Mahler: Das klagende Lied

Editorial Reviews
Amazon.com essential recording
Tilson Thomas plays the now traditional edition of the work that unites the original Part One with the revised versions of Parts Two and Three. Now that the originals of the second and third parts are in print, it's possible to do the whole thing in Mahler's original version, but this will always be a matter of personal choice. And though musical scholars now have another cause to yak about, in a performance as good as this one, it really doesn't matter. Thomas has clearly thought hard about how this music should be played, and he has his singers and players attacking the music with blazing conviction. This is the finest available recording of this work in this edition. --David Hurwitz

Tracks:

Das Klagende Leid-Song Of Lagment-Complainte: Waldmarchen-Forest Tale- Histoire de la feret Langsum und traumerisch
Das Klagende Leid-Song Of Lagment-Complainte: Der Spielman-The Minstrel-Le Menstrel Sehr gehalten
Das Klagende Leid-Song Of Lagment-Complainte: Hochzeitsstuck-Wedding Piece-Le Mariage Hefig Bewegt

Amazon.com essential recording

Tilson Thomas plays the now traditional edition of the work that unites the original Part One with the revised versions of Parts Two and Three. Now that the originals of the second and third parts are in print, it's possible to do the whole thing in Mahler's original version, but this will always be a matter of personal choice. And though musical scholars now have another cause to yak about, in a performance as good as this one, it really doesn't matter. Thomas has clearly thought hard about how this music should be played, and he has his singers and players attacking the music with blazing conviction. This is the finest available recording of this work in this edition. --David Hurwitz

Customer Reviews:

MTT leads an exciting but lightweight Klagende Lied with variable singers.......2006-08-10

Although Mahler enthusiasts enjoy it, the youthful Klagende Lied hasn't found a concert audience--or much of one at Amazon, to judge by the lack of reviews for this CD. Tilson Thomas made it in 1997 when he was a PR darling in San Francisco, and it was a brave choice. His reading of the original three movements is crisply played and features a good deal of excitement, but it's all revved up on the surface. We get little sense of fantasy and mystery, which are crucial.

Also, despite the lovely singing of a youthful Michelle DeYoung, the other soloists are variable--Leiferkus sings clotted German with a Slavic timbre, and the tenor, Thomas Moser, sounds strained and baritonal. This was the first Klagende Lied I ever heard, and I'm grateful to have moved on to more convincing versions, such as Boulez's 1970 recording on Sony.

A fine recording of a rare masterpiece.......2000-03-27

This recording of Das Klagende Lied is one the finest available. The conducting by Tilson Thomas has good insight and honest emotion...the former quality lacking in many of his performances. Thomas has the San Francisco ensemble in fine form. The orchestra sounds very good, though at times one wants more strings and the woodwinds to play with a quality that does'nt vanish in full enesmble tutti sections.

The sing is some of best given to this work. At times however Thomas Moser sounds strained...mostly in the high range. The choral work is outstanding in everyway.

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

Mahler: Das Klagend Lied

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Classical | Imports | Stores | Music
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Des Knaben Wunderhorn
Mahler: Symphonie No. 1
Des Knaben Wunderhorn
Mahler: Symphony No. 9
Mahler - Symphony 10 / Berliner Philharmoniker · Rattle

ASIN: B000006DEA
Release Date: 2000-10-10

Tracks:

Das klagende Lied: I Waldmaerchen
Das klagende Lied: II Der Spielman
Das klagende Lied: III Hochzeitsstuck

Maher: Das Klagende Lied, Lieder/ Fassbaender/DSOB/Chailly

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A Great Klagende Lied

Maher: Das Klagende Lied, Lieder/ Fassbaender/DSOB/Chailly
Mahler , Schmidt , Fassbaender , Chailly , and Brso
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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Mahler's Songs of Youth
Mahler: Des Knaben Wunderhorn
Prokofiev: Romeo and Juliet
Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al
Mahler: Symphony 5

ASIN: B00008MLU0
Release Date: 2003-10-13

Tracks:

Das Klagende Lied - Beim Weidenbaum, Im Klen Tann
Das Klagende Lied - Ein Spielmann Zog Einst Des Weges Daher
Das Klagende Lied - Ach Spielmann, Lieber Spielmann Mein!
Rkert-Lieder - Blicke Mir Nicht In Die Lieder
Rkert-Lieder - Ich Atmet' Einen Linden Duft
Rkert-Lieder - Um Mitternacht
Rkert-Lieder - Liebst Du Um Schheit
Rkert-Lieder - Ich Bin Der Welt Abhanden Gekommen
Songs From "Des Knaben Wunderhorn" - Des Antonius Von Padua Fischpredigt
Songs From "Des Knaben Wunderhorn" - Das Irdische Leben
Songs From "Des Knaben Wunderhorn" - Urlicht
Lieder Eines Fahrenden Gesellen - Wenn Mein Schatz Hochzeit Macht
Lieder Eines Fahrenden Gesellen - Ging Heut' Morgen ers Feld
Lieder Eines Fahrenden Gesellen - Ich Hab' Ein Glend Messer
Lieder Eines Fahrenden Gesellen - Die Zwei Blauen Augen Von Meinem Schatz
Kindertotenlieder - Nun Will Die Sonn' So Hell Aufgeh'n
Kindertotenlieder - Nun Seh' Ich Wohl, Warum So Dunkle Flammen
Kindertotenlieder - Wenn Dein Mterlein
Kindertotenlieder - Oft Denk' Ich, Sie Sind Nur Ausgegangen
Kindertotenlieder - In Diesem Wetter

Customer Reviews:

A Great Klagende Lied.......2004-10-21

This twofer combines two earlier, separate sets. It deserves five stars for the one of the discs. This is also the reason for grabbing it as soon as possible (if you do not have it already): Chailly's excellent rendition of Mahler's youth cantata, Das Klagende Lied. A bunch of fine singers contribute to this great performance: Susan Dunn (soprano); Brigitte Fassbaender (mezzo-soprano); Markus Baur (boy soprano); Werner Hollweg (tenor); Andreas Schmidt (bass). The orchestra is Deutsches Symphonie-Orchester Berlin
and Städtischer Musikverein Düsseldorf provides the choir. In all respects, this is the first choice among Klagende Lieds. Chailly's interpretation is sensitive to the drama of Mahler's youth score, and the orchestra and vocalists are all in top form. Moreover, the recording is very good, spacious and dynamic.

The second disc contains the Mahler song cycles for solo voice and orchestra. Brigitte Fassbaender sings well. But her interpretation is no match for Janet Baker's outstanding performance, which we have in the classic Barbirolli set (EMI). A fine (but not great) performance, though, and one could do a lot worse.

To sum up: Strongly recommended for Das Klagande Lied.

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Gustav Mahler: Das klagende Lied
Waltraud Meier , Cheryl Studer , and Shin-Yuh Kai Chorus
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000001GFZ
Release Date: 1993-01-19

Mahler: Symphony No.10 (Adagio); Das Klagende Lied [Australia]

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Mahler: Symphony No.10 (Adagio); Das Klagende Lied [Australia]
Haitink , and Royal Concertgebouw Orchestra
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00006IKZ3
Release Date: 2002-01-28

Tracks:

Das Klagende Lied - Beim Weidenbaum, Im Kuhlen Tann
Das Klagende Lied - Ein Spielmann Zog Einst Des Weges Daher
Das Klagende Lied - Ach Spielmann, Lieber Spielmann Mein
Das Klagende Lied - Von Hohen Felsen Erglanzt Das Schlo
Das Klagende Lied - Was Ist Der Konig So Stumm Und Bleich
Das Klagende Lied - Ach Spielmann, Lieber Spielmann Mein
Das Klagende Lied - Auf Springt Der Konig Van Seinem Thron
Das Klagende Lied - Ach Bruder, Lieber Bruder Mein!
Symphony No. 10 In F Sharp Minor - Andante - Adagio

Average customer rating:

Of scholarly and musical interest - worthwhile!
A must-have for fans of Mahler, Wagner, or Mendelssohn
The earliest Mahler, in the best available performance.
Best perfomance of "Das klagende Lied" I ever heard.

Mahler: Das Klagende Lied
Gustav Mahler , Halle Orchestra and Choir , and Kent Nagano
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000007RXP
Release Date: 1998-07-14

Tracks:

The Plaintive Song: Forest Legend: Es war eine stolze Konigin
The Plaintive Song: Forest Legend: Zwei Bruder zogen zum Walde hin
The Plaintive Song: Forest Legend: Der Junge zieht durch Wald und Haid
The Plaintive Song: Forest Legend: Du wonnigliche Nachtigall
The Plaintive Song: Forest Legend: Ihr Blumen, was seid ihr vom Thau so schwer?
The Plaintive Song: The Minstrel: Beim Weidenbaum im kuhlen Tann
The Plaintive Song: The Minstrel: Ein Spielmann zog einst des Weges vorbei
The Plaintive Song: The Minstrel: Der Spielmann setzt die Flote an
The Plaintive Song: Wedding Piece: Vom hohen Felsen erglanzt das Schloss
The Plaintive Song: Wedding Piece: Was ist der Konig so bleich und stumm!
The Plaintive Song: Wedding Piece: Ach Spielmann, lieber Spielmann mein

Amazon.com

This unbelievably exciting record is actually a Mahler world premiere! Das klagende Lied was Mahler's first great work--he was only 18 when he wrote it--but he later removed its first part and extensively revised the remaining two. The original versions of the second two parts, then, have never been performed until their release in 1997 as part of the new critical edition. The music is, as might be expected, less polished than the revision, but it's also wilder and even more powerful in many respects. Hopefully it will gain new attention for this neglected but totally characteristic work. This performance is nothing short of spectacular, and makes the best possible case for Mahler's original thoughts. --David Hurwitz

Customer Reviews:

Of scholarly and musical interest - worthwhile!.......2005-08-16

First of all, no matter which recording or version you choose, no lover of Mahler's music should be without this piece. Far from being a precocious effort that demands attention for purely documentary reasons, it is a captivating and beautiful piece of music in its own right, that sounds as truly Mahlerian as anything that came after it. In fact, several ideas went more or less unalterered into the First Symphony; e.g., the music heard at the fall of the kings castle returns at the main point of crisis in the finale of the symphony.
Das Klagende Lied recounts a bitter, Grimm-like fairy tale, and envelops the listener in a haunting, darkly Romantic and highly theatrical soundworld. The opening of Part II puts you straight in the middle of a nocturnal forest and is chilling to the bone - it also has an interesting parallel almost at the diametrically opposite end of Mahler's career, in the phrase 'Es wehet kühl' from Das Lied von der Erde. Only the cumbersome transitions, the fragmented way in which brief passages are strung together, betray that the 19 year old composer was learing the trade as he went along; but melodies are instantly memorable and the orchestration is lively and daring, even in the Ur-version recorded here by Nagano and his team. In fact, though the orchestration of the revised edition is clearly more balanced and effective, it also appears to be more conservative than the original.
Das Klagende Lied started out consisting of three parts. In 1893 Mahler, who remained fond of the piece, set about revising the score to iron out its more glaring immaturities. He revised all three sections, but eventually decided to drop the first, Waldmärchen, altogether. As a consequence, three versions of the piece now exist in several recordings: the official, two-part revised edition; the original three-part version; and a hybrid that adds the revised version of Waldmärchen to the two-part revised edition.
If it is Mahler's original thoughts that you're after, this recording is for you. And if you already own the later version of the piece, this disc makes for some fascinating comparative listening that allows deep insight into Mahler's development as a composer. Differences are plenty and obvious. For instance, in the Ur-version the Fernorchester makes an appearance in the second part, which is as startling as it is brief: it is, in fact, fully bitonal, and must have been deeply shocking to the judges of the competition in which Mahler entered his work. Ives is the only comparison that springs to mind to describe the effect. In the third part, the Fernorchester is more extensively present, too. And the opening of this 'Hochzeitsstück' sports an almost Varèse-like use of the tam-tam, not heard in the revised edition. In the earlier version, melodic gestures (as well as the text, for that matter) tend to be more florid, the role of the chorus is somewhat smaller, and solo's are given to different voices than in the final version. Thirteen years of added compositional, and, probably more importantly, conductorial experience, have also made the composer less obsessed with thematic unity. In the initial version, just before the final catastrophy, the soprano sings: 'Am boden liegt des Königs Gemahl', set, incongruously, to the Spielmnann's lusty marching tune. In the later version, this was changed into the tenor's brilliantly matter of fact statement 'Am boden liegt die Köningin', which retains no more than the vaguest outline of that tune, making it simpler, yet more meaningful as well. This probably best exemplifies the general difference between the versions: the later one is less cumbersome, less forced, less deliberately clever, too. It is also less inclined to linger, more successful in retaining forward momentum. It's the difference between the confident, mature composer, and the student a little overeager to prove he is the most gifted of his class.
There is no real competition for Nagano's disc, but he has to contend with some formidable recordings of the later edition - notably Chailly's, which really leaves nothing at all to be desired (well, except a less shockingly hideous design for its cover). If you only need one recording of the piece, that is the one to have. However, even in such company, the Erato recording stands up very well. Compared to Chailly it is softer grained, less biting, and has less detail; the chorus and soloists are perhaps a tad too distant, and the Fernorchester most certainly is. Yet its more relaxed approach is persuasive in its own right. The sound is warm and pleasing, and the playing and singing are excellent throughout - the performance of the two Wiener Sängerknaben soloists, in particular, is stunning.

A must-have for fans of Mahler, Wagner, or Mendelssohn.......2003-10-30

This cantata doesn't get as many public performances as Mahler's symphonies do, but there's absolutely no good reason for that! Musically, it's just as good as, if not better than, many of his symphonies. Nagano leads the performance expertly, and no member of the cast failed to impress.

The earliest Mahler, in the best available performance........2001-05-03

Gustav Mahler called "Das klagende Lied" his Opus 1, and with good reason. Written while he was a teenage student at the Vienna Conservatory, it - in its original version as performed here - was submitted by him for the annual (and required) students' Beethoven Competition.

The history of this work would have been far different had Mahler won that competition. (The record shows that he lost to Robert Fuchs, who went on to become, as an adult, the teacher of Franz Schmidt, apparently Fuchs' only other claim to fame.) Because Mahler did not win, there was no opportunity for him to provide a concert presentation of the work at that time. Subsequent (and youthful) efforts to get others (including Franz Liszt) to consider performing the original version bore no fruit, so Mahler went about editing and rewriting the work to eliminate the "theoretical" weakness which, he was advised, led to the original rejection: The fact that part of the narrative story appears in both the first part ("Waldmärchen" or Forest Legend) and in the second part ("Der Spielmann" or The Minstrel).

To remove this objection to what was in fact not much more than a "theoretical" tautology, Mahler, some dozen years after initially conceiving the work, eliminated "Waldmärchen" entirely, and recast both music and lyrics to eliminate inconsistencies which resulted from the "Waldmärchen" elimination and to restore some - but far from all - of the vital elements which had been in "Waldmärchen." It was this two-movement version, first completed in 1893 (but dated as "1899" and later revised in 1902), which was the first realized performance of "Das klagende Lied." The 1899 two-movement version restores the off-stage village band in the true original (now referred to as the 1880 version) which had been eliminated in the 1893 version.

There are recorded performances of both the 1899 version and a "hybrid" version which restores the "Waldmärchen" movement to its rightful place before the two movements of the 1899 version. This latter hybrid version is flawed because it restores the first movement as Mahler wrote it but does not restore the second and third movements to their pre-1893 content, which presents an entirely different tautology, which Mahler would certainly not have allowed, much less committed himself. Nevertheless, there are three quite recent recordings (by Michael Tilson Thomas, Riccardo Chailly and Richard Hickox) which utilize this hybrid. They are all fine, but...

Kent Nagano, in this performance under review, fully and faithfully restores the original "urtext" that Mahler had written as a student and which had been buried in personal archives for decades before being uncovered in 1969, virtually 90 years after being first written. And it is a revelation in terms of what it reveals of Mahler the composer who had in front of him a further 30 years of works yet to be written.

That the young Mahler "wrote what he heard in his head" goes without question; one need only listen to his 1st Symphony to get this sense. That he had this acumen, and the craft, to write such a sui generis work as "Das klagende Lied" while still a teenager is quite mind-boggling. This work looks both backward, to the Wagner of "Meistersinger," and forward, to the later Mahler, of course. What is particularly tantalizing, to this Mahlerite, about Nagano's performance, is that Nagano makes it quite clear (without exaggerating for sake of example) that the Mahler of 1880 has, in a brief passage in "Waldmärchen," something of the likes that the equally young Richard Strauss would write fully eight years later, in his "Don Juan." It is almost as if Mahler "wrote it, said `That's nice,' and then moved on, fully past the Strauss yet to come, to become `Mahler, not Strauss'."

Even more revelatory, revealed in the "urtext" version, are the polytonal and polyrythmic effects created by the off-stage village band heard in "Der Spielmann." One of the very best examples of "writing what he heard in his head," to be duplicated not so many years in the future by that great American iconoclast Charles Ives. That these two sui generis composers had almost identical instincts in terms of "sonic realizations of the external world" is surprise enough; there was no reason, and no real chronological opportunity, for either to have been aware of the other. But, many years later, when Mahler was returning to Vienna from New York near the end of his life, he carried with him one of the two or three original hand-written scores for Ives' 3rd Symphony. He never lived to perform it, but it's my guess that he recognized that Ives, in some way, was cut from the same bolt of cloth.

You'll not find a better-performed "Das klagende Lied." And you'll not find another performance (at least not yet) of what Mahler wrote as a teenager and then retrospetively denoted as his "Opus 1." A "must have" for anyone who is a Mahlerite.

A parting comment to readers: I have been known to recommend an album on the basis of the perfection of just a single track. But never, in my wildest imagination, did the thought cross my mind that an album be recommended for purchase on the basis of the quality of its booklet notes alone. But the notes for this album are special indeed, and include the filling in of a good part of heretofore-unknown history about Mahler's conservatory days by Herta Blaukopf (the co-author, with Kurt Blaukopf, of the wonderfully readable "Mahler: His Life, Work and Word" [available elsewhere at Amazon.com]), a very detailed essay by Reinhold Kubik on the history and various versions of the work, and an equally detailed explanation about the work, by Donald Mitchell.

Bob Zeidler

Best perfomance of "Das klagende Lied" I ever heard........1998-10-01

Kent Nagano is the first one to conduct the original version of "Das klagende Lied". Others like Pierre Boulez -- who also did an exceptionally good job -- combined the first part (later deleted by Mahler) with the revised version of the second and third part. Thus, there are inconsistencies in the lyrics and in the development of the musical ideas. These inconsistencies are gone on this CD. The music is more powerful, more genuine and shows the young Gustav Mahler being already a master of orchestration and musical invention. From now on there are only two valid versions of "Das klagende Lied" for me. Either the Mahler-revised two-part version or the original one presented by Kent Nagano on this CD.

Average customer rating:

Das Klagende Lied
Mahler , and Rattle
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000005GHH
Release Date: 1993-01-12

Average customer rating:

Feel difficult on Mahler? You can start here.

Mahler: Das klagende Lied

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000E45G
Release Date: 1992-02-11

Customer Reviews:

Feel difficult on Mahler? You can start here........2003-12-02

I ran into Mahler's world when I have had a chance to perform Mahler's 8th in the chorus. Yet for casual ears it is difficult to enjoy the beauty from the massive symphony. This one is a good starter.

Gustav Mahler: Das Klagende Lied [Complete Version] Hickox, Bournmouth

Average customer rating:

Inexpensive rendition of less common 'Orchestral songs'

Gustav Mahler: Das Klagende Lied [Complete Version] Hickox, Bournmouth

Manufacturer: Musical Heritage Society
ProductGroup: Classical
Binding: Audio CD
ASIN: B000KAA9CO

Product Description

1 - Waldmarchen (Forest Legend) 2 - Der Spielmann (The Minstrel) 3 - Hochzeitsstruck (Wedding Piece) Includes 18 page booklet with text in German and English SPARS code: DDD

Customer Reviews:

Inexpensive rendition of less common 'Orchestral songs'.......2007-02-10

'Das klagende Lied' seems to be the least commonly performed of Mahler's 'orchestral songs', a genre he seems to have invented out of the more traditional 'oratorio' form. I have many version of 'Das Lied von der Erde', 'Kindertotenlieder', 'Ruckertlieder', and 'Lieder eines Fahrenden Gesellen', but only this rendition of 'Das klagende Lied', which is a shame, since the work is far more interesting than, for example, the morbid 'Kindertotenlieder'. It has the sommon Wagnerian influence, but it seems more interesting than most of the other works, and even better, comes in as the longest, even longer than 'Das Lied von Der Erde'.

I suspect other renditions are as good or better, but if you just want to fill out an odd corner of your Mahler collection, this rendition will do so without a big hit in your pocketbook.

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