Gustav Mahler: Symphony No. 4
Editorial Reviews
Amazon.com essential recording
Leonard Bernstein's earlier recording of this symphony for Sony was, and remains, one of the best. This new one, however, really is something special. As in his recording of the First with this orchestra, Bernstein's tempos have markedly speeded up, especially in the slow movement. He seems to have really discovered the secret of the music's essential innocence, and he now knows exactly when to make a point and when to just let the music speak naturally. The use of a boy soprano in the finale is unique but not unexpected. Mahler himself thought about it but opted for an adult soprano because he believed that this would prove less limiting to future performances of the work. He was right, of course, but so is Bernstein for letting us hear the composer's original thoughts in such a pure and enjoyable form. --David Hurwitz
Gustav Mahler: Symphony No. 4, Music, Gustav Mahler, Leonard Bernstein, Concertgebouw Orchestra Amsterdam, Helmut Wittek, Jaap van Zweden, Classical, Classical Composers, Classical Music, Romantic Symphony, Symphonic
Average customer rating:
- Good selection
- thunderous applause
- Good Music at a Great Price
- You will like this!
- Good for the novice
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25 Thunderous Classics
Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD
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ASIN: B00004Y6SQ
Release Date: 2000-09-05 |
Tracks:
- Also Sprach Zarathustra (Sunrise) - R. Strauss
- Mars (The Planets) - Holst
- Overture 1812 - Tchaikovsky
- Entry Of The Gladiadtors - Fucik
- Sabre Dance - Khachaturian
- Procession Of The Sardar - Ippolitov Ivanov
- Night On Bald Mountain - Mussorgsky
- Anvil Chor (II Trovatore) - Verdi
- The Thunderer March - Sousa
- Thunder & Lightening Polka - J. Strauss
- Prelude To Act III : Lohengrin - Wagner
- The Ride Of The Valkryies - Wagner
- Montagues & Capulets (Romeo & Juliet Ballet Suite) - Prokofiev
- The Storm: Symphony No. 6 In F Major, 'Pastorale' - Beethoven
- Rondeau - Edward Carroll
- Overture: Fireworks Music - Handel
- March To The Scaffold: Symphonie Fantastique - Berlioz
- LesToreadors - Bizet
- William Tell Overture: Finale - Rossini
- Revolutionary Study - Abbey Simon
- Fanfare For The Common Man - Copland
- Sym No. 1 'Titan' IV Sturmisch Bewegt (Excerpt) - Mahler
- Augurs Of Spring From Rite Of Spring - Stravinsky
- Russian Dance From Petrouchka - Stravinsky
- The Great Gate At Kiev From Pictures At An Exhibition - Mussorgsky
Customer Reviews:
Good selection.......2005-10-02
I bought this CD to use in my classroom as listening examples. I'm not just a super big fan of some of the performances, but they are all good and for the price you can't beat it. That's why I gave it 5 stars. It's worth more than it costs by far.
thunderous applause.......2005-08-31
This is a who's-who of great pieces of music you have heard all of your life, and never knew the names and stories! I listened to it over and over in the car and had my own concert! A friend borrowed it to add music to his Home Movies and it was perfect!
Good Music at a Great Price.......2004-03-06
I bought this CD mostly for "Entry of the Gladiators," which everyone will recognize as classic circus music. The performance on this CD (by Erich Kunzel and the Cincinnati Pops) is the best available version of Entry of the Gladiators. The rest of the CD offers mostly excerpts of classical music.
You will like this!.......2004-02-19
I had purchased an abundance of the "Favorites" collection and some were better than others.
This CD is at the top of them all. They may be short, but not that short. Wondrous music.
I can almost guarantee that you will like this music.
Well worth the price!
Good for the novice.......2002-06-08
The recordings on this disc are pretty good. However, the editors selected only the *loud* parts, as indicated by the title. I was pretty disappointed to find that the pieces are, in many cases, edited to reflect the most famous themes, etc, instead of including the whole work. In general, I would recommend this to the classical music novice, or someone who wants to expand their knowledge of classical music in general. Those who already are familiar with these pieces will probably feel gypped.
Average customer rating:
- The Most Relaxing Classical Album In the World Eveer, Volume II
- Great music listein to while you read in bed
- A must buy for the non-snobbish classical music fan.
- A bliss of spirit.
- Boring
|
The Most Relaxing Classical Album In the World Ever, Volume II
Gabriel Faure , Frederic Chopin , Antonio Vivaldi , Gustav Mahler , Claude Debussy , Sir Neville Marriner , Maris Jansons , Lorin Maazel , Sir Adrian Boult , Miklos Rozsa , Riccardo Muti , Stephen Cleobury , Sir John Barbirolli , New Philharmonia Orchestra , Philharmonia Orchestra & Chorus , Academy of St. Martin in the Fields , and Berlin Philharmonic
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
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ASIN: B00002439O
Release Date: 2003-03-11 |
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 !
Average customer rating:
|
The Most Soothing Lullabies In The Universe
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD
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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:
- mahler symphony#4
- Not the best performance of this symphony
- Amazingly fresh and vital
- Because I have dissed the 1990 DG Bernstein/Wittek Mahler #4
- Still one of the most musical Mahler Fourths.
|
Mahler: Symphony No. 4
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Similar Items:
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ASIN: B00000I9GF
Release Date: 1999-03-16 |
Tracks:
- Symphony No. 4 In G Major: Bedachtig. Nicht eilen
- Symphony No. 4 In G Major: Tempo 1
- Symphony No. 4 In G Major: Wieder wie zu Anfang. Sehr gemachlich, behaglich
- Symphony No. 4 In G Major: Wieder plotzlich langsam und bedachtig
- Symphony No. 4 In G Major: In gemachlicher Bewegung. Ohne Hast
- Symphony No. 4 In G Major: Nicht eilen
- Symphony No. 4 In G Major: Ruhevoll
- Symphony No. 4 In G Major: Viel langsamer
- Symphony No. 4 In G Major: Anmutig bewegt
- Symphony No. 4 In G Major: Andante
- Symphony No. 4 In G Major: Vorwarts. Poco piu mosso
- Symphony No. 4 In G Major: Sehr behaglich
- Symphony No. 4 In G Major: Wieder lebhaft
- Symphony No. 4 In G Major: Tempo 1. Sehr zart und geheimnisvoll bis zum Schluss
Customer Reviews:
mahler symphony#4.......2007-01-07
Being a Mahler lover and a fan of leonard Bernstein I was disappointed to find this recording quite pedestrian.There are much better interpretations available.
Not the best performance of this symphony.......2006-09-17
I like Bernstein, and this performance does have some charm to it. However, the rhythms are too choppy, the tempo changes too often, and there is not enough mystery. If you can find it, the very best performance of the Mahler 4th is by Leopold Ludwig and the Staatskapelle Dresden. It was recorded way back in 1957 and remains the best available interpretation, in my opinion. You can read my review of that CD for more details.
Amazingly fresh and vital.......2005-10-26
For years the Gramophone, among other sources of critical approval, has recommended a cautious, enervated Mahler Fourth by Maazel and the vienna Phil., also on Sony. This first Bernstein reading from New York, recorded in 1960, has been passed over, and yet it is amazingly fresh and exciting. Unfortunately, the Fourth has become, as one reviewer said, a lyrical intermezzo positioned between greater works, yet in Bernstein's hands it shines as an extension of the magical world of the Third Symphony, dreamlike and enchanted, full of wonder and spiritual intenisty. I hadn't listend to it for some years, and a recent reacquaintance reminded me that Bernstien earned his credentials as a Maherian, not by extroverted emotion but by having constant insights into Mahler's musical idiom. A great reading, arguably the greatest on disc.
Because I have dissed the 1990 DG Bernstein/Wittek Mahler #4.......2004-12-01
I just want to note that this 1960 remastered version is great. I agree with all the positive comments below, but also want to emphasize that the sound is unusual & wonderful here. The microphones must have been mainly above Bernstein's head to get the unusually broad, clear sonic perspetive. The remastered sound is also of exceptional quality, and the resulting clarity fits the conductor's measured, highly resolved take on the music perfectly. Recommended, and a great bargain.
Still one of the most musical Mahler Fourths........2004-03-23
Despite the different explanations regarding what Mahler is telling us, it is obvious that Bernstein presents the Fourth Symphony in very musically appealing terms. Though typically identified with a broad range of emotional expression, especially in his Mahler interpretations, he actually seems a mite less sensitive or concerned with the sometimes lurking, uneasy aspects of this symphony, (in contrast to Tennstedt, for example). In the opening movement, the description, "dream-like", seems to fit Bernstein's portrayal. Simultaneously, he conveys an attractive lyricism. In the second ("death fiddler") movement, he expresses ample irony, while in the third, he radiates an almost aching beauty. A standout in the fourth movement is soprano Reri Grist, whose memorable performance sounds more child-like than most other sopranos I've heard. A good number of others have sounded "too adult", and some ridiculously so....I expressed high regard for Bernstein's Mahler Second, and not so high regard for his Mahler Fifth. Here, he delivers a reading I find both engrossing and very satisfying. For a long time, this has been and continues to be one of my favorite Mahler Fourths.
Average customer rating:
- very romantic to make love by
- Great Mood Music
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Most Romantic Classical Music in the Universe
Gabriel Faure , Felix Mendelssohn , Pyotr Il'yich Tchaikovsky , Fryderyk Chopin , Franz Liszt , Erik Satie , Robert Schumann , Antonin Dvorak , Gustav Mahler , Sergey Rachmaninov , Leos Janacek , Cesar Franck , George Frideric Handel , Jules Massenet , Sergey Prokofiev , Catalan Traditional , and Various Artists
Manufacturer: Denon Records
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ASIN: B00011V890
Release Date: 2004-01-13 |
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
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ASIN: B0000589BP
Release Date: 2001-01-30 |
Tracks:
- Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein
Tracks:
- Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Tracks:
- Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
- Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Tracks:
- Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
- Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
- Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
- Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
- Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
- Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
- Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
- Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
- Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
- Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
- Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
- Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
- Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
- Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Tracks:
- Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
- Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
- Three Ruckert Songs: Um Mitternacht - Jennie Tourel
- Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
- Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
- Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
- Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
- Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
- Kindertotenlieder: In Diesem Wetter! - Jennie Tourel
Tracks:
- Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
- Sym No.4 in G: Movt I: Tempo I - Reri Grist
- Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
- Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
- Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
- Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
- Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
- Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
- Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
- Sym No.4 in G: Movt III: Andante - Reri Grist
- Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
- Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
- Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
- Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist
Tracks:
- Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
- Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
- Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
- Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
- Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein
Tracks:
- Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
- Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
- Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
- Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein
Tracks:
- Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
- Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
- Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
- Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
- Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
- Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
- Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
- Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
- Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
- Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
- Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
- Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
- Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
- Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
- Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
- Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
- Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
- Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
- Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Tracks:
- Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
- Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
- Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
- Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
- Kindertotenlieder: In Diesem Wetter! - Janet Baker
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein
Tracks:
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor
Tracks:
- Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein
Amazon.com
For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.
Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde
Customer Reviews:
Groundbreaking but partly outdated.......2007-03-26
Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.
How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.
The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.
The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.
If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.
Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.
Outstanding Mahler Compilation.......2007-01-29
I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.
Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.
Great price, great compilation. Lot of Mahler.
Bernstein or Tennstedt: read on...........2006-07-12
If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:
No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.
Comparing the two Bernstein Mahler cycles.......2006-06-27
Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.
Cycle #1:
By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.
Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.
Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.
In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.
I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.
To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.
Cycle #2:
It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).
The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.
Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.
The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.
I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.
That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.
How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.
Mahler complete symphonies........2006-02-24
"Mahler was an altogether great man" -One who also knows a thing or two.
Average customer rating:
- 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.....
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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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ASIN: B0000027AJ
Release Date: 1991-08-19 |
Tracks:
- Symphony No. 4 In G Major: 1. Bedtig. Nicht eilen.
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- Symphony No. 4 In G Major: 3. Ruhevoll.
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- 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.
Average customer rating:
- If You Love Classical Music, This CD Is For You
- Probably Decca's best "Adagios" set
- One of the best CDs you'll ever own
- Sublime!
- GREAT MUSIC
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