Mahler: Symphony No.1 In D/Lieder Eines Fahrenden Gesellen

Editorial Reviews
Amazon.com
The New York Philharmonic is one of the world's three great Mahler orchestras, having begun playing the music under the composer himself. So the excellence of the playing is something that can be taken for granted. Unfortunately, Kurt Masur is not a very exciting Mahler conductor. There's nothing particularly wrong here--it's just that the performance never really catches fire, and it culminates in a very tepid finale that sounds careful when it should blaze with passion. A pity. --David Hurwitz

Tracks:

Sym No.1 'Titan': 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich - Concg O/Leonard Bernstein
Sym No.1 'Titan': 2. Kraftig Bewegt, Doch Nicht Zu Schnell - Trio. Recht Gemachlich - Concg O/Leonard Bernstein
Sym No.1 'Titan': 3. Feierlich Und Gemessen, Ohne Zu Schleppen - Concg O/Leonard Bernstein
Sym No.1 'Titan': 4. Sturmisch Bewegt - Concg O/Leonard Bernstein
Songs Of A Wayfarer: 1. Wenn Mein Schatz Hochzeit Macht - Thomas Hampson
Songs Of A Wayfarer: 2. Ging Heut Morgen Ubers Feld - Thomas Hampson
Songs Of A Wayfarer: 3. Ich Hab Ein Gluhend Messer - Thomas Hampson
Songs Of A Wayfarer: 4. Die Zwei Blauen Augen - Thomas Hampson

Tracks:

Sym No.5: First Part: 1. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - VPO/Leonard Bernstein
Sym No.5: First Part: 2. Sturmisch Bewegt. Mit Grosster Vehemenz - VPO/Leonard Bernstein
Sym No.5: Second Part: 3. Scherzo. Kraftig, Nicht Zu Schnell - Friedrich Pfeiffer
Sym No.5: Third Part: 4. Adagietto. Sehr Langsam - VPO/Leonard Bernstein
Sym No.5: Third Part: 5. Rondo-Finale. Allegro - Allegro Giocoso. Frisch - VPO/Leonard Bernstein

Customer Reviews:

Late Christmas present.......2007-01-23

Thank you Amazon for this CD. It was well received from my brother in law who is a Mahler Fan. It did arrive sooner than promised from USA and he was delighted when it came in the early new year!
Thank you for the prompt reply I will use this service again.

Mahler-iffic!!!!.......2006-08-16

I have heard that Symphony 1 is considered Mahler's weakest but I find myself listening to this CD over & over.

Movements #2 & #3 are just beautiful to hear. Sound quality is good and it's a great value for the $.

Symphony 5 has been quoted as being 'overdone' (but nothing compared to Symphony 8). It's OK. A little too pretty for me.

Three Brilliant Mahler Works Perfectly Melded.......2005-11-01

Remember the days in the 1960s when we all waited for the next Mahler Symphony from Leonard Bernstein to be unveiled? As I recall that was the same time frame when the Solti recordings of Wagner's 'Ring' were slowly being released. So many music lovers 'found' Mahler through Leonard Bernstein and this splendid set of CDs reminds us why.

Here are perfect performances. The Symphony No. 1 "The Titan" with Bernstein conducting the 'Mahler orchestra' AKA the Concertgebouw Orchestra Amsterdam. The response from the orchestra to Bernstein's penetrating approach is sensitive and breathtaking - some of the finest recorded sound the orchestra ever made.

On that first CD the remainder of the disc is rounded out with the still-respected partnership of Bernstein with Thomas Hampson in a performance of 'Lieder eines fahrenden Gesellen', this time with the Vienna Philharmonic Orchestra. The communication among conductor, soloist and orchestra is on the highest level. This is the young Hampson when his approach feels not only secure but also very fresh. Listen to the way he uses his head tones for the higher notes in 'Die Zwei Blauen Augen': this is as close to Mahler's vision as a singer can get.

The second CD is devoted to a performance of the Symphony No. 5 again with the Vienna Philharmonic Orchestra. Bernstein is at the height of his powers here, able to rush into the heady movements with steady will and then bask in the Adagietto in as perfect a reading as any conductor has produced. This, too, is a perfect performance.

At Amazon.com's low price this is a recording that is easily accessible to every budget and one that is a must in the libraries of all those who love Mahler's wondrous music. Highly recommended. Grady Harp, October 05

THe Mahler Bargain of a lifetime.......2005-06-28

Bernstein in his later wisdom filled years gives us a 1st symphony bursting with edge of your seat tension and bombast.
Each movement is played with passionate articulate phrasing and sharp precision to reveal the wondrous worlds of nature,ghouls,enigma,struggle, and triumph.
Bernstein does have a tendency to extend certain passages out for maximum effect but he does it successfully without any sense of routine or premeditation.
This 1st sounds totally spontaneous as it is live and it feels like it but Mahler's soundworld is kept sharply intact.
As for Mahler's 5th, expect an over the top milk it till it bleeds interpretation.
Bernstein digs and digs deep to uncover all of the darkness of the 1st movements funeral march with plenty of phrasing that makes the tragedy all the more vivid but natural unforced phrasing.
The 2nd movement is off the chain chaotic madness with the vpo whipping up a storm of violence and destruction and the scherzo counterpoint and waltz schizophrenia is brought forth with precision and style.
Now the Adaggietto is done very expansively as it lasts over 11 minutes but Bernstein knows how to pace and phrase it well enough to where it doesn't drag and the climactic concluding full string fortissimo really hits your heart when it finally kicks in.
Now some people say that Mahler intended this movement to be done in a slightly brisk manner as Mahler's student Bruno Walter interpreted it at about 8 minutes but Bernstein chooses to caress every note which doesn't erase the romantic love letter concept of the movement as one critic had mentioned but it actually enhances that concept.
The final rondo movements triumphant jovial spirit is aplenty with the v.p.o. again providing technical and musical fireworks and sounding as if they're having a ball doing it.
So in this 5th expect highly individualistic phrasing and dynamics from Bernstein with emotions teetering on the edge resulting in a most compelling and convincing performance.
The Lieder performed by Thomas Hampson is simply icing on the cake as he sings with wonderful heartfelt musical eloquence with Bernstein as his trusty and enthusiastic partner.
Trully a Bargain to scoop up before they yank it like they do so often in classical.
Happy Listening.

O.f.

Why pay more?.......2004-10-08

Both the First and Fifth Symphonies are considered to be the gems of Bernstein's later Mahler cycle on DG. Previously, they were available separately at full price each. But now, thankfully, they have been released together, along with Songs of a Wayfarer featuring Thomas Hampson, at a 2 for 1 price. Shame on Amazon for not recommending this one instead of the 2 CDs separately. I guess it has to do more with profits than with recommendations.

Gustav Mahler: Symphony No. 1 / Songs of a Wayfarer - Dietrich Fischer-Dieskau / Bavarian Radio Symphony Orchestra / Rafael Kubelik

Average customer rating:

Mahler Universal
Fantastic Performance, Recording Lacks Bass
An amazing performance that plainly justifies its cult status!
A Poignant Rendition by a Musical Painter
fresh,naturally flowing Mahler.

Gustav Mahler: Symphony No. 1 / Songs of a Wayfarer - Dietrich Fischer-Dieskau / Bavarian Radio Symphony Orchestra / Rafael Kubelik

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 6

ASIN: B000001GX9
Release Date: 1997-05-13

Tracks:

Symphonie No. 1: Symphonie No. 1: 1. Langsam. Schleppend. Wie ein Naturlaut - Im Anfang sehr gemachlich
Symphonie No. 1: Symphonie No. 1: 2. Kraftig bewegt, doch nicht zu schnell - Trio. Recht gemachlich
Symphonie No. 1: Symphonie No. 1: 3. Feierlich und gemessen, ohne zu schleppen
Symphonie No. 1: Symphonie No. 1: 4. Sturmisch bewegt
Songs of a Wayfarer: Songs of a Wayfarer : 1. Wenn mein Schartz Hochzeit macht
Songs of a Wayfarer: Songs of a Wayfarer : 2. Ging heut morgen uber Feld
Songs of a Wayfarer: Songs of a Wayfarer : 3. Ich hab'ein gluhend Messer
Songs of a Wayfarer: Songs of a Wayfarer : 4. Die zwei blauden Augen

Amazon.com essential recording

Here's a delightful coupling: Mahler's First Symphony and the song cycle that donated many of its themes to the larger work. Best of all, both performances are superb. Rafael Kubelik is the dark horse among Mahler conductors. His interpretations are always fresh, unforced, and seemingly without exaggeration. However, he knows how to build a climax, and his generally swift tempos never permit a minute's boredom. There are many moments to cherish in his performance of the symphony, not least the delicious woodwind playing and the tangy trumpets in the third movement's Fiddler on the Roof music. Reissued at midprice in excellently remastered sound--better than most new digitals in many respects--this is a performance that remains one of the best, and as a coupling it's unbeatable. --David Hurwitz

Customer Reviews:

Mahler Universal.......2007-01-04

I recently listened to officials of Israel's principal symphony orchestra being interviewed regarding the Venezuelan prodigy who was conducting the ring of Mahler symphonies in Tel Aviv. Not once was the issue of Mahler-in-Israel mentioned. Clearly, the conductor's reputation has been rehabilitated from its unfortunate association with the Führer and the musical predilections of his comrades-in-murder.

How fortunate, then, that one can celebrate this Deutsche Grammophon re-release of none other than Rafael Kubelik and the Bavarian Radio Symphony Orchestra making their briskly paced way through Mahler's First and then the Lieder without having to say more than a passing word about the constellation of musicians and composer. The performances were recorded in 1968 and 1970, respectively.

The BRSO sounds agile, almost petite, under Kubelik's baton. Those accustomed to linking Mahler to bombast may find themselves pleasantly surprised. The flute in the first movement lingers, but almost nobody else does.

Very fine Mahler, carried off with homeland panache.

Fantastic Performance, Recording Lacks Bass.......2006-09-01

Even with the DG "Original Image Bit-Processing", this famous account of Mahler's 1st symphony sounds a bit wiry and thin in the big climaxes, negating some of the grandeur in the work.

Nonetheless this is one of the best performances this symphony has ever received. It's fresh, it's fast and full of life, something that many other slower interpretations tend to forget. I'm positive that Mahler himself would conduct the music in this more upbeat, driving fashion than the more plodding shenanigans of Bernstein or Solti, fine as they may be on their own merits.

If you want to hear a great but little known account of this symphony in wide ranging, high impact digital sound, seek out Andrew Litton's recording on Virgin Classics coupled together with a great performance of Mahler's 9th symphony by Libor Pesek. Other alternatives are of course, Bernstein, Solti, Abbado and the usual suspects. Still for me, this Mahler 1st by Kubelik will never go out of style.

An amazing performance that plainly justifies its cult status!.......2006-07-07

About Mahler' s birthday's one hundred forty sixth, it particularly results interesting to underline this version is without hesitation, one of the most prodigious performances ever recorded before or even later, until this date. It would be risky to consider Rafael Kubelik as a Mahler' s specialist conductor, but he certainly was gifted of a clinical eye and the necessary wisdom to understand the universe of this kaleidoscopic musician who typifies as any other composer, the stressing and anguished world of the contemporary man, without emotional, affective center, profoundly desperate, immersed in a real existential whirlwind, without hindrances, imaginary futures, hopes and illusions.

This first symphony's performance is flamboyant, that reflects with lavish idiomatic spirit, the fears, but besides the hopeful and triumphal final climax in the last movement, that finds to Kubelik in the peak of his conductor powers, totally immersed in the core of the work.

A must-buy due, it's a collector item, deeply venerated and famously phrased by several generations of listeners and dilettantes.

A Poignant Rendition by a Musical Painter.......2006-06-12

I love it when a musician will go out of their way and sacrifice everything to sculpt a piece of art for us. If they are fearless, they will obtain it all: Technical and Musical. And there are only a few successful examples of this. Kubelik's 'Titan' Symphony happens to be my favorite.

The playing is just beautiful. Flourishing, natural lines, and deliciously sonorous tone: its remarkable. Kubelik allows the players to make the most of everything without being too indulgent. The Brass section is especially exciting! The Finale, (Which is one of my dearest) is an historical moment. The communication between the conductor and his orchestra is precise, exact, and astonishing.

Upon first listening, the interpretation will sound very different- I guarantee that. but youll come to love it. Every bit of this recording is very personal and with Mahler, i believe that's important. Kubelik's touches are just right for that perfect character of music.

Underrated, Unrestricted, Unadultered Music-Making. Something that is sadly a rarity in the music world.

fresh,naturally flowing Mahler........2005-09-12

Firstly,i'd like to commend the writer below who draws attention to this horrible critic called Cassidy who contributed significantly to Kubelik's downfall in Chicago....a truly miserable affair.Why is there an arts centre named in her honour??!!!
Kubelik's Mahler stands the test of time very well (the most recommendable complete cycle on the market by some margin):there's a freshness and lyricicsm minus that self pitying streak which grounds so many Mahler interpratations.

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

Average customer rating:

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

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

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Mahler: Symphony No. 9
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ASIN: B000002A7H
Release Date: 1995-01-24

Tracks:

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

Tracks:

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

Amazon.com

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

Amazon.com

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

Customer Reviews:

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

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

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

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

Two beautifully recorded CDs!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In this symphony, Mahler simply confessed.

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

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

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

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

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

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

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

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

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

Very highly recommended.

Mahler: Symphony No. 1; Lieder eines fahrenden Gesellen [Hybrid SACD]

Average customer rating:

Do we need another Mahler 1st?

Mahler: Symphony No. 1; Lieder eines fahrenden Gesellen [Hybrid SACD]
Christopher Maltman (baritone) , Gustav Mahler , and Philharmonia (London)
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 3 [Hybrid SACD]
Mahler: Symphony No. 4 - Benjamin Zander / Philharmonia Orchestra / Camilla Tilling, soprano
Mahler: Symphony No. 9 / Zander, Philharmonia Orchestra
Mahler: Symphony No. 6 [Hybrid SACD]
Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD]

ASIN: B000BFH27I
Release Date: 2005-10-25

Customer Reviews:

Do we need another Mahler 1st?.......2005-12-30

The years have seen possibly dozens of Mahler firsts, many outstanding (for example, the Chicago Symphony/Georg Solti - admittedly showing its age sonically), so do we need another? Recorded as an SACD, the answer is, most certainly YES! Mahler, amongst the greatest of composers, wrote with a mixture of great subtlety and great complexity, both of which can only be fully revealed by the tremendous clarity of good SACD recording, this clarity being aided by the expanded sound field of the six channels an SACD makes available (at a higher quality than DTS sound!).
We are faced with two entrants into the field: the performance under review, and another by the San Francisco Symphony under Michael Tilson Thomas. Each recording is part of a continuing series that will culminate in a complete set of the symphonies of Mahler, and each recording, like the others already released, is an outstanding performance, superbly recorded.
To properly review this release would require a lengthy, detailed analysis of the performance, which would not be appropriate here. So all I can do is summarize and say that it represents a truly worthy entry into the SACD arena. The performance is up amongst the best. Zander has clearly thoroughly researched the score, fully understanding Mahler's intentions, and conveying this to his orchestra, one of the best in the world.
The trouble is, one can say much the same about the San Francisco performance. This orchestra, normally an excellent but parochial ensemble, has been raised by its conductor to top international level and virtually matches the Philharmonia. Although there are subtle differences between the two performances, both approaches are always valid. And the engineering is so similar in both clarity and discreet use of the available sound field, one could almost suspect that both recordings were made by the same production/engineering team, sonic differences being attributable to the slightly different acoustic of the recording venue.
So how do you choose between these performances, to both of which I can give an unreserved recommendation?
To the die-hard Mahlerite, I would recommend sampling both to find which one more closely matches your ideas about how the work should be performed.
But for most purchasers, the choice is easy. The Telarc release, as well as having the marginally better orchestra, includes, at no extra charge, a free 79 minute CD where the conductor discusses and analyses the work, with many musical illustrations.
Also, and this is a major also, the recording includes a complete performance by the same forces, accompanying the baritone Christopher Maltman, of 'Songs of a Wayfarer'. Although this is not the absolutely best performance available, it is still a very good one that would satisfy most listeners (including me). So, the choice becomes simple (although it wasn't for me: I'm buying both series!)
In summation: buy this and you will be getting an outstanding performance; oustanding engineering and outstanding value for money well spent.

Mahler: Symphony No. 1; Lieder eines fahrenden Gesellen

Average customer rating:

Music-making of the highest caliber
A Mahleresque Mahler First!

Mahler: Symphony No. 1; Lieder eines fahrenden Gesellen
Christopher Maltman , Gustav Mahler , Benjamin Zander , Boston Philharmonic Orchestra , and Philharmonia Orchestra of London
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: Symphony No. 4 - Benjamin Zander / Philharmonia Orchestra / Camilla Tilling, soprano
Mahler: Symphony No. 9 / Zander, Philharmonia Orchestra
Mahler: Symphony No. 3 - Benjamin Zander / Philharmonia Orchestra
Mahler: Symphony 6 in a Minor: Tragic (Bonus CD)
Beethoven: Symphonies No. 5 & No. 7

ASIN: B000BFH278
Release Date: 2005-10-25

Tracks:

l. Wenn Mein Schatz Hochzeit Macht - Christopher Maltman
ll. Ging Heut' Morgen Uber's Feld - Christopher Maltman
lll. Ich Hab' Ein Gluhend Messer - Christopher Maltman
lV. Die Zwei Blauen Augen - Christopher Maltman
l. Langsam. Schleppend - Christopher Maltman
ll. Kraftig Bewegt - Christopher Maltman
lll. Feierlich Und Gemessen, Ohne Zu Schleppen - Christopher Maltman
lV. Stumisch Bewegt - Christopher Maltman

Tracks:

Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander
Discusses Mahler's Songs Of A Wayfarer And Symphony No. 1 - Benjamin Zander

Customer Reviews:

Music-making of the highest caliber.......2006-03-30

Ironically, it takes a very mature musician/conductor to perform correctly Mahler's most youthful symphony. When compared to later symphonies, the first has quite a large scope of musical material presented in such a short amount of space. The sheer amount of colors, styles and emotions presented in this symphony may be daunting to even a trained professional. Most performances fall apart musically because conductors either fail to highlight details, lose scope of larger structures, or both. Zander strikes a perfect balance between details and structure. His interpretation, more so than others', successfully integrates all of Mahler's singular ideas into a whole while making complete sense from start to finish. There is a very clear sense of flow, of one idea generating - and leading into - the next. After listening to this recording, I finally felt that Mahler's idea had come across convincingly - that I had been given the correct information, in a sense, or at least one version of the correct information.
Zander doesn't contrive anything in order to sell the emotional content of the symphony. Instead, he opts, as said before, to bring out the details written in the score, either by amplifying what is commonly observed, or by observing in the first place what usually isn't. Dynamic contrasts are much larger, for example. Zander observes oft-ignored distinctions between pp and ppp. Crescendos and decrescendos are more severe. Accents are more calculated. This observation of correct dynamics allows for even the densest of Mahler's polyphonic textures to be clarified. As usual, the violins sit across from one another, allowing for Mahler's antiphonal effects to come across, and also bringing the harmonies more to the fore. Mahler's metronome markings have often been subjected to severe distortions, something that always hastens a structural collapse, especially in the first movement, which contains 8 of the 12 markings. Zander doesn't follow them exactly, but he adheres to them more closely than other conductors do, taking care to keep their proportions intact. Finally, Zander excels in bringing across Mahler's coloristic touches. The best examples of this are the middle sections of the second and third movements (the Klezmer band is especially rustic), both of which are aided by Zander's masterly application of rubato and flexibility of tempo.
Of course, the technical and musical prowess required of an orchestra to pull off this symphony is daunting, but the Philharmonia Orchestra pulls off another flawless performance. The solo work is among the best I've ever heard, and their brass section could beat the pants off of Berlin's or Chicago's, any day. I'm not kidding.
I apologize for only touching briefly on the Songs of a Wayfarer. Christopher Maltman turns in a fine rendition, comparable to classic accounts from Fischer-Dieskau and others, as well as any modern renditions. Zander provides a balanced and colorful accompaniment, and he is very successful in presenting the symphony and the song cycle as kin, the way they should be.
Telarc provides excellent clear sound and balance, and the normally priced CD is well worth the money. I recommend this recording without hesitation.

A Mahleresque Mahler First!.......2006-02-06

Benjamin Zander continues his survey of the symphonies of Gustav Mahler with an all stops out performance of the 'Titan', Mahler's great first symphony, which has been less recorded in the past decade than most of his other symphonies. Zander obeys all of Mahler's score markings, which means that when Mahler calls for extremes in dynamics or manipulation of phrasing, Zander is right there with him. For some this may feel excessive and too blatantly showy, but then consider the fact that this was indeed the first work of a composer who dwelled on passion and eruptive emotions and the concept makes great sense. The Philharmonia Orchestra plays its heart out for him and the recorded sound displays this highly theatrical, and for this listener, successful approach.

Zander couples this performance of the Titan with the 'Lieder eines fahrenden Gesellen', beautifully sung by Christopher Maltman. Again, Zander goes for the angst and the drama and at times the emotion seem overstated, but just examine Mahler's notes on his score and realize this is the way the master instructed the work to be performed.

For a Mahler version of Mahler works, this CD is a breath of fresh air form the more transparent, underplayed, dignified approaches of some of the other fairly recent recordings. It is a pleasure to the senses. Highly Recommended. Grady Harp, February 06

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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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.

Mahler: Symphony No. 1; Songs of a Wayfarer

Average customer rating:

Mahler: Symphony No. 1; Songs of a Wayfarer

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0009I9UTK
Release Date: 2005-08-30

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

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

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

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

Mahler: Symphonies 1-10; Das Lied von der Erde
Bruckner: Symphony No. 4 / Karl Böhm
Mahler: Das Lied von der Erde
Beethoven, Sibelius: Violin Concertos
Brahms: Symphonies Nos. 2 & 3

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!

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

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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

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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.

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