Mahler: Symphony No. 8

Editorial Reviews
Amazon.com
Mahler's 8th requires massive forces--2 double choruses, a youth chorus, an extra-large sized orchestra, and eight vocalists whose parts, however brief, mandate world-class singers. It's a tremendous challenge to performers and to recording engineers, given the near impossibility of capturing this enormous work with anything like its impact in the concert hall. Despite this, it has fared well on disc, with successful recordings by Solti, Bernstein, Tennstedt, Gielen, and Chailly.

Now you can add Rattle if you're a fan of his; if you're not, chances are you'll gain new respect for his Mahler conducting. While Rattle's Birmingham band isn't at the level of the Concertgebouw, New York, and Chicago orchestras, it does well enough, and his soloists are as good as any. In fact, the disc's finest moments come from the latter part of Part II, where the female vocalists sing supremely, followed by the massive, knock-down climax. Elsewhere, Rattle leads a swift performance that exhibits relatively few idiosyncrasies and illuminates the structure of this vast work. The choral contributions are not up to some of their recorded rivals, and the engineering distances them and also fails to uncover numerous details in the score. But no Mahler 8th recording will cover all the bases of this work, and this one's a worthy contender. --Dan Davis

Tracks:

Sheep May Safely Graze - Sir Neville Marriner
Serenade In G 'Eine Kleine Nachtmusik' - Sir Neville Marriner
Violin Concerto No.1 In G Minor, Op.26 - II. Adagio - Yedudi Menuhin
Nocturne No.2 In E Flat Op.9 No.2 - John Ogdon
Miserere Mei, Deus - Stephen Cleobury
Schindler's List - Tasmin Little
Traumerei - Dame Moura Lympany
Dance Of The Sylphs - Sir Neville Marriner
Water Music - Berlin Philharmonic Orchestra
Symphony No.9: II. Largo - Oslo Philharmonic Orchestra
Jean De Florette - Toots Thielemans
Concerto For Lute And Two Violins - II. Largo - Anthony Bailes
Cello Concerto In E Minor Op.85 - III. Adagio - Jacqueline De Pre
Waltz No.15 In A Flat - Dame Moura Lympany
Romance - Piers Lane
Pavane - Maurice Handford
Woodbrook - Micheal O Suilleabhain
Time To Say Goodbye - Orchestra

Tracks:

The Four Seasons - Concerto No.1 In E 'Spring' - Yehundi Menuhin
Dance Of The Blessed Spirits - New Philharmonia Orchestra
Double Violin Concerto In D Minor - II. Largo Ma Non Tanto - Yehudi Menuhin
Prelude No.7 In A Op.28 No.7 - Tzimon Barto
Cantique De Jean Racine - MONKS AND CHOIRBOYS OF DOWNSIDE ABBEY
The Lark Ascending - Hugh Bean
'Pathetique Sonata Op.13 - II. Adagio Cantabile - Leonard Pennario
Pie Jesu - Choir Of King's College, Cambridge
Salut D'Amour - Richard Hickox
La Fille Aux Cheveux De Lin (The Girl With Flaxen Hair) - Dame Moura Lympany
The Coventry Carol - Medeval Babes
Pavane For A Dead Princess - New Philharmonia Orchestra
Liebestraum No.3 In A Flat - John Ogdon
Panis Angelicus - Elisabeth Schwarzkopf
Piano Concerto No.2 In F Op.102 - II. Andante - Dmitri Alexeev
Agnus Dei - Peter Barley
Symphony No.5 In C Sharp Minor - IV. Adagietto - New Philharmonia Orchestra
My Heart Will Go On - Orchestra

Customer Reviews:

The Most Relaxing Classical Album In the World Eveer, Volume II.......2006-08-28

Good selection of music, poorly performed and badly arranged. Good album for a tag sale. Same comment applies for Volume I.

Great music listein to while you read in bed.......2005-08-21

I have listened to this CD for the last several years before going to sleep at night. I love classical music, and this is great music to help make my soul feel at peace and unwind after a taxing day.

A must buy for the non-snobbish classical music fan........2004-10-22

I bought Vol. 1 of this series and was quite satisfied, but I have to say I'm more than satisfied with this one. If you can just mellow out and enjoy some great pieces, you'll love this CD. #15 on Disc 2 is almost worth the price alone!

A bliss of spirit........2004-09-18

That's disc will open You a wonderful, beautiful world of sounds, their harmony & emotion : you'll feel your heart full of
Joy, Tears, Love.
Good LUCK!

Boring.......2004-05-11

Yes this CD will put you to sleep in minutes. Its the most boring uninspiring classical music. The first CD was very good but this Vol. 2 is like most movie sequels....AWFUL !

The Most Soothing Lullabies In The Universe

Average customer rating:

The Most Soothing Lullabies In The Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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General | Opera & Vocal | Styles | Music

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

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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General | Children's Music | Styles | Music

Lullabies | Children's Music | Styles | Music
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National Geographic: Lullabies - Dream Songs from Around the World
Traditional Lullabies
Bach at Bedtime: Lullabies for the Still of the Night
Lullaby: A Collection
Lullaby Favorites: Music for Little People

ASIN: B0001NBNE8
Release Date: 2004-04-06

Tracks:

CHOPIN: Piano Concerto No. 1, Larghetto
DEBUSSY: Clair de Lune
MANFREDINI: Concerto grosso in C, I. Largo (Pastorale)
MOZART: Eine Kleine Nachtmusik, Andante
BEETHOVEN: Moonlight Sonata, Adagio
BACH: Goldberg
SIBELIUS: Swan of Tuonela
LISZT: Liebestraume
SCHUMANN: Dreaming
MASSENET: Meditation from "Thais"
VAUGHAN WILLIAMS: Greensleeves

Tracks:

HANDEL-WEINER: Sicilienne
A. CORELLI: Concerto grosso in G, Pastorale
VERDI: "When the evening becomes peaceful"
CHOPIN: Three Preludes
MOZART: Clarinet Concerto in A, II. Adagio
BRAHMS: Piano Sonata No. 3, II. Andante espressivo
TCHAIKOVSKY: Swan Lake (excerpt)
MENDELSSOHN: Three Songs Without Words
MAHLER: Symphony No. 3, IV. Sehr Langsam

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Ludwig van Beethoven
The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

BIZET Aragonaise from Carmen
DEBUSSY Clair de Lune
SAINT-SAS The Swan
BEETHOVEN Moonlight Sonata, Adagio
TARREGA Recuerdos
FAURE Aprun rrie
,MENDELSSOHN Song without Words Op. 19 #6
TCHAIKOVSKY Serenade for Strings, Elegia, Larghetto elegaico
CHOPIN Ballade No. 1
LISZT Liebestraume
SATIE Gymnopedies No. 1
SCHUMANN Abendlied
MENDELSSOHN Song without Words Op. 62 #5
DVORAK Serenade for Strings, Larghetto
BEETHOVEN Fse

Tracks:

MAHLER Symphony No. 5, Adagietto
RACHMANINOFF Piano Concerto No. 2, Adagio
JANACEK Idyll for Strings, Adagio
FRANCK Violin Sonata, Recitativo-Fantasia
HANDEL Largo from Xerxes
CHOPIN Etude in E Major
TCHAIKOVSKY Swan Lake (excerpt)
MASSENET Meditation from "Tha
PROKOFIEV Romeo & Juliet
TRADITIONAL Nocturne in F
TCHAIKOVSKY Nocturne in F
RACHMANINOFF Prelude

Customer Reviews:

very romantic to make love by.......2007-06-11

The music is seductive and promotes an atmosphere of feeling uninhibited when you are making love.

Great Mood Music.......2006-08-11

This is a great CD to compliment any romantic situation. A meal by candle light, champagne on the veranda, or a Jacuzzi for two! Very soothing.

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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.

Mahler - Symphony No. 8 / Popp · Auger · Minton · Harper · Kollo · Shirley-Quirk · Talvela · Chicago SO · Solti

Average customer rating:

Before you buy this older release...
A "Regular People" Review
over-rated
Electric Solti performance
Incredibly successful for good reason, but not musically

Mahler - Symphony No. 8 / Popp · Auger · Minton · Harper · Kollo · Shirley-Quirk · Talvela · Chicago SO · Solti
Gustav Mahler , Sir Georg Solti , Arleen Auger , Lucia Popp , Chicago Symphony Orchestra , Yvonne Minton , Heather Harper , René Kollo , John Shirley-Quirk , and Martti Talvela
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JXZ8
Release Date: 1999-08-10

Tracks:

Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part I. Veni, creator spiritus
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part I. Imple superna gratia
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part I. Infirma nostri corporis
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part I. Accende lumen sensibus
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part I. Veni, creator spiritus
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part I. Gloria Patri Domino
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Poco Adagio - Waldung, sie schwankt heran
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Ewiger Wonnebrand
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Wie Felsenabgrund mir zu Fussen
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Gerettet ist das edle Glied
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Uns bleibt ein Erdenrest - Hier ist die Aussicht frei
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Hochste Herrscherin der Welt - Dir, der Unberuhrbaren
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Bei der Liebe, die den Fussen
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Neige, neige, du Ohnegleiche
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Blicket auf zum Retterblick
Symphony No.8 In E Flat Major 'Symphony Of A Thousand': Part II. Alles Vergangliche

Amazon.com essential recording

Solti was an eminent Mahlerian, reveling in the dramatic sweep and power of the scores but also surprisingly sympathetic to their many delicate, sparely scored passages. The gigantic Eighth Symphony is perhaps Solti's finest Mahler recording. The opening outburst, "Veni, creator spiritus," is shattering in its impact, and the next 80 minutes are an emotionally wrenching trek across Mahler's vast musical landscape. Most conductors do well simply to hold together this gargantuan, often ungainly combination of symphony, oratorio, and sceneryless opera (Part II is a setting from Goethe's Faust). But Solti's conducting makes it work by maintaining tension throughout. He gets superb orchestral playing from the Chicago Symphony and inspires a great Viennese chorus and the best team of vocal soloists to record this work. Add outstanding engineering that, nearly three decades later, still yields demonstration-quality sound, and you get the best stereo Mahler Eighth in the catalog. --Dan Davis

Customer Reviews:

Before you buy this older release..........2007-03-01

I'm a huge fan of the original Solti performance. Decca did this CD release in 1999 and the newer one in 2006 with a different cover. (Amazon carries the later one.) I find the 2006 release a far, far better remastering of an already amazing recording and I recommend it over this 1999 CD release. The newer one has a less clouded sound... is not too bright to my ears... is musical... with beautiful balance maintained amongst the orchestra, chorus and soloists - my favorite recording of No. 8... I'm a former musician and I've heard both CD editions, much preferring the clarity of the later version, without a doubt.

A "Regular People" Review.......2007-02-17

This CD is good, however if your new to Mahler, I would recommend the Second or Sixth Symphonies before this one. Mahler has never dissapointed me and this is no exception. I can't say whether this recording is better than any other becuase this is the only one I have ever heard, but there are no complaints here.

over-rated.......2006-12-02

What the heck! - I may as well have some fun as I'm hanging out, and rain on everybody's parade. I'm still giving this four stars because it IS good from any technical standpoint. But that's precisely the problem; it's only technically good - well, for me anyway. Yes, the vocal soloists are all very good. They're also quite loud and quite close. Much of that simply has to do with the recording itself, which in turn comes off as being rather noisy, yet limited in its overall dynamic range. For 1971, it's really very good. This is 2006 - darn near 2007. There's also a real mismatch between the powerful trumpets and trombones of the CSO, and the more reticent, almost gentle singing of the Viennese chorus members. Both are good, but in totally incompatible ways. The pipe organ - which is very strong - sounds as though it was recorded in a totally different acoustic (and it was!). The whole thing fits together in a sonic soup that - while lacking in distortion - does sound heavily multi-miked and artificially mixed. The ending of Part 2 is typical Solti: loud organ and loud brass, but the percussion get buried over (simultaneous cymbals and tam-tam). Why is it that a conductor who enjoyed so much noise from the brass, also had no clue what to do with a modern percussion section? I digress.

My sage advice? Get the Solti if you already know it and like it. But if you're new to this piece, give some of the other ones an audition as well. In particular - until the one from MTT/SFSO arrives in 2008 (which should be good) - check out the Antoni Wit Mahler 8th on Naxos. If older recordings are your bag; man, the old Bernstein/LSO one still sweeps me off my feet everytime; distortion and all.

Electric Solti performance.......2006-01-13

Gustav Mahler's Symphony No. 8 "Symphony of a Thousand", like his second symphony, requires great forethought and is quite problematic to perform, nonetheless record with some semblance of quality. This Decca Legends digital transfer of Sir Georg Solti's great 1971 Vienna performance was the first to translate well to a recorded medium, where others failed.

The first problem in putting together the Symphony No. 8 is instrumentation. A large woodwind section, brass section with 8 horns, 8 trumpets, 8 trombones, celeste, piano, organ, harmonium, mandolin, not to mention eight soloists, two mixed choirs, and a children's choir is tough to balance, not to mention perform. The symphony is in two parts: the first part is on a Latin text, the famous Veni, Creator Spiritus. The opening with full organ and double chorus brings me to the second problem in putting the work together, the music is terribly difficult. Solti has combined the Chicago Symphony Orchestra, two Viennese choruses, and the Vienna Boy's Choir; by all accounts, a world class occasion. The musicians tackle the virtuosic music in stride, on both the instrumental and vocal sides. The 20+ minute first part is a unceasing, breathless praise to God. The music's extreme ranges and quickly changing harmonic foundations are performed with reckless abandon here, as Solti does anything but dwell, but instead forges ahead. The soloists, all legends of their time (and this time as well) are a treat. Each are heard well over the orchestra (the tenor is sometimes overwhelmed by the orchestra and soprano soloists) and the same goes for the chorus. The ending Gloria is taken at break-neck speed and ends as stated in the text, gloriously. The second section is in German and sets the final scene of Goethe's Faust. A scene of redemption, it fills the rest of this 79 minute CD. A bit more subdued, the lovely opening instrumental gives a breather after the first part. The rest that follows is rather operatic in nature, with arias, duets, ensembles, and chorus work. The last six minutes, which begins extremely soft in the chorus and strings, is the last great build-up to the conclusion of the work, a splendid finale. The third problem in putting together the work, especially from a modern perspective, is quality of sound and balance. Suffice to say, with the 1971 transfer, it is very difficult to tell the age of the recording. All voices speak well across the board, and the Chicago Symphony Orchestra cannot be beat by any other ensemble, especially the brass section, and only on rare occasions are their signs of the recordings' age. The voices are clear and the text is conveyed satisfactorily. Each classical music fan has their favorite "Symphony of a Thousand" by Gustav Mahler; this is mine. An easy recommendation.

Incredibly successful for good reason, but not musically.......2005-09-29

Decca's recording engineers were the best in the world at capturing orhestral impact, as they showed in Solti's Ring cycle. His Mahler Eighth won equal fame for sonic drama--this huge symphony sounds as massive exploding from home speakers as it might in live performance. The orchestra and soloists are also first rate, and to this day--as the reviews here demonstrate--Solti's version ranks very high in sales and fame.

Musically, however, thre is the usual high-voltage Solti aggressive drive throughout and little poetry. The sonics are surprisingly shrill and uncomfortable in this digital remastering--what hapened to the gorgeous bloom of the LP originals? I have known this set since the day it shot out of the cannon, and it's a relief to hear far more musical versions by Haitink, Sinopoli, Bernstein, Abbado, Gielen, and Colin Davis.

Top 100 Masterpieces of Classical Music (Collectors Edition) (Box Set)

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Top 100 Masterpieces of Classical Music (Collectors Edition) (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008L428
Release Date: 2003-02-13

Mahler: Symphony No. 8; Kindertotenlieder

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The Difference and An Historical Trivia Note
A celebrated performance, unmatched in Part I
It's either this or Solti's on Mahler's Eighth.....
Excellent Performance
An exilarating listening experience.

Mahler: Symphony No. 8; Kindertotenlieder

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 1; Adagio

ASIN: B00000K4J6
Release Date: 1999-09-14

Customer Reviews:

The Difference and An Historical Trivia Note.......2005-10-14

This is a superb younger Lenny performance that remains unequaled in many ways. While the Solti is operatic in nature, Lenny's performance is much closer to what Mahler imagined as a "Symphony of a Thousand." It evokes much more of the turn-of-the-century sensibility of Mahler's world. The difference is neither subtle nor unimportant.

One of the other reviewers noted this is the "famous 1966 recording that followed upon a rapturously received live concert in London."

Actually, the London performance was hastily arranged because Columbia wanted to record the 8th as part of their complete Mahler Symphony series - the first available on disc. But the cost of that leather-bound 15 LP set, a compilation largely of live performances, was rapidly increasing. Originally, they were going to do a studio recording of the 8th and planned a performance series with one of history's greatest Mahler orchestras of all time, the NY Philharmonic of the 1960s. That performance in NYC with the magnificent deep-throated Westminster Symphonic Choir and soloists that included the rarely recorded Saramae Endich was beyond spectacular. But the bean-counters at Columbia didn't want to spend the money to record it in a studio in NYC with American forces and opted to fly Lenny to London because it was cheaper to record it there. So arrangements were made for a London performance, that was in reality a "rehearsal" for the recording sessions. The folks Lenny meticulously prepared for the original planned recording session in New York sat at home.

That decision resulted in one of the more significant losses in recorded literature. The London forces, good as they are, are no match for the magnificence of the original production with Lenny's home team. Those live performances (3 of them?) at Lincoln Center WERE recorded (as sonic tests) and likely exist somewhere in Columbia/CBS/Sony archives. With greatly renewed interest in Lenny's legacy, now would be a good time to ferret out those tapes and get them released. For those of you who are Mahler and/or Lenny fans, a letter to the folks at Leonard Bernstein's home on the web, and to Sony might do some good.

A celebrated performance, unmatched in Part I.......2005-10-01

This is a famous 1966 recording that followed upon a rapturously received live concert in London. I marginally prefer it over Bernstein's live DG performance with the Vienna Phil., which has marvelous playing and close-up sound but less pleasing soloists. No one udnerstood this gigantic symphony better than Bernstein, a fact that got overshadowed when Decca relased the sonically spectacular, go-for-the-throat Solti set. It became the one to have, not this one.

With time the Solti set has come to sound more and more vulgar and trumped up. The Bernstein is very natural by comparison. He understands the delicacy of Mahler's writing and is often at his best in the slow, poetic parts of the Goethe setting. His singing team, which was mostly recruited from the London opera scene, is excellent, without a single weak link, and they are encouraged to sing without straining for volume. The overall effect is often intimate, despsite the massive forces involved.

The drawbacks are real but perhaps not veyr big. The recorded sound, though clear and full, is rather distant, and the chorus, quite fine in all respects, is not up to the best, such as one hears on Abbado's live DG set. Too often I felt my attention wandering a little, which is rare in a Bernstein performance. Yet there is no doubt that Bernstein's Veni Creator Spiritus is one of his greatest, most dramatic accomplishments.

The 2-CD set is filled out with a lovely perfomance of the Kindertotenlieder by Janet Baker, nearly as fine as in her classic EMI set under Barbirolli, even with the second-rate Israel Phil. in the background.

It's either this or Solti's on Mahler's Eighth............2004-09-02

If you want to find possibly the greatest performance of one of Mahler's most spectacular (and certainly the most grand and gigantic) symphony he has ever written, you either have to buy Solti's legendary performance with the Chicago Symphony Orchestra or Bernstein's equally recognized performance with the London Symphony Orchestra.

Both has their ups and downs (even though it really depends on a person's taste of how the interpretation is laid out). Either CD would make an excellent collection for a classical music fan or simply a Mahler fan (like MEEEE!).

I couldn't agree more that, according to one reviewer, Solti's performance is technically the superb, and the most solid. All the performing groups (not to mention the more advanced recording compared to Lenny's) are incredible. The pipe organ really roars as well. The soloists, the sopranos especially, will really blow you away. In short, techniquewize, (and not to mention the low price in a single CD), Solti wins.

Emotionwize, however, Lenny wins it all. The performers are equally sensational, even though the recording is slighly dated, but this should not be something to sweat about. The tempi's much more preferable, not too straightforward and full of retardinados and changes in tempo. The "Gloria" recap in the first movement is much slower that most other recordings, putting more emphasis on emotion and extreme measures Mahler could have appreciated. While Solti's vocal groups shatter you like like a blizzard, Lenny's singers will melt your heart through such emotional depth and character. Maybe even a bit too much character, as of a female choir (as young female Angels guiding Faust in the plot) which kinda sounds as if singing a broadway musical. The finale of each movement is absolutely astounding. The "Glo-o-o-r-i-a-a-a-a-a-a!" combined by all the choir and the soloists near the very end of the first movement really gives you the chills, and could move you too. And during the much anticipated conclusion of the second movement (as Faust prepares to enter the gateway to heaven), when the choir begins to sing Alles Vergangliche (All that is fleeting...), you will definitely feel the same reaction as I did when I was listening to one of the soprano solo. How she soared her voice like an innocent, tender, Goddess, really "draws us ever upwards", a emotional experience so powerful, so pure, so lulling, so emotion-filled, make me cry warm, happy tears. (Sniff....). The fanfaric finale can be equally moving, as if you have arrived at the very presence of the all-powerful Creator, the crash of the cymbals and the roar of the tam-tam explodes like a bright beam of light.

You wouldn't be disappointed in either recording. If you want to really get into the emotions of the music, this would be the choice for you. Solti's (as well as Robert Shaw's) would make an excellent guide for music appreciation.

Excellent Performance.......2004-01-21

Four stars instead of five only because of slightly dated sound.

I've never been quite as enthralled with Bernstein's Mahler as many others seem to be.

However, when he's good, he's good. And he certainly is good in this performance.

I've been partial to the Solti recording for years because of the magnificent roster of Decca's opera singers who were recruited for the recording, as well as for the superior sound (except for the occasionally off-balance dubbed organ).

Bernstein simply gets inside Mahler here better than Solti ever could have. Solti is all external verticality, as was often his wont. Bernstein is internal linearity.

And Sony has even done a good job cleaning up what was always problematic sound. The sonics aren't "modern day" (what the heck was wrong with Columbia in those days?), but they certainly are acceptable to modern ears.

I've listened and I've been converted. I'm now a Lennie fan. That is, for this recording.

An exilarating listening experience........2000-12-12

Lenny has done it again! The brass is crystal clear and well-defined, however, not over-powering. You can hear the strings very well, also. And the LSO string players play magnificently. The signing is excellent. Even when the various soloists have to hit the super high notes, it doesn't sound like they are just screaming out the notes. Bernstein brings out the full majesty and richness of the score. There are some moments where I still always get chills up and down my spine(particularly at the end of the Part 1). The sound quality is good. Definately the richness is always there. The performance more then makes up for any zilches in the sound that there may be.

In the Kindertotenlieder, Janet Baker's signing is unmatchable. At the end of the last song, she really shines. The last sung passage is very quiet and sometimes hits some really high notes. But Baker keeps her voice steady and is never lacking in purity. She really sounds haunting at times, too. It is a truly amazing musical experience. Get this album ASAP!

Mahler: Symphonies 1-10; Das Lied von der Erde
Average customer rating:

Good -- but not great

Outstanding, yet Affordable Mahler Set

Ignore the name(s): Listen to the Music!

An exceptionally fine bargain

best overall cycle

Mahler: Symphonies 1-10; Das Lied von der Erde

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mahler - The Symphonies plus Das Lied von der Erde Boxset / Leonard Bernstein, Wiener Philharmoniker, London Symphony Orchestra, Israel Philharmonic Orchestra

ASIN: B000BQ7BX2
Release Date: 2006-01-10

Tracks:

I. Langsam, Schleppend, Wie Ein Naturlaut - Im Anfang Sehr Gemachlich - Kolner Rundfunk-Sinfonieorchester
II. Kraftig Bewegt, Doch NIcht Zu Schnell - Kolner Rundfunk-Sinfonieorchester
III. Feirlich Und Gemessen, Ohne Zu Schleppen - Kolner Rundfunk-Sinfonieorchester
IV. Sturmisch Bewegt - Kolner Rundfunk-Sinfonieorchester
I. Allegro Maestoso. Mit Durchaus Ernstem Und Feierlichem Ausdruck - Krisztina Laki

Tracks:

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

Tracks:

I. Kraftig. Entschieden - Gwendolyn Killebrew
II. Tempo Di Menuetto - Gwendolyn Killebrew
III. Comodo. Scherzando - Gwendolyn Killebrew
IV. Sehr Langsam - Gwendolyn Killebrew

Tracks:

V. Lustig IM Tempo UNd Keck Im Ausdruck - Gwendolyn Killebrew
VI. Sehr Langsam - Ruhevoll - Empfunden - Gwendolyn Killebrew
I. Bed Achtig. Nicht Eilen - Lucia Popp
II. In Gemachlicher Bewegung. Ohne Hast - Lucia Popp
III. Ruhevoll - Lucia Popp

Tracks:

IV. Sehr Behaglich - Lucia Popp
I. Trauermarsch (Im Gemessenem Schritt - Streng - Wie Ein Kondukt) - Kolner Rundfunk-Sinfonieorchester
II. Sturmisch Bewegt, Mit Grosster Vehemenz - Kolner Rundfunk-Sinfonieorchester
III. Scherzo (Kraftig, Nicht Zu Schnell) - Kolner Rundfunk-Sinfonieorchester
IV. Adagietto (Sehr Langsam) - Kolner Rundfunk-Sinfonieorchester
V. Rondo - Finale (Allegro) - Kolner Rundfunk-Sinfonieorchester

Tracks:

I. Langsam - Allegro - Kolner Rundfunk-Sinfonieorchester
II. Nachtmusik I - Kolner Rundfunk-Sinfonieorchester
III. Scherzo: Schattenhaft - Kolner Rundfunk-Sinfonieorchester
IV. Nachtmusik II. Andante Amoroso - Kolner Rundfunk-Sinfonieorchester
V. Rondo - Finale - Kolner Rundfunk-Sinfonieorchester

Tracks:

I. Allegro Energico, Ma Non Troppo - Kolner Rundfunk-Sinfonieorchester
II. Scherzo. Wuchtig - Kolner Rundfunk-Sinfonieorchester
III. Andante Moderato - Kolner Rundfunk-Sinfonieorchester

Tracks:

IV. Finale: Sostenuto - Allegro Moderato - Kolner Rundfunk-Sinfonieorchester
I. Andante Comodo - Kolner Rundfunk-Sinfonieorchester
II. Im Tempo Eines Gemachlichen Landlers - Etwas Tappisch Und Sehr Derb - Kolner Rundfunk-Sinfonieorchester

Tracks:

III. Rondo Burleske: Allegro Assai. Sehr Trotzig - Kolner Rundfunk-Sinfonieorchester
IV. Adagio: Sehr Langsam Und Noch Zuruckhaltend - Kolner Rundfunk-Sinfonieorchester
I. Adagio - Kolner Rundfunk-Sinfonieorchester

Tracks:

Veni, Creator Spiritus - Maria Venuti
Imple Superna Gratia - Maria Venuti
Infirma Nostri Corporis - Maria Venuti
Accende Lumen Sensibus - Maria Venuti
Veni, Creator Spiritus - Maria Venuti
Gloria Patri Domino - Maria Venuti
Poco Adagio: Waldung, Sie Schwankt Heran - Maria Venuti
Ewiger Wonnebrand - Maria Venuti
Wie Felsenabgrund Mir Zu Fussen - Maria Venuti
Gerettet Ist Das Edle Glied - Maria Venuti
Uns Bleibt Ein Erdenrest - Maria Venuti
Hier Ist Die Aussicht Frei - Maria Venuti
Hochste Herrscherin Der Welt - Maria Venuti
Dir, Der Unberuhrbaren - Maria Venuti
Bei Der Liebe, Die Den Fussen - Maria Venuti
Neige, Neige, Du Ohnegleiche - Maria Venuti
Blicket Suf Zum Retterblick - Maria Venuti
Alles Vergangliche - Maria Venuti

Tracks:

I. Das Trinklied Vom Jammer Der Erde - Marjana Lipovsek
II. Der Einsame Im Herbst - Marjana Lipovsek
III. Von Der Jugend - Marjana Lipovsek
IV. Von Der Schonheit - Marjana Lipovsek
V. Der Trunkene Im Fruhling - Marjana Lipovsek
VI. Der Abschied - Marjana Lipovsek

Customer Reviews:

Good -- but not great.......2007-07-07

Having listened intently to this set two times now, once with scores in hand, once without, I have to give this set less than a 5 star rating. The sound is adequate, compressed at times, muddy at others. The later symphonies fare better than 1 & 2. Conducting is fine: very straightfoward and unfussy. Plays it straight. And maybe that's a problem. The sixth in particular never really scales the heights or depths. Same story with 8. Layout is weird, but economical. My biggest beef is the orchestral execution. There are a LOT of bloopers that should have been fixed. In a live concert you can accept, even expect, some error in music this difficult. But on recordings they become very irritating. I grant that most people would never notice any, but if you have a good ear and really know this music there are some problems. The worst is an abundance of wrong notes in the 4th movement of the 7th, which otherwise is a superb version -- one of the best. Another easy to spot example occurs at the end of the 6th: why did the cellos leave the bass clarinet to fend for itself just a few bars before the end? Why didn't someone fix this?
I'm glad I heard this set, but there are better, albeit more expensive. As a complete set there isn't any that is altogether perfect, but Solti/Decca, Haitink/Philips, Kubelik/DG and deWaart/RCA come closer.

Outstanding, yet Affordable Mahler Set.......2007-06-10

If you are looking for a great Mahler set that doesn't give you the Walletdämmerung syndrome, yet you also want excellent musicians and soloists and a conductor with a most refreshing and philosophically true understanding of Mahler's music, I would recommend that you purchase this box set of Mahler symphonies with Gary Bertini. Although Gary Bertini was not a big name in the recording industry, he was deemed as a highly esteemable conductor in Europe. His Mahler offers a completely different sound from what you would hear from Bernstein, Abbado, Walter, and Klemperer, much closer to what Rafael Kubelik did with his Mahler, but Bertini offers a degree of transparency in his music that you cannot hear in any other conductor. Despite the transparency, his Mahler does not lack passion. If you want to know what I mean, you must listen to his Symphonies no. 1,2,4,5,6,7,8, and 9. These renditions are ranked with the very best Mahlerians in a very competitive field. Bertini is also supported by an ensemble of an extremely high calibre--the WDR or the Kölner Rundfunks Orchester. They play with a finesse and a grace that rivals the very best Mahler orchestras, including the Vienna Philharmonic, the Bavarian Radio Symphony, and the Concertgebouw. In terms of virtuosity and beauty, the orchestra offers some of the most glorious playing and a crystalline sound balance that you would want in a world-class German orchestra.

The soloists are all excellent too. You have Florence Quivar, Paul Frey, Lucia Popp, Julia Varady, Julia Hamari, and Alan Titus, among others. You must simply hear the alto part that Quivar sings in the Resurrection Symphony!

Included in this already sparkling box set is a Das Lied von der Erde with Marjana Lipovsek and Ben Heppner. While I will always love Klemperer, Ludwig, and Wunderlich, I think this Das Lied von der Erde comes close to being one of the very best recordings of the work. Heppner sings with his usual golden tone and security, and sings the tenor's songs with an abandon and an elan that makes his interpretation very attractive. Lipovsek sings the mezzo parts with a tragically imbued tone that improved over her recording with Solti years earlier. You must listen to what she does in the Abschied. I have never heard a more resentful and reflective understanding of this very complex movement other than Christa Ludwig, Janet Baker, and Kathleen Ferrier.

All in all, a Mahler box set that everyone should get along with Haitink, Chailly, and Kubelik.

Ignore the name(s): Listen to the Music!.......2007-05-07

Gary Bertini and the Cologne Radio Symphony? The Mahler symphonies have been recorded in toto by many of the "biggest" names in music Leonard Bernstein (three times), Solti, Kubelik, Haitink and so on with the best known orchestras in the world ---- Vienna Philharmonic, Concertgebouw, New York Philharmonic, Chicago Symphony, Berlin Philharmonic, and so on and so on. I've given away my bias by those I've chosen to list and the sequence I've put them in.
And along comes a little known conductor, now deceased, with an orchestra I would not rank with those above; and by virtue of their sheer musicianship they belong alongside all the above. Mr. Bertini's performances hew closer to Mr. Kubelik and Mr. Haitink in being moderate in both tempo and phrasing. At the same time, Mr. Bertini still beings a far greater feeling of intensity and passion than either. Mr. Bertini's performances have a sweep and a grandeur that places them on the same plane as Mr. Bernstein's performances without entirely going "over the top" as Mr. B. was inclined to do.
No: Bertini's recording of the Sixth Symphony does not take us emotionally to the depth of Mr. Bernstein's last recording (DG digital). Nor has Mr. Solti's magnificent performance of the Eighth been surpassed. But I were asked to choose one cycle to live with for the rest of my life, it would be this one.

An exceptionally fine bargain.......2007-03-26

Gary Bertini's EMI Mahler cycle is more or less contemporary with Tennstedt's Mahler cycle on the same label. But, according to the gossip, the company decided to keep Bertini in the vaults since the former and LPO where more publicly known. In my view, however, Bertini's set is clearly superior. The orchestra - Kölner Rundfunk Sinfonieorchester - is outstanding, far better than LPO, and so are most of Bertini's interpretations as well.

Considering that Bertini and the orchestra are not among the obvious "stars", it is an exceptional sleeper. In fact, Bertini was virtually unknown before this cycle made him famous, post mortem.

The cycle combines both live and studio recordings. The live ones were recorded in Japan where the audience knows how to behave. Excellent stereo sound adds to the pleasure.

But one could note that some of Bertini's tempi are among the slowest on record. The final movement of symphony no. 9 stops at 28:34, which is ten minutes more than Walter's 1939 classic. It's even a few seconds slower than Chailly's very slow account on Decca. The finale of the third is six minutes longer than Tennstedt's on EMI. But the adagietto in the fifth stops at just above 10 minutes, so Bertini is not consistently very slow when Mahler's music may invite sentimental conductors to drag. Unlike such conductors, however, Bertini has the ability to keep tension during a long breath, bringing forth interesting details in contextual balance.

Thus the performances of symphonies 1, 5, 7, 8, 9 and Das Lied von der Erde are outstanding, challenging almost every recording in the current catalogue. The remaining symphonies are also convincingly presented, in perfectly consistent performances.

However, one irritating thing with this set is that the fourth symphony is divided over two discs. That EMI decision was not necessary. The cycle could still fit on 11 CDs with a different editing. The policy for all record companies should be to avoid unnecessary splitting.

At a super-bargain price, this is of course the first choice among boxed sets, especially the contemporary ones. All the recordings in this box have something that attracts repeated listening. This is true of Gielen's outstanding cycle too (Hänssler), but it requires you to pay four times the price. Still, Kubelik (DG) remains my favourite cycle. But Bertini's is better recorded.

Warmly recommended!

best overall cycle.......2006-12-09

There's little that I could add to the testimonials that have already been written here . While none of these performances would be an absolute first choice for me, save Bertini's Mahler 8th (which IS extraordinary), all of them have an amazing consistantcy in style, sound quality, and orchestral execution. The inclusion of a really fine "Das Lied von der Erde", expertly sung by Ben Heppner and Marjana Lipovsek, makes this a clear front runner. While Bertini didn't record a complete Mahler 10th symphony (finished by Deryck Cooke and others), his M10 Adagio is outstanding - giving the feeling of completeness on to itself. In fact, other than Leonard Bernstein, I can think of no other conductor who has been so satisfying in capturing the complete emotional range of Mahler's symphonies; going from the fresh and youthful first symphony (and Bertini is truly fresh and youthful); working on up to the cosmic orgasm that is the 8th symphony (and Bertini is cosmically orgasmic here), and still making the drastic shift to the zen-like, other-worldliness of the so-called farewell trilogy: "DLvdE", 9th symphony, and 10th symphony adagio. He runs the entire gamut, Janet.

Much positive has been written about Gielen's fine Mahler cycle. But his box set doesn't include his recording of the Cooke 10th (Chailly's does!), which is really a very good 10th. It's also more expensive. In addition, getting Gielen's Mahler 6th separately also gives you a really fine performance of Alban Berg's "Three Pieces For Orchestra" - a very natural coupling for that dark work. Better to pick and choose with Gielen, I think. If you want a box, get the Bertini.

Average customer rating:

Mahler's Symphony of a Thousand: An Introduction by Jascha Horenstein
THE recording to present to.........?
The work where Mahler resurrected in Britain.
A true concert experience!
The grandest 8th of them all

Mahler: Symphony No. 8

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00000I9WX
Release Date: 1999-03-23

Tracks:

Jascha Horenstein In Conversation With Alan Blyth: Introduction: Highlights Of His Career
Jascha Horenstein In Conversation With Alan Blyth: First Encounters With Malher
Jascha Horenstein In Conversation With Alan Blyth: On Schoenberg, Berg And Webern
Jascha Horenstein In Conversation With Alan Blyth: On Bartok, Janecek, Nielsen And Furtwangler
Jascha Horenstein In Conversation With Alan Blyth: On Richard Strauss
Symphony No 8, Part 1: Veni, Crator spiritus
Symphony No 8, Part 1: Imple Superna Gratia
Symphony No 8, Part 1: In Nosrti Corpois
Symphony No 8, Part 1: Tempo I (Allegro, Etwas Hastig)
Symphony No 8, Part 1: In Nosrti Corpois
Symphony No 8, Part 1: Accende Lumen Sensibus
Symphony No 8, Part 1: Qui Paraclitus Diceeris
Symphony No 8, Part 1: Gloria Patri Domino

Tracks:

Symphony No. 8, Part 2: Poca Adagio
Symphony No. 8, Part 2: Waldung, Sie Schwank Heran
Symphony No. 8, Part 2: Ewiger Wonnebrand
Symphony No. 8, Part 2: Wie Felsenbgrund Mir Zu Fuben
Symphony No. 8, Part 2: Gerettest Ist Das Edle Glied
Symphony No. 8, Part 2: Jene Rosen, Aus Den Handen
Symphony No. 8, Part 2: Uns Bleibt Ein Erdenrest
Symphony No. 8, Part 2: Ich Spur, Soben
Symphony No. 8, Part 2: Dir Der Unberuhbaren
Symphony No. 8, Part 2: Bei Der Liebe, Die Den Schon Weiland
Symphony No. 8, Part 2: Er Uberwachst uns shcon
Symphony No. 8, Part 2: Blicket Auf, Alle Reuig Zarten
Symphony No. 8, Part 2: Alles Vergangliche

Amazon.com

The BBC finally opened its archives and has since been pouring forth generously with gems once only rumored to exist. This performance of Mahler's monumental Eighth Symphony was taped live in London's Royal Albert Hall on March 20th, 1959, and marked only the fourth time it had been performed in London and the first time the great Mahlerian Jascha Horenstein had conducted it. It so stunned the packed hall--nearly 6,000 people attended--that it could be seen as the start of the Mahler revival in England; previously the critic for The Times had written, "We don't want Mahler here." Performed after much rehearsal, but never with all the disparate elements at the same time, this set leaves almost all the other recorded versions in the dust. In excellent mono sound, beautifully remastered, we hear things we never get in Mahler--I won't pick and choose, but suffice it to say that while almost all of this symphony tends to be effective, not all of it always sounds beautiful; Horenstein and the London Symphony, various soloists, and choruses play it not to stun (as more recent conductors do) but to introduce it. I've heard this work dozens of times, a couple of them live, and this set is the most effective presentation of this complex work I've encountered. --Robert Levine

Customer Reviews:

Mahler's Symphony of a Thousand: An Introduction by Jascha Horenstein.......2006-03-19

For those who love Mahler and have fallen under the spell of his many great works, this re-mastered release from BBC of the historically important 1959 live performance of the Mahler Symphony No. 8 as conducted by Jascha Horenstein with the London Symphony Orchestra will come as a revelation. The complexities of the 'Symphony of a Thousand' have perplexed many a great conductor and even though there are increasing numbers of avialable recordings of this mighty work, there really isn't a 'perfect' reading. Horenstein, conducting the work for the first time on this recording (!), intuitively knew how to make it make sense musically without depriving the work of its many moments of at times disjointed mystery and exaltation.

Horenstein is joined by the BBC Choral Society, BBC Symphony Chorus, the Goldsmith's Choral Union, the Orpington Junior Singers along with the many soloists including Alfred Orda, Arnold van Mill, Kerstin Meyer, Helen Watts, Joyce Barker and Agnes Giebel. From the opening 'Veni Creator Spiritus' to the closing rapture of the Goethe scene, this is a performance that is simply staggeringly dramatic and beautiful.

The recorded sound though only in mono is so fine that it stands well in the technical arena of today's science. Horenstein's Mahler No. 8 must be heard to fully appreciate this great work. It is a revelation, a performance that makes the work seem to last far less than the hour plus it occupies on paper and in the halls. Words fail, except to encourage purchasing this wondrous recording. Highly Recommended. Grady Harp, March 06

THE recording to present to.........?.......2005-04-06

Now, do not buy one copy of this disc. Buy several and with no hesitation give it away to someone you like. Is that not the message heard in this music? Can anyone misunderstand it? Surely no. Remembering the recordings I got in my childhood, none of them went misunderstood. This is a pot of gold.

The work where Mahler resurrected in Britain........2004-03-11

Jascha Horenstein, in my humble opinion, is the greatest Mahlerian ever. Other contenders; Leonard Bernstein's Mahler has the schizophrenic, vulgar and over-the-top qualities that are outstanding, but outshined by too much of neuroses and self-indulgence. Bruno Walter is tender, lyrical, but lacked a bit of edge and Klemperer is a grumpy Mahlerian; my least favourite. Both "protege" of Mahler performed only a certain number of Mahler symphonies in their lifetime and dismissed the others ala carte - Mahler's glorious Symphony no 8 being the most glaring. Coming close is newcomer Benjamin Zander, whom I heard in a lecture that this maestro is a likely inspiration, but his attention to detail and score markings sometime leaves a performance of his akin to "text-book" music. Maestro Horenstein combines the analytical observation with soul and heart, as the late maestro Barbirolli put it "feel his music in your bones". Barbirolli certainly comes close to Horenstein as best Mahler conductors ever, but Horenstein has the edge that Barbirolli lacked. And it comes to no surprise a reviewer quoted Horenstein's Das Lied as a Mahler that Furtwangler would conduct.

You see, why I regard Horenstein as the greatest Mahlerian ever is that if the great Furtwangler ever conduct Mahler in an alternate world, this is how Horenstein's Mahler sound. His Mahler Eighth is the most powerful Mahler I've ever heard. Instead of all out bombast like Solti, as other reviewers note -he shapes up the music and pushes the drama gradually while maintaining the momentum. The codas of "Veni Creator Spiritus" and Faust's final scene is overwelming, while you listen to Solti's - they wither out. I think it is perfect to what Mahler described as the sound of the whole universe resounding.

As other great live performances, Horenstein's great Mahler Eighth is without glaring distractions and flaws. The whole London audience must've caught some bloody epidemic, and coughs are recurrent throughout the whole performance. The London Symphony isn't as powerful as the present, and the brasses couldn't hit some high notes. Since there was 700+ contingent of choir and orchestra, a miss of cue will result in massive "tanglement" - choir members and soloists struggling to get back to the bars. I have to admit Part I was a little messy, and thank God by part II, everyone was on the gear. But these performances of enthusiatic but imperfect individuals are more treasured tham limb, lifeless unenthusiatic performances by so-called professional, "perfect" ensambles.

I recommend a good stereo system or the best that you have, and neighbours willing to bear your noise. Then, let Horenstein's Mahler Eighth resound. It will change the way you perceive music, and everyone around you.

A true concert experience!.......2004-02-27

I don't want to rain on the parade but there is a major drawback of this recording which should be pointed out to would be buyers. While this is an extremely healthy performance of Mahler 8, the audience is certainly very sick! I assume this performance was held at the height of flu season. Part two in particular is accompanied by some extremely phlegmy coughs! I love this version but every time I listed to it I feel the need for a good walk in fresh air to assure myself I haven't picked up a bug.

The grandest 8th of them all.......2003-03-26

Horenstein's live interpretation of Mahler's 8th stands apart from any other Mahler's 8th I have heard. I have heard this work twice in live concerts -- once by the San Francisco Symphony Orchestra and once by the Boston Symphony Orchestra. I also have many different CD recordings of it. While I have been impressed by Solti's interpretation and others as well, they all pale by comparison to Horenstein's, which is simply overwhelming in its scope and grandeur. If I were able to roll the clock back and hear just two live concerts of this symphony, the first would be the premier conducted by Mahler himself in Munich in 1910, and the second would be this performance conducted by Horenstein in London in 1959, which I'm sure played a big part in the Mahler advent in England. The cheering at the end of the performance only begins to tell of what a deeply profound musical experience this must have been. An absolute must for all Mahler fans. If I could, I would give this 10 stars.

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