Mahler: Symphony No.4; Lieder eines fahrenden Gesellen

Editorial Reviews
Amazon.com
This disc combines two remastered classic Mahler recordings--Szell's Cleveland account of the fourth symphony from 1965, and Davis's reading of the Lieder eines fahrenden Gesellen from 1978--and the pairing is inspired. The Cleveland Orchestra has always had a reputation for phenomenal accuracy and brilliance, and Szell harnesses these qualities to give an almost supernaturally clear account of Mahler's score. Details of lower-string phrasing, thrown-away woodwind chirrups, and muted trumpets supporting a melody are given just the right amount of emphasis to make the surface texture sparkle with life. But, more important, Szell also captures the overall mood of ironic playfulness, while heeding Mahler's own direction with regard to the childlike last movement--"without parody." There is a minor jolt between the symphony and the Lieder--not just in the recording levels, but in suddenly entering Davis's much more impressionistic approach to Mahler. But once adjustment has been made, the rewards are great. He focuses everything on Stade's glorious voice and less on the details of orchestration, which makes for a sympathetic, flexible accompaniment and a moving performance of great pathos. --Warwick Thompson

Mahler: Symphony No.4; Lieder eines fahrenden Gesellen, Music, Gustav Mahler, Cleveland Orchestra, George Szell, Judith Raskin, London Philharmonic Orchestra, Andrew Davis, Frederica Von Stade, Classical, Classical Composers, Classical Music, Romantic Symphony, Song Cycle for Solo Voice with Piano or Orchestra, Symphonic, Vocal

Mahler: Symphony No.4; Lieder eines fahrenden Gesellen
Average customer rating:

Ohne Hast

Another Glowing Star of a Recording of Mahler

Don't forget the lieder!

Simply a beautiful Number 4

The best 4th available today.....

Mahler: Symphony No.4; Lieder eines fahrenden Gesellen
Gustav Mahler , Cleveland Orchestra , George Szell , Judith Raskin , London Philharmonic Orchestra , Andrew Davis , and Frederica Von Stade
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 9

ASIN: B0000027AJ
Release Date: 1991-08-19

Tracks:

Symphony No. 4 In G Major: 1. Bedtig. Nicht eilen.
Symphony No. 4 In G Major: 2. In gemlicher Bewungen. Ohne Hast.
Symphony No. 4 In G Major: 3. Ruhevoll.
Symphony No. 4 In G Major: 4. Sehr behaglich.
Songs Of A Wayfarer (Lieder eines fahrenden Gesellen): Wenn mein Schatz Hochzeit macht
Songs Of A Wayfarer (Lieder eines fahrenden Gesellen): Ging heut morgen Feld
Songs Of A Wayfarer (Lieder eines fahrenden Gesellen): Ich hab ein glMesser
Songs Of A Wayfarer (Lieder eines fahrenden Gesellen): Die zwei blauen Augen von meinem Schatz

Amazon.com

This disc combines two remastered classic Mahler recordings--Szell's Cleveland account of the fourth symphony from 1965, and Davis's reading of the Lieder eines fahrenden Gesellen from 1978--and the pairing is inspired. The Cleveland Orchestra has always had a reputation for phenomenal accuracy and brilliance, and Szell harnesses these qualities to give an almost supernaturally clear account of Mahler's score. Details of lower-string phrasing, thrown-away woodwind chirrups, and muted trumpets supporting a melody are given just the right amount of emphasis to make the surface texture sparkle with life. But, more important, Szell also captures the overall mood of ironic playfulness, while heeding Mahler's own direction with regard to the childlike last movement--"without parody." There is a minor jolt between the symphony and the Lieder--not just in the recording levels, but in suddenly entering Davis's much more impressionistic approach to Mahler. But once adjustment has been made, the rewards are great. He focuses everything on Stade's glorious voice and less on the details of orchestration, which makes for a sympathetic, flexible accompaniment and a moving performance of great pathos. --Warwick Thompson

Customer Reviews:

Ohne Hast.......2006-12-17

Mahler's fourth symphony is perhaps most memorable for its unsettlingly gorgeous second movement,entitled 'In gemächlicher Bewegung. Ohne Hast.'

No modern conductor's name is more easily associated with the great romantic composer than George Szell. This 1965 recording shows the Cleveland Orchestra stepping superbly through Mahler's score, allowing that second movement all the time it requires to develop its inexorable and unhurried momentum in true Mahleresque style.

It doesn't end there, of course. Throughout the Fourth Symphony and the Lieder, Szell and his musicians are acutely on task, able to brood intelligently in a way that Mahler--the late Romantic definitive Über-Brooder--would have approved. Many critics refer to this recording as among the two or three definitive readings of the works it covers, all of which accrues to the merit of the Sony Classical project and its sound engineers.

Another Glowing Star of a Recording of Mahler.......2005-11-01

This CD is an interesting pairing of performances - different orchestras, different conductors, different soloists. The one very important constant is the quality of the performances of these two Mahler works.

George Szell and the Cleveland Orchestra preserved a performance of Mahler's light-filled Symphony No. 4 that still is a difficult interpretation to match. The reading is light, airy, delicate and absolutely gorgeous in sound. Szell finds exactly the right tempi for each movement, even for the last movement that most conductors rush. And Judith Raskin's 'Das himmlische Leben' is the epitome of innocence of a child's vision of the heavenly life.

For this listener the true jewel of the recording is Frederica Von Stade's performance of the 'Lieder eines fahrenden Gesellen' with the fine collaboration of Andrew Davis and the London Philharmonic Orchestra. It is a matter of taste as to whether the mezzo or the baritone version is preferred, but with this illuminating interpretation by Von Stade the scales tip toward the mezzo soprano sound. Hers is a rich, glowing tone with impeccable enunciation of text. Both of these performances rank among the finest available on recordings. Highly Recommended. Grady Harp, October 05

Don't forget the lieder!.......2005-01-11

Contrary to almost all the other reviewers who seem to have bought this disc for the 4th Symphony, I actually bought it for the Lieder Eines Fahrenden Gesellen. Frederica von Stade is one of my favorite singers period, and her work in these songs is outstanding. These songs are glorious, emotional, and a highly personal Mahlerian testament. Von Stade infuses them with the emotional force they demand, and carries you with her. Wonderful songs, wonderful singing.

Simply a beautiful Number 4.......2004-05-26

Once again we have Szell and Cleveland at the height of their powers digging into what for them would be a rare performance of the Mahler repetoire. The opening movement as a fine sense of "gemutlekeit" and a balance of textures which is definitely PERFECT. Rarely has any orchestra been so ably caught sonically and we are in for a real treat. As a counter measure the Kubelik is very similar in the way the music is allowed to flow as well. I really reccommend this disc simply becuase of the impeccable phrasing and well nigh perfect intonation in the different choirs.

As to the vocal solist Raskin does a commendable job and has some of the boyish quality really needed! She was tremdously good and one wonders where she is these days! This is a superb disc for the people out there who want a non fussy interpretation which really sticks close to the score.

Keep your Klemperer discs as well...Szell and Kemperer were much more alike than one would wish to think!

The best 4th available today............2002-06-09

Szell was a great conductor ranging from Mozart to Mahler always giving great interpretations. His 4th is a grammophone classic and is highly acclaimed by each and every critique written on it.
The 4th is the "mellower" of all Mahler's symphonies and with Szell on the pontium you can feel it. Raskin is an excellent soprano for the Sehr Behaglich although for this part I would still go with Schwarzkopf's account (Emi Classics with Otto Klemperer). This CD is not only giving the best account of the Fourth but also an excellent account of the Lieder eines fahrenden Gesellen with Frederica Von Stade and Andrew Davis. The least I can say for it, is that it can easily stand with the very best accounts available today though it can not match the Fischer-Dieskau account with Furtwangler on Orfeo.

Mahler: Symphony No. 4; Songs of a Wayfarer

Average customer rating:

Mahler's kaleidoscopic vision
Autumnal style Mahler beautifully played, superb recording
Just Right.
Unforgettable Mahler!
One of the best.

Mahler: Symphony No. 4; Songs of a Wayfarer

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 2 in C Minor "Resurrection" / Symphony No. 10 in F sharp minor (incomplete) (2 CD Set)
Mahler: Symphony No.6
Mahler: Symphony No. 7 / Song of the Night
Mahler: Das Lied von der Erde
Mahler: Symphony 7 In E Minor

ASIN: B00000JCIP
Release Date: 1999-06-22

Tracks:

I. Bedachtig. Nicht Eilen
II. In Gemachlicher Bewegung. Ohne hast
III. Ruhevoll
IV. Sehr Behaglich
I. 'Wenn Mein Schatz Hochzeit Macht'
II. 'Ging Heut' Morgen Uber's Feld'
III. 'Ich Hab' Ein Gluhend Messer'
IV. 'Die Zwei Blauen Augen Von Meinem Schatz'

Customer Reviews:

Mahler's kaleidoscopic vision.......2007-03-26

This is maybe the most beautifully played and recorded (at least in this stereo CD format) Mahler 4 I have ever heard. From the high to low strings, through all of the woodwinds and brass, every instrumental voice and timbre registers as clear as can be, and within a wonderfully natural, nicely blended sound picture. In this recording, Mahler's Fourth Symphony really comes out as the stunning kaleidoscopic vision that it is.
But besides beauty of playing (compare for example Symphony 2 in C Minor: Resurrection, but I think this Fourth is an even greater achievement), the playing is replete with character, and the music has real power when needed, and a real 'spring in its step' from beginning to end. Part II In gemachlicher Bewegung is full of wonderful spine-tingling moments, also (and especially) because the balances between the instruments are so wonderfully clear. The Part III Ruhevoll ('tranquil') is buoyantly and freshly played, full of peaceful anticipation - not as 'mysterious' as some other recordings - and the 'frolicking' parts looking forward to the final song are full of youthful energy, just like the final song of Part IV, sehr behaglich. In the final song, Frederica von stade is recorded rather forwardly, and one has to like this, but I personally do, so I don't mind, especially when one can fully revel in the beauty of her wonderful timbre and characterization. The Lieder eines fahrenden Gesellen are a wonderful 'bonus', and reason alone to buy this album, maybe, even if this performance does IMHO not surpass her excellent 1978 recording with Andrew Davis (Mahler: Symphony No.4; Lieder eines fahrenden Gesellen).
This Mahler 4 can stand with the very best, IMHO. Completely beguiling from beginning to end. Highly recommended.

Autumnal style Mahler beautifully played, superb recording.......2006-11-25

Most Mahler collectors and enthusiasts have at least a few recordings of each symphony and most likely several of their very favorite Mahler symphony. This recording, so beautiful, clear, so lacking in digital harshness, such detail and dynamic range emerge - that it can fit into any Mahler collection. The ASO give suave, well defined tone, that allows us to hear the full score. While Levi conducts without a neurotic Bernstein character, nor the frenetic "greased pig" style of Karajan, this is world class playing beautifully captured. Tempi are just right. Comparatively, I would opine that this is Levis' best Mahler effort. Von Stade sings beautifully and the Wayfarer songs are most welcome.

Just Right........2002-03-30

This is a great example of a Mahler symphony for those who don't like Mahler. It is brisk, bright and absolutely beautiful. This is a great fall/winter chill-in-the-air-type piece. The scope is scenic and sweeping rather like Sibelius but is given over to an intimate orchestration as deftly masterful as Strauss. If Eine Alpensinfonie describes the physical determination and deserved accomplishment of climbing a formidible mountain, then surely Mahler's fourth could be music for taking the ski-lift. The object is not conquering the majesty of nature, but just to relax and observe its innate beauty. The tunes are grand and escalate with such joy that it is easy to forget you are not listening to a tone poem. Frederica Von Stade lends her flawless voice to both the symphony and the similarly timbred companion piece, Songs of a Wayfarer. She is icing on an already well-frosted cake. The sound quality of this recording is terrific and the blend with Frederica is impeccable. This is a rare recording of great beauty guaranteed to lift your spirits.

Unforgettable Mahler!.......2000-08-19

The first Mahler that I ever heard was the Szell/Cleveland Orchestra 4th with Judith Raskin on Columbia back in the mid-60's. Though I have not heard that recording in more than 30 years, I've never forgotton the magical, lyrical sound that Szell produced on that LP. But Levi's recording of the 4th is equal to or greater that Szell's version. Levi's recording is almost flawless. I also liked the inclusion of the Wayfarer songs at the end. They are thematically connected with this symphony, and share the same youthful perspective. If you can buy only one recording of Mahler's 4th, let it be this one.

One of the best........2000-02-19

Yoel Levi has a true artistic achievement here. His other Mahler was a mixed bag; the fifth was fairly dull, the sixth was missing the exposition repeat, and the seventh was inconsistent. This, however, is altogether wonderful. Never have I heard the balanced sound, beautiful solos, and coherency of interpretation found in this recording. This version certainly equals and possibly excels both Bernstein's and Kubelik's. I have yet to hear Rattle's version, but it doesn't get much better than this, folks.

Mahler: Sinopoli - The Complete Recordings

Average customer rating:

A cycle flawed by poor sonics and erratic playing
transcendent momentum
The 8th is Stupendous
There are Better Mahler Cycles

Mahler: Sinopoli - The Complete Recordings
Gustav Mahler , Philharmonia Orchestra , and Giuseppe Sinopoli
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD]

ASIN: B00005ONMO
Release Date: 2002-05-14

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

A must for Bruno Walter fans!
Essential recordings
Over-priced, under-powered, and incomplete
Great Presentation for Great Performances

Famous Mahler & Bruckner Symphonies

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mahler: Das Lied von der Erde
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ASIN: B0002CHK9A
Release Date: 2004-06-29

Tracks:

I. Langsam. Schleppend. Wie Ein Naturlaut. Im Anfang Sehr Gemachlich
II. Kraftig Bewegt, Doch Nicht Zu Schnell
III. Feierlich Und Gemessen, Ohne Zu Schleppen
IV. Sturmisch Bewegt - Energisch

Tracks:

I. Allegro Maestoso - Westminster Choir
II. Andante Moderato - Westminster Choir
III. (Scherzo). In Ruhig Fliessender Bewegung - Westminster Choir
IV. 'Urlicht.' Sehr Feierlich, Aber Schlicht - Westminster Choir
V. In Tempo Des Scherzos. Wild Herausfahrend - Westminster Choir

Tracks:

I. Bedachtig. Nicht Eilen - Desi Halban
II. In Gemachlicher Bewegung. Ohne Hast - Desi Halban
III. Ruhevoll - Desi Halban
IV. Sehr Behaglich - Desi Halban

Tracks:

I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt
II. Sturmisch Bewegt. Mit Grosster Vehemenz
III. Scherzo. Kraftig, Nicht Zu Schnell
IV. Adagietto. Sehr Langsam
V. Rondo-Finale. Allegro

Tracks:

Errinerung
Scheiden Und Meiden
Nicht Wiedersehen!
Ich Ging Mit Lust Durch Einen Grunen Wald
Ablosung Im Sommer
Hans Und Grethe
Starke Einbildungskraft
Starke Einbildungskraft
Wenn Mein Schatz Hochzeit Macht - Mildred Miller
Ging Heut Morgen Ubers Feld - Mildred Miller
Ich Hab Ein Gluhend Messer - Mildred Miller
Die Zwei Blauen Augen Von Meinem Schatz - Mildred Miller

Tracks:

I. Andante Comodo
II. In Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb
III. Rondo-Burleske. Allegro Assai. Sehr Trotzig

Tracks:

IV. Adagio. Sehr Langsam Und Noch Zuruckhaltend
A Working Portrait
A Talking Portrait

Tracks:

I. Das Trinklied Vom Jammer Der Erde. Allegro Pesante - Ernst Haefliger
II. Der Einsame In Herbst. Etwas Schleichend. Ermudet - Ernst Haefliger
III. Von Der Jugend. Behaglich Heiter - Ernst Haefliger
IV. Von Der Schonheit. Comodo. Dolcissimo - Ernst Haefliger
V. Der Trunkene Im Fruhling. Allegro - Ernst Haefliger
VI. Der Abschied. Schwer - Ernst Haefliger

Tracks:

I. Bewegt, Nicht Zu Schnell
II. Andante Quasi Allegretto
III. Scherzo. Bewegt - Trio. Nicht Zu Schnell. Keinesfalls Schleppend - Scherzo
IV. Finale. Bewegt, Doch Nicht Zu Schnell

Tracks:

Overture & Bacchanale (Venusburg Music) - The Occidental College Concert Choir
Prelude To Act I
Overture
Prelude To Act I
Good Friday Music (Karfreitagszauber)

Tracks:

I. Allegro Moderato
II. Adagio. Sehr Feierlich Und Sehr Langsam
III. Scherzo. Sehr Schnell
IV. Finale. Bewegt, Doch Nicht Schnell

Tracks:

Overture To Act I
Siegfried
Bruno Walter Rehearses The Siegfried

Tracks:

I. Feierlich, Misterioso
II. Scherzo: Bewegt, Lebhaft - Trio. Schnell
III. Adagio. Langsam, Feierlich
I. Te Deum. Allegro Moderato
II. Te Ergo. Moderato
III. Aeterna Fac. Allegro. Moderato. Feierlich, Mit Kraft
IV. Salvum Fac. Moderato
Per Singulos Dies Benedicimus Te. Allegro Moderato
V. In Te, Domine, Speravi. MaBig Bewegt
In Te, Domine, Speravi. Fuge. Im Gleichen GemaBigten Tempo - Alla Breve

Customer Reviews:

A must for Bruno Walter fans!.......2007-06-30

Sony's "Original jacket edition" of Bruno Walter's recordings of Mahler, Bruckner and Wagner is a must for his fans. Walter (1876-1962) recorded many works in stereo for Columbia records in the 1957-61 time frame, some of which are included here: Mahler Symphonies 1, 2, 9; Bruckner Symphonies 4, 7, 9; Mahler's song cycle "Das lied von der erde" ; and Wagner Overtures and Preludes, Siegfried Idyll, and rehearsal of Siegfried Idyll. Walter conducts the New York Philharmonic in Mahler 2, Das Lied...; and the Columbia Symphony (Los Angeles, California) in Mahler 1 and 9; the Bruckner items and Wagner Overtures and preludes. Also included in this collection are Walter's earlier New York Philharmonic (mono) recordings of Mahler's Symphony 4 (1945) and Symphony 5 (1947) + lieder with Desi Halban, accompanied by Walter at the piano.
This is the only current release of Walter's Wagner Overtures and Preludes, which sound terrific: I bought this for those items alone.

Walter studied with Gustav Mahler (1860-1911) and knew him well from 1894 until Mahler's untimely death in 1911. Walter was age 18-35 at the time, and though not considered the only authoritative voice of interpretation of Mahler's orchestral works by everyone, he knew the Mahler personally, which says ALOT to me!

Sound in all the stereo recordings is excellent, and very good in the mono
Mahler 4 and 5. Walter's sense of line and climax are un-erring, and I always feel great after listening to these recordings. They have a "This is the way it should be" feel about them.

The CD jackets are mini reproductions of the original LP covers, and add a nice feel to the collection. There is ALOT of music here for the money, even if buying this means duplicating some of Walter's recordings from his earlier Odyssey and Bruno Walter Edition (Sony Classical) releases. Highly recommended.

Essential recordings.......2007-03-11

This somewhat over-priced but essential box contains a collection of Bruno Walter's Columbia recordings of Gustav Mahler's symphonies, nos. 1 (stereo), 2 (stereo), 4 (mono), 5 (mono), 9 (stereo), and Das Lied von der Erde (stereo). In addtion, we find a sample of Walter's Mahler symphony 9 rehearsal, a short Walter-Michaelis discussion on Mahler, and a selection of Mahler's Lieder und Gesänge aus der Jugendzeit (mono) with Walter at the piano, next to Desi Halban.

It collects also Walter's recordings of some of the Bruckner symphonies, nos. 4, 7, 9, and the Te Deum (all in stereo).

Finally, there are also some of Walter's recordings of Wagner music included - some overtures and introductions, the Good Friday Music from Parsifal, and a wonderful Siegfried Idyll (all in stereo).

All this stuff has already been available in separate sets, but some of them are out of print.

There is a much cheaper way to get the Mahler recordings: they have, with the exception of Das Lied von der Erde, been released in a bargain "Columbia Legends" box ($37.99). But the Das Lied von der Erde - the present box include the excellent Columbia stereo version with Haefliger and Miller - is out of print in the US and Europe. It is, however, available in Japan for 1.895 yen, so check amazon.jp if you look for that recording only.

Perhaps not a must for every serious collector, then, considering the high price. But all the recordings are essential, and the use of the original LP-covers is attractive (I have always considered the plastic CD-cases as a complete mistake: they take too much shelf space), even if the box that collects them is one half inch too thick. You get Walter's groundbreaking mono recordings of Mahler's fourth and fifth, in fine transfers and original covers, coupled with his excellent stereo recordings from the early sixties, all of which still must be seen as reference recordings. This holds for the Bruckner recordings as well. This box is presently the easiest and shelf-space saving way to get them all. So I recommend buying it used, at a more reasonable price.

Over-priced, under-powered, and incomplete.......2005-11-26

Sony Music USA must be dedicated to the notion that in a crisis -- and classical CD sales are in a crisis, as their numbers (and the available retail outlets in which to sell them) spiral downward -- one shouldn't just stand there, but DO something. In this instance, with The Original Jackets Collection: Bruno Walter/Famous Mahler and Bruckner Symphonies, they've tried to do something, sort of. But as is usually the case with Sony Music in America, they've done it half-assed. The whole "original jackets" concept seems to be an effort to emulate what several Japanese labels have done with considerable success, reselling long-established classic recordings by artists ranging from Erroll Garner to Elvis Presley in miniature LP sleeve packaging, usually with state-of-the-art digital sound (20 bit/K2 and 24-bit mastering are the twin standards in Japan); Sony-Japan has done it with considerable success on artists such as Miles Davis and Al Kooper. So the US "original jackets" series was co-opting a Japanese success, but not really -- the series is totally inconsistent when it comes to upgrading sound, which is a major part of the allure of the Japanese mini-LPs; the Szell Beethoven entry was upgraded from the previously existing CD issues in the US, for example, but the Bernstein entry uses the same masters that one can get on the existing US CDs; and the same goes for the Walter set. To top it off, Sony-Japan includes a mini-inner sleeve to protect its discs with each mini-LP, whereas Sony's US division apparently likes the idea of discs rolling out of the double-LP mini-jackets and otherwise getting scratched and damaged -- but they still charge a premium price per disc on these releases.
And the Walter box, in addition to simply re-packaging the same masters that have been available for a lot less money since 1996, isn't even complete when it comes to the conductor's Mahler recordings for the label -- where is his 1955 mono Mahler Symphony No. 1 with the New York Philharmonic? There are other mono and stereo recordings in here with the Philharmonic as well as the Columbia Symphony Orchestra, and a perfectly good master of the "missing" performance exists, as it was used in the Masterworks Heritage CD release (which also used the mini-LP concept, a little differently) about eight years ago. Additionally, at least one of the performances here, of the Bruckner 9th, has been upgraded in a separate release, using Sony's DSD technology -- why not at least include that, and why not upgrade the entire body of music, if they expect us to buy it anew? That's how it's done in Japan, whence this whole idea originated. In fact, since Sony is bent on trying to sell Super-Audio CD technology, why not bump these up to that technology as hybrid discs? The answer is that they did it on the cheap. It's a handsome looking box, to be sure, and some of the old cover art was worth reviving (and others, such as for the Mahler 5th, much less so), but it's not worth the $150 list price by a long shot, which was why this listener traded for a used copy.

Great Presentation for Great Performances.......2004-08-10

First off, avid collectors may already have many of these Bruno Walter recordings in their possession so take note of what you have and see if you want to duplicate your collection....I for one had no problem doing so because I felt that the early Sony transfers of many of these great performances were not up to par as the sound quality is greatly improved in these performances to make it a worthwhile investment for me....mind you, these recordings are mono and early stereo, so we are not talking about high fidelity here, but the older performances are not hampered by the sound quality... Bruno Walter, who knew Gustav Mahler personally, provides some of the finest accounts of Mahler's symphonies...Walter concentrated his conducting on the symphonies presented here, as he was not one to perform the 3rd, 6th, 7th and 8th, frequently, if at all...but what you are getting will demonstrate the clean lines, and sensible tempi that many later day conductors ignored...Das Lied Von Der Erde is an excellent account, and it is a treat to have Walter as an accompianist at the piano for a selction of Mahler' songs....Walter's granatic Bruckner is also included and it was a clever move by the producers of this set to include the Te Deum on the same disc as the Symphony #9... Bruckner was never able to complete the fourth movement of his 9th Symphony and so he had authorized the use of his Te Deum to serve as a final movement to the work...Now most people will agree that the 3 movement unfinished symphony is excellent in it's own right, and there was really no need to go beyond the fantastic and heavenly Adagio that closes the work, but having the Te Deum follow, allows you to experience what Bruckner consented to as an alternative...hey, you can always exclude the track if you so desire....the addition of the Te Deum to this collection shows that record producers do listen to criticism....when the first releases of the ORIGINAL JACKET series came out, they adhered to the concept to the letter, which resulted in most of the CD's being very short in playing time..this was roundly booed by some circles who felt that the editions were too expensive, for reissues, to begin with, and the short playing times made the matter worse...afterall, an LP can only hold about an hour of music, so the duplicate CD's were lacking at least 25-30 minutes of music...this reissue of Bruno Walter's Mahler and Bruckner recordings therefore provides a number of bonus tracks of Richard Wagner's music, including a 45 minute rehearsal of Bruno Walter performing the Siegfried Idyll (he speaks in English)....Of course the Original LP Jackets are great to see again and re-reading the liner notes (though not easy with the small print) was informative....one forgets how a single symphony could take 2 lps to house when we are so used to having everything on 1 cd... A note of caution!...the CD's stored in the 2 album sets are very loosely held within the cardboard case..if you are not careful, the cd's can roll out of the album case and find themselves landing in the kitty litter, boiling soup, or toilet, so keep this in mind when you handle the albums... So, should you buy this set?...If you have these performances in your collection then the obvious answer is no, unless you are like me, someone who likes to renew the packaging and sound quality of what I have, and sell off any dupes...If you are new to the Walter experience regarding Mahler, Bruckner, and Wagner, and you are not concerned about the price, then by all means you will not be disappointed by this set, as it will sit comfortably, as an alternate, next to the ultra passionate Bernstein's Mahler and other worldly experience of Giulini's Bruckner....if you are concerned about the price, you can avoid what some may call the "bells and whistles" of an overpriced set, and seek out these same performances separately for less money....Recommended as a specialty item but higly recommended none the less!

Jascha Horenstein conducts Strauss, Wagner, Mahler, Schönberg

Average customer rating:

Great with a Big Problem

Jascha Horenstein conducts Strauss, Wagner, Mahler, Schönberg

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

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

ASIN: B000001K5U
Release Date: 1996-10-22

Tracks:

Till Eulenspiegel's Merry Pranks, Op. 28
Don Juan, Op. 20
Tod und Verklarung (Death and Transfiguration), Op. 24
Lohengrin (Prelude to Act I)
Lieder eines Fahrenden Gesellen (Songs of a Wayfarer): Wenn mein Schatz Hochzeit macht
Lieder eines Fahrenden Gesellen (Songs of a Wayfarer): Ging heut' morgens ubers Feld
Lieder eines Fahrenden Gesellen (Songs of a Wayfarer): Ich hab' ein gluhend Messer
Lieder eines Fahrenden Gesellen (Songs of a Wayfarer): Die zwei blauen Augen

Tracks:

Tristan und Isolde (Prelude & Liebestod) - Richard Wagner
Verkle Nacht (Transfigured Night), Op. 4 - Jascha Horenstein
Kammersymphonie (Chamber Symphony) in E-Flat, Op. 9 - Jascha Horenstein

Customer Reviews:

Great with a Big Problem.......2006-01-03

It's swell that Vox, or whatever they are now, if they even still exist, released a small mountain of Horenstein recordings from its archives, vaults, whatever. Actually, in some instances, and a notable one here, I'd say they stored the masters in a barn perhaps, a barn with a leaky roof. We'll get to that.

Any Horenstein performance, even with second-string orchestras, always has something special about it. Honestly, I've never figured out what it is although it seems like he just consistently brings extra goodies out of the music. I'd guess that he saw a complex and thoughtful score with greater clarity and understanding than most; it's not surprising his Mahler, Brahms, Janacek, and so on are highly regarded. The Rite of Spring he recorded for Vox is one of the all-time great ones, perhaps the most atmospheric of them all. The same might be said of the Death and Transfiguration on this set. This set contains fantastic interpretations of works of the three featured composers. Recommended, but not as first choices, maybe not even as fifth ones...

Vox's sound, in the early days, always seemed marginal (a gentlemanly way of saying it sucked). These recordings, sonically, reflect that. I don't think tons of time was spent (or wasted) trying to liven up initially deficient recordings (although any improvement would have been welcome!). Most of the set is sort of OK to marginally OK in this regard but, sadly, the Schoenberg Chamber Symphony is almost unlistenable. It almost sounds like a radio broadcast sound-check. Pity, because any early Schoenberg recordings are a treasure and this one seems exceptionally good. There's a Brahms First and Beethoven Third in this set of releases that also have the same horrid gritty sound--it's like hearing an old LP played on a turntable with a damaged stylus, and through a cheap system to boot. This assessment from a guy who can generally handle old and funky-sounding recordings with aplomb. Honestly, I'd love to know why one recording company could do something magnificent in 1935 and another couldn't manage a decent-sounding recording in 1959. This is entirely aside from issues of how the masters were stored or maintained.

So, for the treasure-hunter looking for exceptional performances, recommended with the usual and familiar warnings. All others may want to steer clear.

Average customer rating:

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

Gustav Mahler: Orchestral Songs

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

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

ASIN: B0000041EH
Release Date: 1996-04-09

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mahler I: Complete Recordings on Deutsche Grammophon

Average customer rating:

The First Third Of Bernstein's Deutsche Grammophon Mahler Recordings
The opening third of Bernstein's second Mahler cycle, with some great performances
Mahler. Bernstein. A Match Made in Heaven and Hell

Mahler I: Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Beethoven: Piano Sonatas (Complete) [Box Set]

ASIN: B000ASAEMG
Release Date: 2005-11-08

Customer Reviews:

The First Third Of Bernstein's Deutsche Grammophon Mahler Recordings.......2007-06-22

Artistically, Leonard Bernstein's Deutsche Grammophon Mahler Symphony cycle (One which he did not live to record, so Deutsche Grammophon included a 1970s recording that he had made.) is a mixed blessing, but one which still deserves ample attention from fans of Mahler's symphonic music and others since he had a well-deserved reputation for being one of the foremost champions of Mahler, especially in the late 1950s and 1960s. Sonically, Deutsche Grammophon's 1980s cycle has much to admire, especially since many of the recordings were made during live concert performances. This still expensive box set is part one of a three-part repackaging by Deutsche Grammophon of the entire set of Bernstein's Mahler recordings, featuring Mahler's first four symphonies and two of his orchestral song cycles.

My personal favorites within this box set includes Bernstein's excellent performances of the Mahler 1st Symphony, which is replete with elegant playing from the winds and horns of the Royal Concertgebouw Orchestra, and one that is not marked by "mannered" interpretations, with the possible exception of Bernstein's glacially slow tempi for the "slow" movement. Overall the Amsterdam-based orchestra - one of several with whom Bernstein would have an artistically fertile relationship at the end of his career - gives one of the finest accounts of this symphony that I've heard. Another personal favorite is Bernstein's fine account of the Mahler 2nd "Resurrection" Symphony performed exquisitely by the New York Philharmonic Orchestra with Christa Ludwig and Barbara Hendricks as vocal soloists; this remains among the best recordings of this symphony ever made, even with newer, sonically improved renditions from the likes of Abbado and Chailly among others.

The opening third of Bernstein's second Mahler cycle, with some great performances.......2006-06-28

The reviewer below insults Bernstein's stature by calling him an 'old geezer'--the conductor was in his sixties during his second Mahler cycle, the last recordings made as he turned seventy. DG has divided its famous Bernstein Mahler recordings into three box sets, of which this is the first. It contains some performances that stand among the best ever made.

Among these the critical favorites have always included Sym. #1, which is a splashy, propulsive reading that contains every ounce of color and drama the composer put in. Sym. #2, a remake with the same NY Phil. that first recorded the work under Bernstein two decades before, is also a signature work for the conductor, and although the earlier version sounds fresher and has more interesting details, the remake is a titanic reading with the finale rising to apocalyptic intensity. (I was amused that The Gramophone reviewer missed Simnon Rattle's "magnificent studied caution.")

Bernstein's earlier version of Sym. #3 from 1961 is justly famous. It rehabilitated a work that hadn't been touched on records even by great Mahler champions like Walter, Klemperer, and Mitropoulos, and on its own merits was a stunning interpretation. So is the remake with the same NY Phil., and even if it can't quite recapture the sublime earlier account, DG's sonics are better--this holds true for almost all the recodings in the second cycle, even though they were caught under live concert conditions.

Sym. #4 had the reputation of being a weak link in the earlier cycle, and it's certainly true that Reri Grist's soprano is unusually light and rather quavery. But that aside, the earlier Fourth was remarkably fresh and engaging. This later Fourth, with the controversial choice of a boy soprano for the finale, is more studied and manipulted. Some critics prefer it, but I don't, and the boy soprano, Helmut Wittek, is clearly not the equal of an adult singer.

The rest of the set is taken up with two song cycles, Lieder eines Fahrenden Gesellen and Des Knaben Wunderhorn. Thomas Hampson is outstanding in the earlier cycle, although I feel that Bernstein's fiery conducting pulls the songs into a realm of intensity where the singer has a hard time going. The Wunderhorn cycle is a major disappointment. Lucia Popp's voice had matured into a dark, throaty, wobble-afflicted sound I don't like. Andreas Schmidt is virtuosic in his control, but he is often let down by Bernstein's insistence on extremely slow speeds. Critics who ovelook these flaws have given more praise than I can msuter. Bernstein's earlier version with Walter Berry and Christa Ludwig is much better.

DG has been stingy about allowing their treasury of Bernstein Mahler recordings on to budget lines, and by dividing it into thirds, they still ask a high price for the whole thing. But the good news is that each part of the trilogy is fairly inexpensive on the used market.

Mahler. Bernstein. A Match Made in Heaven and Hell.......2005-12-19

This six CD set is a re-release of symphonies 1-4, Das Knaben Wunderhorn and the Wayfaring Lad song cycles. All these recordings are from the famous or infamous 1980's DG Mahler cycle from Bernstein. This was his second go around for this repertoire, after his successful cycle with the NYPO from the 60's. Those earlier records were a lot less fussy and self conscious than these here. They were brimming with a youthful vitality, these are more studied reflections of an old geezer. However, the sound on these CDs is much better since it's digital.

For the performances themselves, they're pretty good. Symphony 1 is well played, powerful, performed by the Concertgebouw Orchestra. The second movement is too slow, other than that, it's good overall. Not as exciting as the famous Kubelik record but if you need a digital rendition, Bernstein fills that bill nicely. The Resurrection Symphony here is with the New York Philharmonic and has a truly cataclysmic final chorus, but the rest of it is taken at a very slack tempo, ( 94 minute span for a 82 minutes work? Yikes! ) The 3rd symphony ( also NYPO ) is very well done despite Bernstein's erroneous tempos. It's painfully slow at times. This symphony in particular is just not great music, self-indulgent to the point of no return and lacking true symphonic architecture, ( Mahler nuts can stone me if they want! ), except for the heavenly last movement. That final, glorious adagio is pulled to 28 minutes by Bernstein! A normal performance typically takes 23-24 minutes. In spite of this, it's hypnotic and Bernstein makes the climaxes resound quite forcefully.

The 4th Symphony, ( Concertgebouw Orchestra ) , is beautiful, but nothing special, I would stick with Goerge Szell on this one. I've never cared for this Mahler work anyway. Bernstein uses a boy soprano in the last movement. The song cycles included here I haven't ventured to explore thouroughly, Bernstein always did well in that aspect of Mahler, I'm sure he doesn't dissapoint.

The Mahlerian sensibility, anguish, despair, schmaltz, sentimentality, religiosity, all of that struck a deep chord in Leonard Bernstein whose own view of art was forever tinged with Late Romantic passion and grandiosity. While Mahler could bring out the best in Lenny, it always did bring out the worst as well. These performances are about as far away as you can get from the lucid clarity and emotional coolness of Pierre Boulez. In kitsch, Bernstein is unsurpassed. If you want to hear Bernstein's greatest performance in the music of his idol, you should buy the 9th symphony he recorded at the helm ( the only time ) of Karajan's Berlin Philharmonic. That's a great performance, sentimental but has a ring of truth and beauty about it.

Beethoven: Symphonie No. 4; Mahler: Lieder eines fahrenden Gesellen; Schumann: Symphonie No. 4

Average customer rating:

A great concert with 2 famous symphonies and a great song cycle

Beethoven: Symphonie No. 4; Mahler: Lieder eines fahrenden Gesellen; Schumann: Symphonie No. 4

Manufacturer: Orfeo D'or
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00002S8C8
Release Date: 1999-11-15

Customer Reviews:

A great concert with 2 famous symphonies and a great song cycle.......2006-08-15

Orfeo's release of Karl Bohm's 1970 Vienna Philharmonic concert at the Salzburg Festival of Beethoven: Symphony 4 in B flat Major; Mahler: Songs of a Wayfarer, with Christa Ludwig; and Schumann: Symphony 4 in D minor is a great addition to the catalog. This is of great value for several reasons: in addition to being a well performed concert, this is a rare treat to hear conductor Bohm in Schumann's 4th Symphony (also recorded by DG with the Vienna Philharmonic, but never on CD) and in a Mahler Song cycle, a composer Bohm did not perform or record often. (To my knowledge, there are no Bohm led Mahler Symphonies, either live or studio).

There is minimal audience noise in a few spots: shuffling feet, rustling programs, but the orchestral sound is full and rich, and audience distractions are minimal. There is a feeling of drama and great power when listening to this disc.

Bohm also recorded Beethoven Symphony 4 as part of a 2 disc DG set of Beethoven Symphonies 1,2,4 and 5 with the Vienna Philharmonic. This live performance is equal to Bohm's studio effort.

Highly recommended: a great 5 star release!

Mahler: The Complete Symphonies & Orchestral Songs / Bernstein

Average customer rating:

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

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music

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Debussy, Ravel: Orchestral Works
Liszt: Piano Works

ASIN: B00000DI2T
Release Date: 1998-11-10

Amazon.com essential recording

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

Customer Reviews:

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

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gustav Mahler: Symphony No. 2 "Resurrection" / Six Early Songs / Songs of a Wayfarer
Average customer rating:

Sinopoli has ideas, but the playing and recording are flawed

Gustav Mahler: Symphony No. 2 "Resurrection" / Six Early Songs / Songs of a Wayfarer
Gustav Mahler (Composer) , Brigitte Fassbaender (Mezzo-Soprano) , Rosalind Plowright (Soprano) , Bernd Weikl (Baritone) , Philharmonia Orchestra , and Giuseppe Sinopoli (Conductor)
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
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General | Symphonies | Classical | Styles | Music
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ASIN: B00000E33J
Release Date: 1990-10-25

Customer Reviews:

Sinopoli has ideas, but the playing and recording are flawed.......2007-06-12

I have fond memories of this Mahler Second, the first one I bought in digital sound. Sinopoli struck me as a conductor with original ideas about Mahler, and the fact that he was controversial with stuffy British critics, who hounded him during his tenure with the Philharmonia, was a plus in my eyes. But I recently revisited this recording and was disappointed. Sinopoli is sluggish in too many places, but more importantly, the orchestral playing is undderwhelming and DG's recorded sound is distant and thick. I got no pleasure form it, and even more shocking, when I compared Sinopoli's reading in detail with Gilbert Kaplan's, also on DG, the amateur Mahler hobbyist came out ahead in every movement. Of course Kaplan had the renowned Vienna Phil. to buoy him up, but the results were still discouraging.

Birgitte Fassbaender was always one of the fircest, msot uncompromising lieder singers, and her Lieder eines fahrenden Gesellen fits that pattern. I found it much more convincing than the symphony.

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