Mahler: The Complete Symphonies & Orchestral Songs / Bernstein [Box set]

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

Mahler: The Complete Symphonies & Orchestral Songs / Bernstein, Music, Gustav Mahler, Leonard Bernstein, Barbara Hendricks, Dietrich Fischer-Dieskau, Wiener Philharmoniker, Christa Ludwig, Philip [1] Smith, Joseph Alessi, Helmut Wittek, Jaap Van Zweden, Lucia Popp, Andreas Schmidt, Agnes Baltsa, Judith Blegen, José Van Dam, Hermann Prey, Thomas Hampson, James King, Glenn Dicterow, Box Sets (Audio Only), Classical, Classical Composers, Classical Music, Orchestral & Symphonic, Romantic Symphony, Song Collection for Solo Voice with Piano or Orchestra, Song Cycle for Solo Voice with Piano or Orchestra, Symphonic, Vocal

Mahler: The Complete Symphonies
Average customer rating:

Groundbreaking but partly outdated

Outstanding Mahler Compilation

Bernstein or Tennstedt: read on....

Comparing the two Bernstein Mahler cycles

Mahler complete symphonies.

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

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ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan

Tracks:

Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...

Tracks:

Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...

Tracks:

Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
Three Ruckert Songs: Um Mitternacht - Jennie Tourel
Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
Kindertotenlieder: In Diesem Wetter! - Jennie Tourel

Tracks:

Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
Sym No.4 in G: Movt I: Tempo I - Reri Grist
Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
Sym No.4 in G: Movt III: Andante - Reri Grist
Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein

Tracks:

Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein

Tracks:

Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein

Tracks:

Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
Kindertotenlieder: In Diesem Wetter! - Janet Baker
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein

Amazon.com

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde

Customer Reviews:

Groundbreaking but partly outdated.......2007-03-26

Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.

How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.

The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.

The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.

If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.

Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.

Outstanding Mahler Compilation.......2007-01-29

I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.

Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.

Great price, great compilation. Lot of Mahler.

Bernstein or Tennstedt: read on...........2006-07-12

If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:

No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.

Comparing the two Bernstein Mahler cycles.......2006-06-27

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

Mahler complete symphonies........2006-02-24

"Mahler was an altogether great man" -One who also knows a thing or two.

Mahler - The Complete Symphonies / LPO, Tennstedt

Average customer rating:

Mostly fine but somewhat uneven
Classic Sound of Mahler from LPO
IMHO best Mahler performe.
Tennstedt's Mahler Cycle: A Best Buy
Challenging, Sensitive, Sincerely Committed Performances.

Mahler - The Complete Symphonies / LPO, Tennstedt
Lucia Popp , London Philharmonic Orchestra , Elizabeth Connell , Edith Mathis , David Hill , Jorma Hynninen , Trudeliese Schmidt, Richard Versalle, Edith Wiens Doris Soffel , Hans Sotin , Nadine Denize , and Ladies of London Philharmonic Chorus Southend Boys' Chor
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Bruckner: The Complete Symphonies
Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart: Chamber Music
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead
Liszt: Works for Piano and Orchestra

ASIN: B00000C2KM
Release Date: 1998-11-03

Tracks:

Symphony No. 1 In D Major: 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich
Symphony No. 1 In D Major: II: Kraftig bewegt, doch nicht zu schnell
Symphony No. 1 In D Major: III: Feierlich und gemessen, ohne zu schleppen
Symphony No. 1 In D Major: IV: Sturmisch bewegt
Symphony No. 2 In C Minor 'Resurection': I: Adagio maestoso

Tracks:

Symphony No. 2 In C Minor 'Resurrection': II: Andante moderato
Symphony No. 2 In C Minor 'Resurrection': III: In ruhig fliessender Bewegung
Symphony No. 2 In C Minor 'Resurrection': IV: Urlicht (Sehr feierlich aber schlicht)
Symphony No. 2 In C Minor 'Resurrection': V: Im Tempo des Scherzos (Wild herausfahrend) - Langsam - Allegro energico - Langsam

Tracks:

Symphony No. 3 In D Minor: Erste Aabteilung: I: Kraftig. Entschieden
Symphony No. 3 In D Minor: Zweite Abteilung: II: Tempo di Menuetto. Sehr massig
Symphony No. 3 In D Minor: Zweite Abteilung: III: Comodo. Scherzando. Ohne Hast
Symphony No. 3 In D Minor: Zweite Abteilung: IV: Sehr Langsam. Misterioso. Durchaus ppp
Symphony No. 3 In D Minor: Zweite Abteilung: V: Lustig im Tempo und keck im Ausdruck

Tracks:

Symphony No. 3 In D Minor: Qweite Abteilung: VI: Langsam. Ruhevoll. Empfunden.
Symphony No. 4 In G Major: I: Bedachtig. Nicht eilen
Symphony No. 4 In G Major: II: In gemachlicher Bewegung. Ohne Hast
Symphony No. 4 In G Major: III: Ruhevoll
Symphony No. 4 In G Major: IV: Sehr behaglich

Tracks:

Symphony No. 5 In C Sharp Minor: I: Trauermarsch
Symphony No. 5 In C Sharp Minor: II: Sturmisch bewegt, mit grosster Vehemenz
Symphony No. 5 In C Sharp Minor: III: Scherzo: Schattenhaft
Symphony No. 5 In C Sharp Minor: IV: Adagietto: Sehr langsam
Symphony No. 5 In C Sharp Minor: V: Rondo-Finale: Allegro

Tracks:

Symphony No. 7 In E Minor: I: Langsam - Allegro
Symphony No. 7 In E Minor: II: Nachtmusik I: Allegro moderato
Symphony No. 7 In E Minor: III: Scherzo: Schattenhaft
Symphony No. 7 In E Minor: IV: Nachtmusik II: Andante amoroso

Tracks:

Symphony No. 7 In E Minor: V: Rondo - Finale: Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico)
Symphony No. 6 In A Minor: I: Allegro energico, ma non troppo. Heftig aber markig
Symphony No. 6 In A Minor: II: Scherzo Wuchtig
Symphony No. 6 In A Minor: III: Andante moderato

Tracks:

Symphony No. 6 In A Minor: IV: Finale: Allegro moderato
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Veni, creator spiritus
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Imple superna gratia
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Infirma nostri corporis
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Accende lumen sensibus
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Veni, creator spiritus
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Gloria, Patri Domino

Tracks:

Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Waldung sie schwankt heran
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Ewiger Wonnerbrand
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Wie Felsenabgrund mir zu Fussen
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Gerettet ist das edle Glied
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Uns bleibt ein Erdenrest
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hier ist die Aussicht frei
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hochste Herrscherin der Welt
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Ausserst langsam. Adagissimo: Dir, der Unberuhrbaren
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Bei der Liebe, die den Fussen
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Neige, neige, du Ohnegleiche
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Blicket auf zum Retterblick
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Alles Vergangliche

Tracks:

Symphony No. 9 In D Minor: I: Andante comodo
Symphony No. 9 In D Minor: II: Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb
Symphony No. 9 In D Minor: III: Rondo-Burleske: Allegro assai. Sehr trotiz

Tracks:

Symphony No. 9 In D Minor: IV: Adagio: Sehr langsam und noch zuruckhaltend
Symphony No. 10 In F Sharp Minor: I: Adagio

Amazon.com

Hot on the heels of DG's new reissue of the Bernstein's complete Mahler symphonies and song cycles, EMI has repackaged Klaus Tennstedt's recordings of all 10 symphonies. Although he remade symphonies 5 through 7, these are his first versions, essentially the same performances that used to be available in three separate boxes at mid price. Now at budget price, and at virtually a third of the cost of DG's Bernstein set, Tennstedt's Mahler is one hell of a bargain. The performances aren't as consistent as Bernstein's. The London Philharmonic was never a great Mahler orchestra, and minor errors are fairly common, especially in the Sixth Symphony, which was the conductor's own favorite among all his recordings despite the lapses in the brass section. It's a performance of frightening intensity, and it's easy to understand his affection for it. All of Tennstedt's Mahler features such spontaneity, emotional honesty, and real human warmth that reservations about execution and sound largely fall by the wayside. Hearing it again is a deeply moving experience. --David Hurwitz

Customer Reviews:

Mostly fine but somewhat uneven.......2007-04-26

Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.

Some comments of each recording.

Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.

Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.

Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).

Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).

Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.

Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).

Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).

Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.

Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.

The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.

Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.

Classic Sound of Mahler from LPO.......2005-09-30

Tennstedt has his unique ways and skill of engeenering the sound of Mahler's symphonies.

Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9

IMHO best Mahler performe........2005-07-25

I can say, what sound quality and performe of this symphonies is on top,best i ever heard. I'm professional musician,so this is not just a mere words.

Tennstedt's Mahler Cycle: A Best Buy.......2005-03-19

Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.

On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.

My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.

The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).

So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).

Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:

#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.

#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).

#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).

#4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.

#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.

#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).

#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.

#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.

#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.

#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.

Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).

This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.

Challenging, Sensitive, Sincerely Committed Performances........2004-04-05

I have the distinct feeling that, in time, Tennstedt's Mahler will grow in the affections of others as it has with me. Simply put, there is something very authentic about these accounts. The sense of commitment is unquestionable. Generally, the interpretations are thoughtful and emotionally satisfying. Tennstedt often digs deeply to ferret a wealth of detail, which provides substantial rewards, including a broader, more fulfilling connection with Mahler's musical messages. (Listen to the thoroughly captivating reading given of the first movement of the Fourth Symphony or the soulful account of the final movement of the Ninth.) The conductor's characterization of these messages tends to be vivid, yet typically free of emotional excess. This is as true of Mahler's uplifting aspects as it is of his anxiety ridden, sardonic and tragic aspects. Where other sets are concerned, I also like Bernstein in his earlier all-New York Philharmonic endeavor and Kubelik with the BRSO on DG. Any of these three compilations merits high marks. Overall, however, it is difficult to pick a clear winner. Each presents individually moving interpretations. My preferred performances in the Bernstein set are 2-3-4-6-7-9 ; in the Tennstedt set, 3-4-5-7-8-9 ; and in the Kubelik set, 1-2-3-5-7-8-9. (Incidentally, after listening to selected excerpts, I'm anxious to hear some of Kubelik's live and complete performances in his Audite set.).... Sonically, Bernstein's recordings are typically fine (but not the Fifth). Tennstedt's are often clear, detailed and ambient, though sometimes there is a touch of brightness and sharpness. Kubelik's are uniformly good except for occasionally tinny sounding trumpets.... Regarding orchestral execution, I am rarely concerned about what some others allude to as occasional inconsistency in the quality of play demonstrated by the New York Philharmonic's horns. Frankly, there are a few intermittent brass problems with Kubelik's BRSO too. As far as what some cite as the London Philharmonic's tendency toward occasional lapses in concentration, either I don't detect those lapses as much or I tune them out or don't care. Tennstedt's is a wonderful set to own. Obviously, it's not perfect, but it's the kind that augurs for solid quality and satisfaction over the long haul. I have absolutely no serious reservations about warmly recommending it.

Mahler: The Complete Symphonies (Box Set)

Average customer rating:

A Real Surprise
One great performance, some good, some just OK.
A mixed lot, but definitely worth the price

Mahler: The Complete Symphonies (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Brilliant Classics | Amazon.com Label Stores | Stores | Music
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ASIN: B0000713BD
Release Date: 2002-10-29

Customer Reviews:

A Real Surprise.......2005-03-27

I can't imagine anything potentially deadlier than trying to put together an acceptable "complete Mahler" (1-9) with diverse oddball licensed product, especially given the blood-thirsty ferocity of Mahler performance critics and Mahler fans. The folks at Brilliant did a great job with this. I hope somebody got a raise.

I'm not going to slobber over the relative merits of each performance--I found them all good to great with some real standouts. The Vonk 2nd (despite so-so sound) and the Haenchen 6th totally threw me, also the Masur 7th which I liked a lot. Mahlerians are probably going to buy this for the classic Horenstein 3rd, or at least to have fun poking sharp sticks at the other performances. Newcomers wanting, say, a summer vacation drenched in Mahler would do well to buy this set and wait till a little later in life to be fussing over tempos and tuttis. For the price this is probably the best Mahler starter box you'll ever find. It's a terrific gift. Please go for it.

Newcomers should also be wary of getting advice from die-hard Mahler fans. They're a stunningly over-opinionated bunch and no two ever seem to agree on anything, even on what to order for lunch. That sort of says something about something. Fact is Mahler--a late 19th Century artist--was a recent recording era phenomenon and it wasn't until the stereo 60s that his career really started to pick up. This was new music for many, including orchestras, audiences, and conductors, not that long ago. Everyone had their own ideas and there weren't a lot of precedents. Also, fact is that despite Mahler's precautions (his performance instructions are perhaps too detailed) there seem to be many satisfying ways to perform his music. Don't take all the blather too seriously and have fun exploring. If you're like me you'll probably end up with a small collection of equally enjoyable different takes on the music. Sometimes I like my Mahler dry, sometimes schmaltzy, sometimes bombastic. You'll eventually find the Mahler performances that suit you--there are plenty of really good ones out there.

One great performance, some good, some just OK........2004-10-10

I listened to all of these CD's, and sold the ones that I didn't like. Of course, I bought this set for the Horenstein 3rd. You don't get any program notes, but when you have so many recordings of Mahler symphonies and books, you don't need much more. With Bernstein and Riccardo Chailly, Horenstein pretty much trumps the competition. No one can match his coda of the first movement. Simonov's 1st is an extremely erratic interpretation. Tempos are all over the place and there is much fluctuation. Arpad Joo's recording with the Amsterdam Philharmonic is much better than this (and also very cheap!). Vonk's 2nd is also one of the better performances in this set, although the recording levels should have been higher. Gilbert Kaplan, Bruno Walter and Solti still have trumps on this work. The 4th is very lovely in Haenchen's hands, and with the movement "Blumine" lovingly done in the bargain too. Neumann's 5th is ok, but no match for Sinoppoli, Haitink, Walter and Barshai with the Junge Deutsche Philharmonie. Haenchen just doesn't excite me in the 6th. Just very routine. Doesn't come close to Horenstein, Bernstein, or Thomas Sanderling. Mazur does not do very well at all in the 7th. Again, refer to Bernstein and Horenstein. Jarvi's eighth is too fast! Interesting, but I'd rather listen to Tennstedt (his best Mahler recording by far), Solti and Horenstein. In the 9th, Neumann holds his own with a very rare performance with the Leipzig Gwandhaus Orchestra. I have so many 9th's, its very hard to pick one, but the digital Karajan rates high in my estimation. Neumann's is very good, though. If you need Horenstein's 3rd (get it if you don't have it) this would be a great way to get it! Just beware, and use your "Mahler ears" to judge for yourself!

A mixed lot, but definitely worth the price.......2003-12-23

Ryzzard, as usual, has insightful things to say (see his review). Of course, we don't agree on everything!

The surprise is the Vonk performance of the Ressurection. While not the best-engineered performance I've ever heard, it is a very fine performance, showing once again that Vonk is a musician's musician. It's very disappointing that he had to recently step down from his St. Louis post due to health reasons.

Simonov's 1st is surprisingly enjoyable.

Jarvi's 8th is, IMHO, a disaster. I do not think Jarvi is, in general, predisposed to conducting Mahler, and this recording seems to support that belief.

Haenchen's 4th and 6th are, well, really really really good. I've always loved his 6th, and I'm glad I finally got to sample his 4th. An under-rated conductor.

I'm no big fan of Neumann's Mahler, so I won't comment here :) Obviously, it's not a universal opinion.

I admit to not yet hearing Masur's 7th in this set, but I must after reading Ryzzard's review!

Of course, there is the Horenstein 3rd. A performance that more than justifies the modest cost of this set.

The only other sets I can think of that are worth getting are both of Bernstein's (his Sony is discounted; his Vienna version is very expensive), Gielen's (ongoing? completed?) set on Hanssler (also very expensive, but well engineered, and no bad performances that I've heard yet--2nd, 3rd, 4th; I know his 9th from another label). I thought I'd love Sinopoli, but I don't. :( And whatever Horenstein and Scherchen you can get is worth it, esp. Horenstein's 1, and Scherchen's 2nd (WOW!), 5th (preferably Vienna Symphony version, not the French Radio one), and his 7th (OMG, wow! wow! wow!). But this set will definitely provide pleasure for a good price for all the symphonies at once!

AN UPDATE:
This just concerns the 5th symphony, with Neumann and Gewandhaus orchestra. Previously I had indicated that I'm no fan of Neumann's Mahler, but I, shamefacedly, have to admit that the 5th in this set, after reconsideration and a couple of really hard listens, is quite outstanding. Sure, he's a little brusque at times, but the orchestra plays beautifully for him, the recording is well engineered (for example, it doesn't suffer Reverb Syndrome, like many of Masur's recordings with the same group do), and the clarity that Neumann gets from the orchestra in this very contrapuntal symphony is outstanding. Definitely no train wrecks! (if you want to hear a train wreck, check out III in Scherchen's fascinating, if poorly played, recording with the Vienna Symphony--his tempi just overwhelm the poor string players sometimes!). For comparisons, I like Solti's 5th, the aforementioned Scherchen, Slatkin (on a special set not commercially available, sorry! but it's totally awesome!), Barbirolli (when I like it slow). I do not care much for Bernstein's NY Phil recording. Bleah.

So there you have it, another reason to buy this set.

Mahler: The Complete Symphonies & Orchestral Songs / Bernstein

Average customer rating:

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

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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ASIN: B00000DI2T
Release Date: 1998-11-10

Amazon.com essential recording

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

Customer Reviews:

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

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Customer Reviews:

Seductive and ear opening.......2005-08-14

This set is usually underrated for reasons that are understandable. Maazel concentrates so intensely on bringing out details of Mahler's orchestration that the forward momentum and general structure of the piece are often lost. "The forest is lost for the trees", if you will. But what trees! I have never heard orchestral playing like the VPO delivers in these recordings. It's not just a matter of tonal beauty or technical perfection. Every player seems distinguished and is encouraged to play with maximum expression. You couldn't get further away from Karajanian homogeneity.

And like close scrutiny of a painting one has seen only from a distance, one's appreciation of the work is seriously increased.

I'm not sure this set is recommendable as a beginner's choice. But after getting the general rhetoric and dramatics of the pieces from, say, Kubelik or Haitink, it's a great way to get closer to these remarkable symphonies.

Better to think twice!.......2005-02-16

Since they appeared in this complete set two years ago, I listened to these recordings a lot. Some people really like these performances, that's ok, but I agree with what the press wrote 20 years ago when these recordings first appeared. Why?

First of all, they are too analytical, studies and calculated (to quote one other reviewer). OK, I deeply respect that kind of view towards Mahler. I appreciate a rather clear view (although not my favourite). They miss too much inspiration secondly. Go for Boulez if you want a analysed approach!! His interpretation is far more consistent, inspired, better played and recorded, and beautifully clear.
My advise; Analyse it, study it, calculate it, and THEN play it.

Maazel has always been a conductor who raised mixed feelings with me. If you see his conducting, he's always like a policeman guiding the traffic through a symphony. Immediately that has it's repercussions on the orchestra. Distant interpretations and not very involving. His tempi are mostly on the slow side, and sometimes really so slow that all consistency is lost. Listen to the last movement of the 4th symphony, or the last march in the 1st movement of the 3rd symphony. Anyway, he's a capable man who earns the proper respect.
The Vienna Philharmonic is playing fantastic as ever... Although, trombones that enter bars too early (3rd symphony), woodwinds seriously out of tune from time to time. Unequal sounding strings in the later symphonies, one can always accept smaller mistakes, but too much is too much (for me it is). The recording sound is ok, nicely done, but dull if you listen them after another. That's what I did, over and over again, and I came to the conclusion that these Mahler symphonies are like a good piece of pie, but without sugar and 'crème fraiche'. And that's what Mahler needs, a little diabolic shine. How much is a matter of taste.

One more big shame is the booklet. No texts at all, and hardly you get the movement duration indicated, (full of mistakes, by the way). Certain movements take up to 20 more minutes than in reality... also, there is no choir mentioned for the 8th symphony (one of the better performances). Please SONY, correct those mistakes! The price is not low enough to abandon correctness on this!

To conclude, this set cannot match sets like Abbado, Bernstein, Chailly, Ozawa, and even Tennstedt. Partially because of the lack of inspiration, partially because of small technical problems that make it unpleasant to listen this one. Buy it if you collect mahler symphonies. They won't come back soon after this release. SONY has it's reasons not to release this set too often. It's certainly not their best. Although it could have worked. Including the very poor booklet, I gave this one only 1 star, but since that's not the musician's fault, I don't count it.

Stunning.......2003-11-28

I have tried numerous times without success to get this box set (including a rather fruitless series of emails to and from Sony) becuase it is simply a superb achievment. Maazel is profound in his understanding, the VPO is outstanding and the soloists are magnificent. The combination of Norman and Marton in the second is alone worth the price of admission. In the finale of the 2nd you can hear Norman's voice soaring above everyone and everything else--maybe it is just expert miking and mixing, but Norman is probably capable of it. Combine that with a brilliant organ entry and the chills just run up and down your spine. This is the recording to give to a friend--if only you could buy it. The 4th with Battle has always been regarded as one of the outstanding performances. I don't know why Sony makes it so hard to buy the set or buy individual recordings from it. They don't seem to realize what a treasure they are sittiing on.

Provocative Mahler at a Great Price.......2003-11-07

This set is a great bargain and more than holds its own against very stiff competition. I remember that the recordings came in for a fair amount of criticism when they first came out in the 1980s as separate DDD CDs at full price. Basically, reviewers used words like "studied," "calculating," "dispassionately analytical" to assail Maazel for not sounding like Bernstein or Solti or whoever. But after actually listening to these performances, I've come to appreciate the great care Maazel has taken to present these fabulously complex scores. Every tissue, every fiber of Mahler's orchestra "sounds" in these recordings, whereas every other conductor in my experience produces, at times, Mahler performances that bog down in sonic muddle. Plus, I'm beginning to suspect that a number of people like me, who first heard Mahler back in the '60s (when we were very young) courtesy of Mahler pioneers like Bernstein, assume that some sort of "greater Mahler authenticity" attaches to those performances. But, in fact, what we're really remembering is our astonished delight upon hearing this amazing music for the first time. Well, time moves on, and I'm amazed to find that I actually have greater respect for Mahler's achievement when I hear it performed just as music by conductors like Maazel, rather than as weighed down with Deep Meaning and Profound Philosophical Significance (again, Bernstein). At any rate, this set is very well-recorded, played to perfection by the incomparable Vienna Philharmonic, compactly presented and very economically priced. I can't imagine that anyone with an open mind and adventurous ears will regret buying it. If I have one criticism to offer it's that the individual CD sleeves seem kind of flimsy. I'll live with that trivial shortcoming, grateful to have Maazel's revelatory performances assembled so conveniently and priced so attractively.

Amazing Mahler!.......2003-01-10

The combination of Mahler, the VPO, and Maazel is simply astounding! How sad that this cycle never received the recognition that is richly deserves. Maazel's personality as a musician fits Mahler's music like a glove --you may be suprised, shocked, amused, incredulous at what you hear in these performances, but---9 times out of 10, it's what Mahler wrote in the score!!

And the IDIOMATIC sound and playing of the VPO is stunning---that undefinable "rightness" for this music. Add to it the incredible instrumental DETAIL of these recordings -- I truthfully feel that it would be humanly impossible to achieve a higher level of performance than that which is contained in much of this set. (If some of the tempi seem too slow, Mr. Maazel nevertheless justifies every tempo choice in terms of character and intensity--with ONE major exception--see "Sym 3" below).

And even thought this set has it's inconsistencies and mis-fires, it is clearly of major importance and, in some cases, these performances can justfiably claim to be the definitive recorded document of the music.

Sym. 1 ---the two inner movements are amazingly performed. Check out the TRIO section of the 2nd movement-- It's impossible to imagine a more detailed, nuanced, supple performance,---- is Maazel fussing too much with it?---NO--he's just doing what the what the composer's idiomatic writing demands! The outer movements lack only a little power.

Sym 2---The best recorded performance I have heard, bar none! Especially the first movement----absolutely what the composer intended, every step of the way! (The recorded perspective becomes a bit more distant for the Finale)

Sym 3 ---Incredible First movement---awesome (unfortunately, big tam-tam crash at fig.17 is missing. Too bad--up to that point, the passage almost blows you out of your seat!)

Inner movements often do not have the same insight and care as the 1st, and the Finale is, I must say, a big miscalculation. Maazel tries it SLOWER that everybody, and it dies!

Sym 4 --absolutely exquisite. The detail!! The expressive, idiomatic playing (and singing!) Incredible!

Sym 5 -- All around excellent----contrapuntal detail in Finale---unbelievable!

Sym 6 ---despite excellent playing, it somehow fails to ever "catch fire"

Sym 7---1st, 4th, and 5th Movements= unbeatable!! They sound like totally new music----the brilliant sense of characterization--so vivid! Like listening to the music for the first time (Finale especially!) (2nd and 3rd are rather routine)....

Sorry, must stop here because I have never heard the 8th, 9th, or 10th from this set.....but I bet they are great!

Gustav Mahler - Symphonies Complete
Average customer rating:
Gustav Mahler - Symphonies Complete

Manufacturer: Brilliant Classics/Koch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000A28U14
Release Date: 2005-08-02

Mahler: Symphonies 1-10 [complete] / Das Lied von der Erde [12-CD box set] / Tennstedt
Average customer rating:
Mahler: Symphonies 1-10 [complete] / Das Lied von der Erde [12-CD box set] / Tennstedt
London Philharmonic Orchestra
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Symphonies | Forms & Genres | Classical | Styles | Music | Baroque | Classical | General | Modern & 20th Century | Romantic | Sinfonia | Sinfonia Concertante
General | Classical | Styles | Music
ASIN: B00000631U
Release Date: 1998-05-05

Complete Symphonies
Average customer rating:
Complete Symphonies
Mahler , and Frankfurt Radio Symphony Orchestra
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD
ASIN: B000009L0N
Release Date: 1996-10-01

Mahler: 10 Symphonies (Complete Edition) (Box Set)
Average customer rating:

Buy it on the merits of the Third Symphony

Mahler is impressive, even when played with shortcomings

Mahler: 10 Symphonies (Complete Edition) (Box Set)

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
Romantic | Symphonies | Forms & Genres | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
Classical | Box Sets | Stores | Music
ASIN: B000001WVC
Release Date: 1996-10-30

Tracks:

Sym No.1 in D: I. Langsam, Schleppend - Wie Ein Naturlaut - Emil Tabakov/Sofia PO
Sym No.1 in D: II. Kraftig Bewegt, Doch Nicht Zu Schnell - Emil Tabakov/Sofia PO
Sym No.1 in D: III. Feierlich Und Gemessen, Ohne Zu Schleppen - Emil Tabakov/Sofia PO
Sym No.1 in D: IV. Sturmisch Bewegt - Emil Tabakov/Sofia PO

Tracks:

Sym No.2 in c, 'Resurrection': I. Allegro Maestoso - Tiha Genova/Vessela Zorova
Sym No.2 in c, 'Resurrection': II. Andante Moderato - Tiha Genova/Vessela Zorova
Sym No.2 in c, 'Resurrection': III. In Ruhig Fliessender Bewegung - Tiha Genova/Vessela Zorova

Tracks:

Sym No.2 in c, 'Resurrection': IV. 'Urlicht' Sehr Feierlich, Aber Schlicht - Tiha Genova/Vessela Zorova
Sym No.2 in c, 'Resurrection': V. Im Tempo Des Scherzo - Kraftig - Langsam - Misterioso - Tiha Genova/Vessela Zorova

Tracks:

Sym No.3 in d: Erste Abteilung: I. Kraftig. Entschieden - Brigette Pretschner/Bulgarian National Chor 'Svetoslav Obretenov'/Georgi Robev...
Sym No.3 in d: Zweite Abteilung: II. Tempo Di Menuetto.Sehr Massig - Brigette Pretschner/Bulgarian National Chor 'Svetoslav Obretenov'/Georgi Robev...
Sym No.3 in d: Zweite Abteilung: III. Comodo. Scherzando. Ohne Hast - Brigette Pretschner/Bulgarian National Chor 'Svetoslav Obretenov'/Georgi Robev...

Tracks:

Sym No.3 in d: Zweite Abteilung: IV. Sehr Langsam. Misterioso - Brigette Pretschner/Bulgarian National Chor 'Svetoslav Obretenov'/Georgi Robev...
Sym No.3 in d: Zweite Abteilung: V. Lustig Im Tempo Und Keck Im Ausdruck - Brigette Pretschner/Bulgarian National Chor 'Svetoslav Obretenov'/Georgi Robev...
Sym No.3 in d: Zweite Abteilung: VI. Langsam. Ruhevoll. Empfunden - Brigette Pretschner/Bulgarian National Chor 'Svetoslav Obretenov'/Georgi Robev...

Tracks:

Sym No.4 in G: I. Bedachtig, Nicht Eilen - Lyundmila Hadzhieva
Sym No.4 in G: II. In Gemachlicher Bewegung. Ohne Hast - Lyundmila Hadzhieva
Sym No.4 in G: III. Ruhevoll - Lyundmila Hadzhieva
Sym No.4 in G: IV. Sehr Behaglich - Lyundmila Hadzhieva

Tracks:

Sym No.5 in c#: I. Trauermarsch - Emil Tabakov/Sofia PO
Sym No.5 in c#: II. Sturmisch Bewegt, Mit Grosster Vehemenz - Emil Tabakov/Sofia PO
Sym No.5 in c#: II. Scherzo: Kraftig, Nicht Zu Schnell - Emil Tabakov/Sofia PO
Sym No.5 in c#: IV. Adagietto: Sehr Langsam - Emil Tabakov/Sofia PO
Sym No.5 in c#: V. Rondo-Finale: Allegro - Emil Tabakov/Sofia PO

Tracks:

Sym Nr.6 in a, 'Tragic': I. Allegro Energico, Ma Non Troppo - Emil Tabakov/Sofia PO
Sym Nr.6 in a, 'Tragic': II. Scherzo. Wuchtig - Emil Tabakov/Sofia PO

Tracks:

Sym Nr.6 in a, 'Tragic': III. Andante Moderato - Emil Tabakov/Sofia PO
Sym Nr.6 in a, 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - Emil Tabakov/Sofia PO

Tracks:

Sym No.7 in e: I. Langsam ( Adagio) Allegro Con Fuoco - Emil Tabakov/Sofia PO
Sym No.7 in e: II. Nachtmusik Allegro Moderato - Emil Tabakov/Sofia PO

Tracks:

Sym No.7 in e: III. Scherzo: Schattenhaft, Fliessend, Aber Nicht Schnell - Emil Tabakov/Sofia PO
Sym No.7 in e: IV. Nachtmusik Andante Amoroso - Emil Tabakov/Sofia PO
Sym No.7 in e: V. Rondo - Finale: Allegro Ordinario - Emil Tabakov/Sofia PO

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Erste Abteilung: I. Hymnus: 'Veni, Creator Spiritus' - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...
Sym No.8 in E flat 'Sym Of A Thousand': Zweite Abteilung: II. Schlussszene Aus Goethes 'Faust'... - Lyudmila Hadzhieva/Maria Temeshi/Darina Tokava/Tamara Tokac/Boryana Tabakova/Janos Bandi...

Tracks:

Sym No. 9: I. Andante Comodo - Emil Tabakov/Sofia PO
Sym No. 9: II. Im Tempoeines Gemachlichen Landlers - Emil Tabakov/Sofia PO
Sym No. 9: III. Rondo - Burleske. Allegro Assai. Sehr Trotzig - Emil Tabakov/Sofia PO

Tracks:

Sym No. 9: IV. Adagio Sehr Langsam Und Noch Zuruckhaltend - Emil Tabakov/Sofia PO
Sym No. 10: Adagio - Emil Tabakov/Sofia PO

Customer Reviews:

Buy it on the merits of the Third Symphony.......2006-10-16

I have been familiar with this fine orchestra and conductor since purchasing a CD of the Rachmaninoff Third Concerto with this orchestra and conductor over 15 years ago with pianist Santiago Rodrigo, in a superb performance on the Elan label. I was pleased to learn this orchestra and conductor (I recommend visiting Mr. Tabakov's website) also recorded a complete Mahler symphony cycle, available at super-budget price on the German Capriccio label. I was recently in the market for a recordings of the Mahler Third, as my local community orchestra is playing this work shortly, so could not resist buying the whole cycle for little more than than the price of two full-priced Thirds.

I can recommend this set on the basis of listening to the Third Symphony only, so far. Engineering is quite satifactory (nice sound stage)and I enjoyed the performance (all the recordings in this set date from about 1990) and look for