, concentrating on the letter of the score. That does not to say that he doesn't mine the emotional content--he does. I prefer a more characterful approach--and Gielen's most recent recording certainly delivers that in spades, as does Scherchen's ancient MCA recording (which can not be said to have decent engineering or flawless playing)--but this performance serves quite nicely. It is in the same mold as Litton's in Dallas.

The recorded sound is fine, although a little more impace would've been appreciated.

Excellent all around.

The St. Louis Symphony and Slatkin at their best.......2001-02-16

During his tenure as director of the St. Louis Symphony, Slatkin turned the SLSO into, arguably, the best orchestra in the United States, and none of his recordings was better than Mahler's Symphony #2. The tempos are exquisite, the andantes are full of color and texture, while the allegros have the exuberant energy of Mahler's symphonies with the brass and percussion sections carrying the splendor of the occasion. The soloists are in unison with the orchestra, and the SLSO chorus never sounded better. I am aquainted with other versions of this symphony, but none is as satisfying. Do yourself a favor and select this recording above all others.

Average customer rating:

Mahler: Symphony No. 2 'Resurrection'

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mahler: Symphony No. 6 [DVD Video]

ASIN: B000PMFTCW
Release Date: 2007-07-10

Mahler: Symphonies No. 1 & No. 2; Lieder eines fahrenden Gesellen

Average customer rating:

The Mellow Essence of Mahler
Maybe the best Mahler Sym. # 1 & #2 available on CD
Mellow Mahler from Bruno Walter, but Symphony 2 sounds a little tinny
Right back where I started
Excellent

Mahler: Symphonies No. 1 & No. 2; Lieder eines fahrenden Gesellen
Bruno Walter , Emilia Cundari , Maureen Forrester , and Mildred Miller
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000002A7H
Release Date: 1995-01-24

Tracks:

Symphony No. 1 'Titan': Langsam. Schleppend. Wie ein Naturlaut. Im Anfang sehr gemachlich
Symphony No. 1 'Titan': Kraftig bewegt, doch nicht zu schnell
Symphony No. 1 'Titan': Feierlich und gemessen, ohne zu schleppen
Symphony No. 1 'Titan': Sturmisch bewegt - Energisch
Symphony No. 2 'Resurrection': Allegro maestoso

Tracks:

Symphony No. 2 'Resurrection': Andante moderato
Symphony No. 2 'Resurrection': (Scherzo) In ruhig fliessender Bewegung
Symphony No. 2 'Resurrection': Urlicht - Sehr feierlich, aber achlicht
Symphony No. 2 'Resurrection': Im Tempo des Scherzos. Wild herausfahrend
Songs Of A Wayfarer: 1. Wenn mein Schatz Hochzeit macht
Songs Of A Wayfarer: 2. Ging heut morgen uebers Feld
Songs Of A Wayfarer: 3. Ich hab ein gluehen Messer
Songs Of A Wayfarer: 4. Die zwei blauen Augen

Amazon.com

Oh baby, this is really good! Bruno Walter was a disciple of Big Man Gustav himself, and at the very end of his life, in the early 1960s, he recorded these two stereo performances that have come up sounding magnificent in this new digital transfer. Anyone who had those grotty-sounding old Odyssey LPs will be shocked by the vividness and depth of sound on these old master tapes. In particular, someone has come up with an amazing organ presence at the end of the Resurrection Symphony that outclasses most modern digital recordings. Where has it been all these years? You simply can't like Mahler and not own these recordings. At midprice, why wait? --David Hurwitz

Amazon.com

Bruno Walter's 1961 account of Symphony No. 1 was the loving reminiscence of a man in his mid-eighties, one who not only had a vivid memory of the composer, but also of the youthful emotions the music is about. It is an unabashedly Romantic reading of the score--passionate, grandly phrased, and almost Straussian in its warmth of sound, but with irresistible momentum as well. Walter's 1958 recording of the Resurrection Symphony remains among the best as well, notable for its generosity of spirit and insight, its breadth and scope, and the deeply committed and spiritually uplifting manner in which the conductor puts across the finale. In Sony's excellent 20-bit remasterings, the sound scarcely shows any age at all. --Ted Libbey

Customer Reviews:

The Mellow Essence of Mahler.......2006-02-06

These recordings are for two sorts of listeners: those who are just becoming interested in Mahler's music and those who are thoroughly familiar with Mahler's music. The former will have a fine introduction to Mahler's musical world without the sometimes distorting tendencies of conductors competing for attention in a now-crowded interpretive field; the latter will be able to enjoy again the direct, unforced beauty of Walter's conducting.

Famously a protege of Mahler's, Walter brought to his recordings the authority of having been present at the creation of the works combined with his sure hand in guiding the musical line and his sense of communicating a transcendent spiritual experience. Straddling the symphonic traditions up to the end of the century and the incipient modernist trends, Mahler's music is so ample in both its scale and inventiveness that it can bear a wide range of interpretive approaches without being pulled utterly out of shape. With Walter the listener gets the music as close as possible to a "no-frills" approach, yet with a radiance that can, if you let it, transport you to an emotional plane that lies beyond words, which the best music does. There are always the many other ways to be guided through Mahler's great musical lands -- the crackling intensity of Mitropoulos, the wrenching emotion of Bernstein, the grandeur of Karajan, the clarity of Boulez -- but Walter gives you the mellow essence of the music, where the tumult and the anguish give way to a hard-won tranquillity and the triumphant moment is tempered with a sense of its transitory nature.

Maybe the best Mahler Sym. # 1 & #2 available on CD.......2006-02-02

Two beautifully recorded CDs!

The fact that Mahler and Walter were close associates, probably had a significant influence on these recording. I seems that Walter must have obtained some insight as to the "artistic intentions" for these pieces because they have a special quality that many other recordings of these works seem to lack; a subtleness, a quiet self-assurance if you will.

My favorite:...Symphony # 1
I've always been drawn to the "Titan" from the very first time I heard those eerie opening bars years ago. It always reminded me of stepping out into an alien (but not necessarily unfriendly) landscape.

All in all, Mahler as I'm sure Mahler would have intended. Recommended!

Mellow Mahler from Bruno Walter, but Symphony 2 sounds a little tinny.......2005-12-14

Bruno Walter (1876-1962) has the reputation in our current generation of being a disciple/protege of Gustav Mahler (1860-1911), while he was one of several great conductors who were Mahler's students, including Otto Klemperer and Oscar Fried. Walter never completed an entire Mahler Symphony cycle during his career. But there is an earlier MONO recording of Symphony 1 with the New York Philharmonic (Sony CD), a 1947 recording of Symphony 4 (New York, Sony CD) and Symphony 5 (New York, Sony CD, MONO), a stereo Symphony 9 (Columbia Symphony, Los Angeles, Sony - 2 CDs), and a famous live 1938 Symphony 9 with the Vienna Philharmonic made just days before the "Anschlass" uniting Germany and Austria under the Nazi government in Berlin
(EMI, Naxos, and other budget labels). (Bruno Walter then fled from Vienna, first for Paris, then in 1940, New York and did not return to Europe until after World War II, a wise decision given his Jewish lineage.)

In this recording, Walter's Mahler 1 benefits from better sound, and fine playing from the Columbia Symphony. But it is quite mellow: climaxes are not built up as in some recordings, and there is a laid back aura about the whole performance. Some may find it refreshing, and I find it acceptable, but when in a mood to be moved or shaken by something, this doesn't cut it.

Symphony 2 is also fine, but doesn't have the powerful climaxes many conductors bring to Mahler. Some exciting moments are more beautiful and loving than exciting or gut wrenching. Here the sound is more tinny, and not as natural as in Symphony 1. I read the recordings sessions for Walter's Mahler 2 were interrupted when Walter took sick with a near fatal heart attack and there was a large gap in time before the recording could be completed: it was done in several sessions in 1957 and 1958.

Still, Walter's Mahler is worth hearing, and is important as Walter knew the composer personally. I love Bruno Walter's recordings, and would recommend (more highly than this) his Beethoven Symphonies (except 9); Mozart Symphonies 35, 36, 38-41 (either New York Philharmonic MONO or California Columbia Symphony STEREO recordings: the New Yorks are faster tempos in most movements); Brahms Symphonies with the Columbia Symphony; and Schubert Symphonies 5, 8, and 9, all available in the "Bruno Walter Edition" from Sony Classical.

For Mahler 1, I like Muti/Philadelphia (EMI) and for Mahler 2, Klemperer/Philharmonia (EMI).

Right back where I started.......2005-04-11

This was the first Mahler Second I'd ever heard. Twenty five years of searching for the ideal recording of this work and I find myself right back here with this one. Whatever anyone else may have, no one comes close to the deep love and total conviction found in this performance.

Excellent.......2003-11-16

These are the best recordings of these works. (Especially, the performance of 2nd Symphony).

Still, 2nd Symphony "Resurrection" is one of the best works of Mahler; this is music like film music.
Be constituted in 5 movements, as you know, like a cantata form. Scored for very large ensemble (as usual): quadruple woodwinds plus 4 piccolos, 2 cor anglais, 2 E-flat clarinets, contrabassoon, 10 horns, 10 trumpets, 4 trombones, Contrabass-Tuba, 2 (in some passages 3) set timpani, bass drum, cymbals, 2 or more snare drum, triangle, small and large gongs, large bells, 2 harps, organ, strings, a small ensemble placed on offstage (brass ensemble taken from main orchestra), soprano and alto soloists and chorus.

In this symphony, Mahler simply confessed.

This movement, as you know, a funeral music. After the wild start, there is a calm E Major passage, which tells the heaven. But in centre of music, this heavenly music, suddenly cut off by a blow, which tells, the fall into hell. And then music continues very slowly by cellos and double basses with a darkful E flat minor, who they are tells a man slowly walk in hell with scared. But then, when music moves faster and faster, may be devil suddenly comes and chases the man(!). This man may be the composer... In conclusion section, music starts a funeral march and finishes darkful...

The composer calls in partition of this symphony, when finished the First movement, there should be at least five-movement-silence...

And then, the second movement starts, which a calm peacefully A flat Major landler (an Austrian dance, in triple time). This movement tranqilizes the listeners, after the amazing, terrible moments of the first movement.

The third centre movement is the Scherzo. It is a devilish scherzo, but in centre moments, there is again heavenly E Major passage, which tells a story of "Saint Antonius of Padua", who gives sermons to fishes at sea. The fishes listen him with admire, but then , because of they're not understands that what he is saying, the fishes go away!

The 4th movement, called Ulricht (means Red Rose) is a peaceful music, written for alto solo and a small enseble. This light is shines to onebody, who will go to heaven.

And the last movement starts, with questions that came in Scherzo. There are terro, fright, hesitate. And then fanfares to be hear. These fanfares means, doomsday comes closer! And then in centre moments, there are earthquakes, tempests and all other disasters! And then, in very deep silence, chorus starts a chorale, which tells the judgement day is coming. But this symphony finishes with a glory scene, which tells the heavenly life will be come...

And this performance with New York Philharmonic is the best recording. Sound quality is very good, was recorded at Carnegie Hall.

And, the performances of Symphony No. 1 "Titan" and "Lieder eines Fahrenden Gesselen" with Columbia Symphony Orchestra and Maureen Forrester are also very good. The musicians of this orchestra were being constituted from different studio orchestra that plays the film music. Still, they were placed on American Legion Hall, Hollywood. And, as you know, Bruno Walter was lived his last years in Beverly Hills and his latest recordings made with this orchestra.

This is a must have for Mahler admirers and music lovers.

Very highly recommended.

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