Gustav Mahler: Kindertotenlieder

Editorial Reviews
Album Description
Rückert wrote 425 Kintertotenlieder; Mahler chose but five. It is interesting to note that each poem Mahler chose to set to music deals with light and darkness, symbolizing eternal life and hope, versus despair and death, in both the literal sense and the literary sense.

This song cycle is one of immense comfort, and is one of the high-points of late-Romantic orchestral songs. To those people who think that Mahler's music is death-laden music written by a death-obsessed neurotic: Listen! Mahler tried to encompass the world in his music, and death is an indivisible part of life. Given the circumstances he lived in, he could have chosen to write nothing but self-pitying music. But in his music and in his Kindertotenlieder, Mahler aims to uplift, to comfort, to offer solace and friendship to those who have ever been sad, or distraught, or in despair, or disappointed. Listen to it, be touched, be comforted.

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Great price, great compilation. Lot of Mahler.

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

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

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

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

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

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

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

Average customer rating:

Great Mahler and Bernstein, not so great lieder
short recommendation
Groundbreaking performance! But sound quality...
Bernstein in an Historical Recording of Mahler's Third Symphony
very good overall

Mahler: Symphony No. 3 / Lieder

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JQGV
Release Date: 1999-07-27

Tracks:

Symphony No. 3 In D Minor: Part One - Movement I: Kraftig. Entschiedne
Symphony No. 3 In D Minor: Part One - Movement I: Langsam. Schwer
Symphony No. 3 In D Minor: Part One - Movement I: Tempo I
Symphony No. 3 In D Minor: Part One - Movement I: a tempo
Symphony No. 3 In D Minor: Part One - Movement I: Immer dasselbe Tempo (Marsch). Nicht eilen
Symphony No. 3 In D Minor: Part One - Movment I: Imalten Marschtempo (Allegro moderato)
Symphony No. 3 In D Minor: Part One - Movement I: Tempo I
Symphony No. 3 In D Minor: Part Two - Movement II: Tempo di Menuetto. Sehr massig
Symphony No. 3 In D Minor: Part Two - Movement II: a tempo
Symphony No. 3 In D Minor: Part Two - Movement II: Ganz plotzlich gemachlich. Tempo di menuetto
Symphony No. 3 In D Minor: Part Two - Movement III: comodo. Scherzando. Ohne Hast
Symphony No. 3 In D Minor: Part Two - Movement III: Wiedersehr gemachlich, wie zu Anfang
Symphony No. 3 In D Minor: Part Two - Movement III: Etwas zuruckhaltend - Sehr gemachlich
Symphony No. 3 In D Minor: Part Two - Movement III: Tempo I. Mit geheimnisvolles Hast!
Symphony No. 3 In D Minor: Part Two - Movement III: Wieder sehr gemachlich, beinahe langsam
Symphony No. 3 In D Minor: Part Two - Movement IV: Sehr langsam. Misterioso. Durchaus ppp
Symphony No. 3 In D Minor: Part Two - Movement IV: Piu mosso subito
Symphony No. 3 In D Minor: Part Two - Movement V: Lustig im Tempo und keck im Ausdruck

Tracks:

Symphony No. 3 In D Minor: Part Two - Movement VI: Langsam. Ruhevoll. Empfunden
Symphony No. 3 In D Minor: Part Two - Movement VI: Nicht mehr so briet
Symphony No. 3 In D Minor: Part Two - Movement VI: Tempo I. Ruhevoll!
Symphony No. 3 In D Minor: Part Two - Movement VI: a tempo (Etwas bewegter)
Symphony No. 3 In D Minor: Part Two - Movement VI: Tempo I
Symphony No. 3 In D Minor: Part Two - Movement VI: Langsam. Tempo I
Three Ruckert-Lieder: Ich atemt einen linden Duft
Three Ruckert-Lieder: Ich bin der Welt abhanden gekommen
Three Ruckert-Lieder: Um Mitternacht
Des Knaben Wunderhorn: Das irdische Leben
Kindertotenlieder: Nun will die Sonn so hell aufgehn
Kindertotenlieder: Nun seh ich wohl, warum so dunkle Flammen
Kindertotenlieder: Wenn dein Muterlein
Kindertotenlieder: Oft denk ich, sie sind nur ausgegangen
Kindertotenlieder: In diesem Wetter

Customer Reviews:

Great Mahler and Bernstein, not so great lieder.......2007-02-13

This CD package has a superb interpretation of a Mahler symphony by one of his best interpreters (see other reviews) with a few bits and pieces of his lieder suites tacked on at the end by B list performers. This is a great buy if you can get it at a bargain price for a single disk, not at a premium price.

short recommendation.......2006-05-10

There are numerous fine performances of Mahlers 3rd symphony, to name a few of my favourites:
Kubelik (DG and Audite), Haitink (RCO studio and live), Boulez (DG).

This performance by Bernstein ranks at the top in my opnion
(Which I like best I don't know, probably Kubelik live or Haitink live)

Never did I hear Bernstein give such a natural reading of a Mahler symphony, his spontaneity this time is more subtle, it doesn't interfere with the music or with the natural pulse of the music.
I particuarly am very impressed with the performance of the second and 3rd movement. (my favourite movements of this symphony), the right balance between refinement, subtlety (beauty of tone) and sharper edges, brighter colors.

(The perfect balance between Haitink and Kubelik if you like)

The sound of this recording however isn't that good...

Groundbreaking performance! But sound quality..........2000-07-19

Bernstein's performance of Mahler's 3rd is groundbreaking! Truly powerful! But the quality of the sound can be a little distracting from time to time. You hear that "sshhhh" sound throughout the symphony. Don't get me wrong. This is the best performance of the 3rd that you can pay for. The next best thing would have to be London/Decca's Solti interpretation. The performance is top notch and the sound quality is crisp and clear. I have to admit the third is my true favorite. If you're going to enjoy it on CD, either find another excellent Bernstein interpretation of Mahler's third, or buy London/Decca's Solti interpretation.

Bernstein in an Historical Recording of Mahler's Third Symphony.......2000-05-21

Bernstein is rightly regarded as the conductor who championed all of Mahler's symphonies in the 1960s when most were unfamiliar to audiences. That so many Mahler symphonies appear each year on every American orchestra's schedule is one of the great, but often overlooked, Bernstein legacies. His recordings of all the Mahler symphonies in the 1960s was an historical landmark, and the lesser-known of the symphonies (such as the 3rd, 6th, and 9th) had the most to gain by their new found exposure at the hands of a master conductor at the top of his form.

The New York Philharmonic musicians in 1961 were probably far less familiar with the long and complicated Mahler's 3rd than they are today. As an apparent result, there are many places throughout the performance where everything doesn't quite line up correctly. There are several key, extended solos in the 3rd symphony---the violin and posthorn (trumpet) solos are outstanding, but the trombone solo suffers from inconsistent intonation (as do the trumpet and horn sections elsewhere).

The orchestra plays quite well throughout---particularly the woodwind section---and Bernstein leads them in a well constructed and often joyous performance. The first movement has a very nice pace to it and an exciting ending. The 3rd movement, however, seems a bit labored and slow, rather than rolling along with the lilting pastoral feeling at its heart. The finale is extremely successful in Bernstein's hands, with a slow and measured pace leading up to a gorgeous climax.

At times Bernstein seeks the broad gesture instead of carefully crafted ensemble work from his musicians. I had very high expectations of this recording when I purchased it, primarily because it has been so favorably mentioned over the years. The recording is exciting and well worth investigating, but I was still slightly disappointed that it did not live up to my hyped-up expectations.

While this recording may be of particular interest to Bernstein fans or Mahler afficionados, it is not the best recording of the 3rd symphony around. Better to buy Horenstein's with the London Symphony Orchestra or James Levine's with the Chicago Symphony Orchestra; apparently Salonen's recording with the Los Angeles Philharmonic Orchestra is fine, but I was not overwhelmed when I heard them perform the work live.

The recording is supplemented by a series of songs: one from Des Knaben Wunderhorn (another poem from this set is used in the 5th movement of the 3rd symphony); the three Rueckert-Lieder; and the desolate Kindertotenlieder. All are well sung by Jennie Tourel and convey the beauty of Mahler's compositional style even in the shorter forms.

very good overall.......2000-01-20

Interpretively this is an excellent recording. Bernstein broke a lot of new ground with this release in the 60's. The ensemble is not as good as in Bernstein's second version, but the many of the solos and the general sound of the orchestra are better in this version. One thing that surprised me was two audible coughs, one in the first movement and one in the last. Considering this is a studio recording this is very surprising. Overall, this is a great recording to own, but if you only want one version of this, there are other performances available that are more insightful. check out Bernstein's second recording, Salonen's new recording with the LA Phil, Horenstein's with the London Symphony, or Lopez-Cobos's with the Cincinnati symphony.

Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al

Average customer rating:

Highest level of collaboration
Forever Dame Janet Baker
Deeply sympathetic, lavishly beautiful Mahler ...
What else can I say?
Five Stars for Songs of a Wayfarer

Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al
Sir John Barbirolli , Janet Baker , and Halle Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Schubert: 24 Lieder

ASIN: B00000IOBY
Release Date: 1999-05-04

Tracks:

Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
Kindertotenlieder: Nun seh' ich wohl, warum so dunkle flammen
Kindertotenlieder: Wenn dein Mein tritt zur Tein
Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen!
Kindertotenlieder: In diesem Wetter, in diesem Braus
5 Ruckertlieder: Blicke mir nicht in die Lieder!
5 Ruckertlieder: Ich atmet' einen linden Duft!
5 Ruckertlieder: Um Mitternacht
5 Ruckertlieder: Liebst du um Schit
5 Ruckertlieder: Ich bin der Welt abhanden gekommen
Lieder Eines Fahrenden Gesellen: Wenn mein Schatz Hochzeit macht
Lieder Eines Fahrenden Gesellen: Ging heut morgen ubers Feld
Lieder Eines Fahrenden Gesellen: Ich hab' ein gl Messer
Lieder Eines Fahrenden Gesellen: Die zwei blauen Augen von meinem Schatz
5 Rlieder: Ich bin der Welt abhanden gekommen

Customer Reviews:

Highest level of collaboration.......2007-02-24

I would only add that the orchestral accompaniment on this recording is just astoundingly sensitive, spontaneous and full of life. These are musicians who know how to listen. The responsiveness of the orchestra to the soloist reminds me of some of the greatest jazz improvisations. I've listened to this recording for 30 years and it continues to amaze me.

Forever Dame Janet Baker.......2006-04-19

Certain artists have become closely identified with the music of Gustav Mahler, especially singers who have not only the vocal technique required to make it through his tough pieces, but who also have a majesty of poetry that allows Mahler's angst to sing. Chief among the growing throng of Mahlerites remains Dame Janet Baker. Baker may not possess the most beautiful of voices ever created, but her intelligence, technique, and sensitivity to text and musical line is unmatched.

These recordings of three of Mahler's song cycles are radiant examples of Baker at her peak. Accompanied by Sir John Barbirolli conducting the Halle Orchestra, this is Mahler 'as good as it gets'. Baker makes the 'Kindertotenlieder' as poignant as any singer ever has. Her performance of the 'R?ckert Lieder' (this time with the New Philharmonia Orchestra under Barbirolli's tender leadership) is staggeringly beautiful: "Ich atmet' einem linden Duft" floats in the ether of Mahler's most tender writing.

But in this recording the bravas belong to Baker's interpretation of 'Lieder eines fahrenden Gesellen', a performance so near perfection that it challenges recall. Listen to 'Die zwei blauen Augen von meinem Schatz' and see if tears can be avoided. The marriage between Baker and Barbirolli is as fine as any ever recorded (and there are many excellent recordings from which to choose!). This recording is a Mahler lover's delight, but it is also a recording to introduce music lovers who may not embrace Mahler's music yet. It truly merits inclusion in this Greatest Recordings of the Century collection. Highly recommended on every level. Grady Harp, April 06

Deeply sympathetic, lavishly beautiful Mahler ..........2006-02-27

Dame Janet Baker, that name is legend in Mahler, and one could never doubt the towering artistry of her singing here, especially as combined with the lavish orchestral playing under Sir John Barbirolli on these classic recordings. All the artists on this recording really revel in the beauty and emotions of Mahler's music, Sir John and Dame Janet both making the most of all the notes, really making the music bloom to the full. Dame Janet's singing is as full of tone and as emotionally involved as is humanly possible in these songs. Only a few other singers could ever match her intesity and beauty, but to this listener, the renderings of all of the same Lieder by Anne Sofie von Otter (with Gardiner and Boulez) are certainly on par with Dame Janet Baker's. As for the baritones, I have a special affection for the warmly affecting renderings by Andreas Schmidt (with Jesus Lopez-Cobos on Telarc).
If the reader would allow me to make a point by comparing this album with another album to (re)affirm (if that would ever be necessary!, but please allow me to indulge ...) its gigantic stature, then these Mahler songs as recorded here by Janet Baker are certainly the equivalent of the equally famous and equally gourgeous Schwarzkopf/Szell/Strauss Lieder-album.
Be that as it may, if you love, or even just 'like' Mahler, the this album is essential hearing ...

What else can I say?.......2004-03-04

This is truly an incredible cd. Dame Janet Baker was a great artist, who some reviewers said was a singing actress on the level of Callas, but without the ugly top notes. When she undertook a role or a song, she completely invested herself in it. Her retirement was, for me, a very sad day.

In the Kindertotenlieder, she is a bereft mother, crushed by the loss of her children. While each song is heartbreaking in its own way, she still manages to reach even deeper in the final song, "In diesem Wetter, in diesem Braus" in which the mother, driven mad by her loss, laments that her (dead) children should not be out in the storm raging outside.

In the Lieder eines fahrenden Gesellen, she is a completely different character, a lonely wanderer, encompassing a wide range of emotions. Most striking to me was the distraught "Ich hab' ein gluhend' Messer", where, even if you don't know German or have the translation in front of you, you know that this is a person in pain.

To me, however, the greatest triumph on this cd is the Five Ruckert Lieder, in which Dame Janet goes from strength to strength. "Um Mitternacht" is absolutely soul-stirringly magnificent, but the crown jewel is "Ich bin der Welt abhanden gekommen", which is incredibly moving. It is otherworldly in a way that only one who has forsworn the world could know.

If you don't know the artistry of the great Dame Janet Baker, there are few better places to start. Be warned, however, that this is not music to be played when you are depressed!

Five Stars for Songs of a Wayfarer.......2004-01-29

The Songs of a Wayfarer song cycle is a great entry point into Mahler, and also into classical song. The tunes are simple [yet profound] and easy to comprehend.

Mahler's orchestration of his song cycle is exquisite. It is interesting to listen to Janet Baker's performance of the cycle with Geoffrey Parsons accompanying on piano and hear it both ways.

I think the version with piano only has greater subtlety in both soloist and accompanist's performances, but this is nevertheless a wonderful performance.

Other works that provide a great entry point into Mahler include the Resurrection Symphony [I love the generously packaged Kaplan version on Conifer] and the Song of the Earth.

Mahler: Lieder eines fahrenden Gesellen; Kindertotenlieder; Rückert-Lieder

Average customer rating:

One of the Greatest Mahler Lieder Recitals
On The Kindertotenlieder Performance
Grieving
Wonderful performance
This is 70% conducting, 30% singing

Mahler: Lieder eines fahrenden Gesellen; Kindertotenlieder; Rückert-Lieder

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Des Knaben Wunderhorn

ASIN: B000001GET
Release Date: 1991-09-12

Tracks:

Songs Of A Wayfarer: 1. Wenn mein Schatz Hochzeit macht
Songs Of A Wayfarer: 2. Ging heut' morgen ubers Feld
Songs Of A Wayfarer: 3. Ich hab' ein gluhend Messer
Songs Of A Wayfarer: 4. Die zwei blauen Augen
Songs On The Death Of Children: 1. Nun will die Sonn' so hell aufgehn
Songs On The Death Of Children: 2. Nun seh' ich wohl, warum so dunkle Flammen
Songs On The Death Of Children: 3. Wenn dein Mutterlein
Songs On The Death Of Children: 4. Oft denk' ich, sie sind nur ausgegangen
Songs On The Death Of Children: 5. In diesem Wetter, in diesem Braus
5 Lieder nach Gedichten von Friedrich Ruckert: 1. Liebst du um Schonheit
5 Lieder nach Gedichten von Friedrich Ruckert: 3. Blicke mir nicht in die Lieder
5 Lieder nach Gedichten von Friedrich Ruckert: 2. Ich atmet' einen linden Duft
5 Lieder nach Gedichten von Friedrich Ruckert: 4. Um Mitternacht
5 Lieder nach Gedichten von Friedrich Ruckert: 5. Ich bin der Welt abhanden gekommen

Customer Reviews:

One of the Greatest Mahler Lieder Recitals.......2007-07-07

I've always had an affinity for the alto voice when it comes to Mahler's music. I find that altos are always able to bring this quality of tragedy to their singing that I don't really hear in many baritones. That said, I believe Thomas Hampson is an exception to the rule. I would say that he is much better than Dietrich Fischer-Dieskau for the reason that his singing doesn't quite sound so artificial. The voice has a haunting quality about it, and I don't think Thomas Hampson is an artist who is afraid to let his voice sound hollow for the sake of expressivity. Because of this, there is a sense of loss and abandon that I hear in this recital that I would normally hear in many a great Mahler alto. I still love Christa Ludwig and Dame Janet Baker in these songs, but Thomas Hampson sings Mahler's songs excellently and I would highly recommend this CD for anyone who wishes to hear an alternative to the usual alto cycle. In this CD, we get an exemplary Lieder Eines Fahrenden Gesellen, perhaps the best of them all. The Kindertotenlieder are sung with a haunting beauty that is further accentuated by Hampson's intelligence with the text. Listen to his "Wenn dein Mutterlein" and you will know what I mean. The Rückertlieder too, are one of the very greatest and you must listen to the last song, Ich bin der Welt abhanden gekommen, to understand how much tragedy and loss were Mahler's two greatest companions during his tragic life. Hampson is perhaps the greatest lieder singer alive today (in the baritone department), and how fortunate we are that we can hear this Mahler cycle recorded with one of its greatest exponents. Add to that Bernstein's natural feeling for Mahler's music and the fantastic playing of the Vienna Philharmonic and you have a recording which will stand the test of time as a classic.

On The Kindertotenlieder Performance.......2007-02-23

First, let me say that I can not yet review the recording, I have only now ordered it. I can tell you about the performance, however. I had the good fortune of attending this live performance at the Musikverein in Vienna. I was also privileged to have been given one of Maestro Berstein's personal seats in the front row. This was in 1991, however, I have never forgotten the emotion that filled the room during and after this work was performed. It goes without saying that there was an enthusiastic standing ovation which wasn't surprising in view of the great love the orchestra and the people of Vienna felt for Bernstein. The fact there was hardly a dry eye in the audience gave testimony to the quality of the performance of the orchestra, Thomas Hampson and Maestro Bernstein. I might even suggest that Leonard Bernstein himself appeared to have been equally moved. I looked for this specific recording for 15+ years off and on. I am eagerly anticipating at least a partial reprise of what was a performance that I will remember the rest of my life.

Grieving.......2007-01-09

This was a very beautiful piece reccommended to me by a family member after the death of my son. It's rare and was good to find it so easily.

Wonderful performance.......2006-12-30

I became a Mahler fan a couple of years ago when I bought a recording of his first and ninth symphonies. Earlier this year I purchased Bernstein's complete symphony cycle on DVD, and was further drawn into the wonderful music of Mahler. In my quest for recordings of every piece Mahler ever wrote, I encountered this CD and didn't hesitate. I'd heard Thomas Hampson sing Bernstein's Arias and Barcaroles, and I had already experienced Bernstein's excellent conducting (and composition). It came as no surprise that this recording was such a wonderful one. I really enjoyed the Lieder eines fahrenden Gesellen, and it was doubly delightful to again hear Mahler's symphonies incorporating the same sprightly melodies. The Kindertotenlieder are perhaps not extraordinary, but are by no means lacking. I think that a soprano sometimes might better express these songs, but here Hampson does an ample job.

Overall, I give this recording five stars. Five for the conductor, five for the composer, and four and a half for the singer. RECOMMENDED!

This is 70% conducting, 30% singing.......2006-03-22

Mahler's orchestral songs present such a complex and colorful instrumental part--fascinating enough on their own to do without a singer--that it takes a dominant voice to find the right balance. Here the young Thomas Hampson seems at times overhwlemed by Bernstein's highly personal interpretation, and his singing is strained by the slow tempos Bernstein has chosen.

Before 1991 Hampson had shown his capacity for Mahler, but on this CD he veers between an excellent, deeply felt Wayfarer cycle to a Kindertotenlieder where he struggles just to keep singing--admittedly, it's singing of a plush, refined kind--without finding the right emotional key. I don't find real depth of feeling or the ability to characterize the poetry, which is extremely important in thise songs. Bernstein's conceptions are beautiful, and that may carry the day for many listeners, but this CD is up against Fischer-Dieskau and Furtwangler, Janet Baker and Barbirolli, Kathleen Ferrioer and Bruno Walter. By those exalted standards it barely holds its own.

Mahler: Symphony No. 8; Kindertotenlieder

Average customer rating:

The Difference and An Historical Trivia Note
A celebrated performance, unmatched in Part I
It's either this or Solti's on Mahler's Eighth.....
Excellent Performance
An exilarating listening experience.

Mahler: Symphony No. 8; Kindertotenlieder

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 4
Mahler: Symphony No. 9
Mahler: Symphony No. 3 / Lieder
Mahler: Symphony No. 7
Mahler: Symphony No. 1; Adagio

ASIN: B00000K4J6
Release Date: 1999-09-14

Customer Reviews:

The Difference and An Historical Trivia Note.......2005-10-14

This is a superb younger Lenny performance that remains unequaled in many ways. While the Solti is operatic in nature, Lenny's performance is much closer to what Mahler imagined as a "Symphony of a Thousand." It evokes much more of the turn-of-the-century sensibility of Mahler's world. The difference is neither subtle nor unimportant.

One of the other reviewers noted this is the "famous 1966 recording that followed upon a rapturously received live concert in London."

Actually, the London performance was hastily arranged because Columbia wanted to record the 8th as part of their complete Mahler Symphony series - the first available on disc. But the cost of that leather-bound 15 LP set, a compilation largely of live performances, was rapidly increasing. Originally, they were going to do a studio recording of the 8th and planned a performance series with one of history's greatest Mahler orchestras of all time, the NY Philharmonic of the 1960s. That performance in NYC with the magnificent deep-throated Westminster Symphonic Choir and soloists that included the rarely recorded Saramae Endich was beyond spectacular. But the bean-counters at Columbia didn't want to spend the money to record it in a studio in NYC with American forces and opted to fly Lenny to London because it was cheaper to record it there. So arrangements were made for a London performance, that was in reality a "rehearsal" for the recording sessions. The folks Lenny meticulously prepared for the original planned recording session in New York sat at home.

That decision resulted in one of the more significant losses in recorded literature. The London forces, good as they are, are no match for the magnificence of the original production with Lenny's home team. Those live performances (3 of them?) at Lincoln Center WERE recorded (as sonic tests) and likely exist somewhere in Columbia/CBS/Sony archives. With greatly renewed interest in Lenny's legacy, now would be a good time to ferret out those tapes and get them released. For those of you who are Mahler and/or Lenny fans, a letter to the folks at Leonard Bernstein's home on the web, and to Sony might do some good.

A celebrated performance, unmatched in Part I.......2005-10-01

This is a famous 1966 recording that followed upon a rapturously received live concert in London. I marginally prefer it over Bernstein's live DG performance with the Vienna Phil., which has marvelous playing and close-up sound but less pleasing soloists. No one udnerstood this gigantic symphony better than Bernstein, a fact that got overshadowed when Decca relased the sonically spectacular, go-for-the-throat Solti set. It became the one to have, not this one.

With time the Solti set has come to sound more and more vulgar and trumped up. The Bernstein is very natural by comparison. He understands the delicacy of Mahler's writing and is often at his best in the slow, poetic parts of the Goethe setting. His singing team, which was mostly recruited from the London opera scene, is excellent, without a single weak link, and they are encouraged to sing without straining for volume. The overall effect is often intimate, despsite the massive forces involved.

The drawbacks are real but perhaps not veyr big. The recorded sound, though clear and full, is rather distant, and the chorus, quite fine in all respects, is not up to the best, such as one hears on Abbado's live DG set. Too often I felt my attention wandering a little, which is rare in a Bernstein performance. Yet there is no doubt that Bernstein's Veni Creator Spiritus is one of his greatest, most dramatic accomplishments.

The 2-CD set is filled out with a lovely perfomance of the Kindertotenlieder by Janet Baker, nearly as fine as in her classic EMI set under Barbirolli, even with the second-rate Israel Phil. in the background.

It's either this or Solti's on Mahler's Eighth............2004-09-02

If you want to find possibly the greatest performance of one of Mahler's most spectacular (and certainly the most grand and gigantic) symphony he has ever written, you either have to buy Solti's legendary performance with the Chicago Symphony Orchestra or Bernstein's equally recognized performance with the London Symphony Orchestra.

Both has their ups and downs (even though it really depends on a person's taste of how the interpretation is laid out). Either CD would make an excellent collection for a classical music fan or simply a Mahler fan (like MEEEE!).

I couldn't agree more that, according to one reviewer, Solti's performance is technically the superb, and the most solid. All the performing groups (not to mention the more advanced recording compared to Lenny's) are incredible. The pipe organ really roars as well. The soloists, the sopranos especially, will really blow you away. In short, techniquewize, (and not to mention the low price in a single CD), Solti wins.

Emotionwize, however, Lenny wins it all. The performers are equally sensational, even though the recording is slighly dated, but this should not be something to sweat about. The tempi's much more preferable, not too straightforward and full of retardinados and changes in tempo. The "Gloria" recap in the first movement is much slower that most other recordings, putting more emphasis on emotion and extreme measures Mahler could have appreciated. While Solti's vocal groups shatter you like like a blizzard, Lenny's singers will melt your heart through such emotional depth and character. Maybe even a bit too much character, as of a female choir (as young female Angels guiding Faust in the plot) which kinda sounds as if singing a broadway musical. The finale of each movement is absolutely astounding. The "Glo-o-o-r-i-a-a-a-a-a-a!" combined by all the choir and the soloists near the very end of the first movement really gives you the chills, and could move you too. And during the much anticipated conclusion of the second movement (as Faust prepares to enter the gateway to heaven), when the choir begins to sing Alles Vergangliche (All that is fleeting...), you will definitely feel the same reaction as I did when I was listening to one of the soprano solo. How she soared her voice like an innocent, tender, Goddess, really "draws us ever upwards", a emotional experience so powerful, so pure, so lulling, so emotion-filled, make me cry warm, happy tears. (Sniff....). The fanfaric finale can be equally moving, as if you have arrived at the very presence of the all-powerful Creator, the crash of the cymbals and the roar of the tam-tam explodes like a bright beam of light.

You wouldn't be disappointed in either recording. If you want to really get into the emotions of the music, this would be the choice for you. Solti's (as well as Robert Shaw's) would make an excellent guide for music appreciation.

Excellent Performance.......2004-01-21

Four stars instead of five only because of slightly dated sound.

I've never been quite as enthralled with Bernstein's Mahler as many others seem to be.

However, when he's good, he's good. And he certainly is good in this performance.

I've been partial to the Solti recording for years because of the magnificent roster of Decca's opera singers who were recruited for the recording, as well as for the superior sound (except for the occasionally off-balance dubbed organ).

Bernstein simply gets inside Mahler here better than Solti ever could have. Solti is all external verticality, as was often his wont. Bernstein is internal linearity.

And Sony has even done a good job cleaning up what was always problematic sound. The sonics aren't "modern day" (what the heck was wrong with Columbia in those days?), but they certainly are acceptable to modern ears.

I've listened and I've been converted. I'm now a Lennie fan. That is, for this recording.

An exilarating listening experience........2000-12-12

Lenny has done it again! The brass is crystal clear and well-defined, however, not over-powering. You can hear the strings very well, also. And the LSO string players play magnificently. The signing is excellent. Even when the various soloists have to hit the super high notes, it doesn't sound like they are just screaming out the notes. Bernstein brings out the full majesty and richness of the score. There are some moments where I still always get chills up and down my spine(particularly at the end of the Part 1). The sound quality is good. Definately the richness is always there. The performance more then makes up for any zilches in the sound that there may be.

Customer Reviews:

excellent recorded sound, good orchestral playing, poor interpretation.......2007-05-09

This is the worst Mahler 3rd I've listened to on record. The first three movements---the first half of the symphony, and the entirety of disc 1---are simply lethargic and boring as read here. Tilson Thomas has the San Francisco Symphony amble uncomprehendingly through them as though in a daze, in an unbroken monotone that offers almost no interpretive ebb and flow of tension and expression whatsoever. I can't begin to imagine what he was trying to get at. Every other reading I know of this music has so much more to say: pass this one by and try either of the New York Philharmonic Bernstein recordings, or Solti and Chicago, or Ozawa and Boston, or the L.A. Philharmonic with Salonen, or the Berlin Philharmonic with Abbado... virtually any reading other than this one.

The last third of this symphony is an adagio, and the music comes off better there, as though the score had slowed down to meet Tilson Thomas' languid pace. The Kindertotenlieder are likewise passable. But this is most decidedly a bad record. Look elsewhere.

Mahler Symphony #3.......2007-02-08

CD arrived in New condition. A wonderfully recorded and performed work. Michael Tillson Thomas is one of the world's greatest interpreters of Mahler and the San Francisco Symphony has never sounded better.

Good, but by no means great Mahler.......2006-11-11

Michael Tilson Thomas is a phenomenal music director. He inherited the San Francisco Symphony in 1995 and has, since then, turned the band, which was already quite accomplished under Herbert Blomstedt's tutelage, into a world class ensemble in the truest since. Despite its few (but glaring) weakness - bad flutes and violins that tend towards thinness - the San Francisco Symphony boasts consistently fine playing and musically intelligent contributions from the soloists - droll clarinets, boisterous bassoons, a horn section second to none, beautiful lower strings, and rich, big toned lower brass. Listening to this ensemble - an ensemble in the truest sense of the word - is always a joy. Thus, when one hears a performance like this, which, despite first class playing, falls short of being a success, the blame clearly lies at the hands of the conductor.

Objectively looking at Michael Tilson Thomas's ongoing Mahler cycle has been increasingly difficult for me mainly because, the more familiar I become with Thomas's conducting style, the more egregious the apparent faults become. Thomas's penchant for rubato and mannered stylization started off as an interesting, if unnecessary, detail in the 6th and 1st symphonies. It became a bit more problematic in the 2rd. And finally, it became irritatingly obnoxious in the 7th and 5th symphonies. Thomas's insistence on smothering his interpretations with a thick coat of decorative frosting and fussy, mannered detail leaves a fluffy, decadent, at times even saccharine aftertaste which belies the often overwhelmingly high-level of musical nourishment these recordings offer. Indeed, nearly every other musical choice Thomas makes is a good one - it's just a shame he cannot discern between the good and bad.

There is really only one real high point to this release - the second movement - which is nearly perfect. Although a tad too precious for my tastes, the movement possesses all the correct tempo changes, perfectly balanced ensemble, and the correct amount of nimble buoyancy. Everywhere else, Thomas misses the mark.

The main problem with the first movement is epitomized by Thomas's handling of the "summer storm" outburst. Where Mahler asks for vulgar, Thomas responds with a perfectly balanced, overly polite disintegration that is hardly earth shattering. Overall, the dichotomy between the two marches is missing; the minor march lacks the craggy darkness and grotesqueries while the major march lacks the sense of awakening and rebirth. And although the contributions from the players are wonderful - Mark H. Lawerence's solo is like a dream - the movement lacks in the emotional extremes so necessary for this movements success. Thomas does shape the transitions between the two marches effectively and many beautiful moments abound throughout the movement, but on the whole, Thomas takes too much time to say what he has to say. As a direct comparison, listen to Bernstein's recording which finds the conductor leading a determinedly forward moving movement. For all the criticism Bernstein receives as an overly emotional conductor, his conception of this movement is quite controlled, focused, and flowing as compared to Thomas's meandering stroll through the music's various episodes.

The scherzo proper goes well enough. The winds have character, the horns capture the earthy quality of the score, and the strings really dig into their parts. And then there's the trio, which is excruciatingly slow, again, despite wonderful playing from the posthorn and other soloists. At the return of the trio, it seems Thomas is going even slower than before, dragging the music almost to the breaking point before the coda. However, the coda goes well enough (although more tam tam would have been nice) with the proper amount of pomp and circumstance.

The two vocal movements run smoothly but lack any real character. Michelle DeYoung is usually a vocally magnificent soloist, but here her singing seems overly reserved and calculated; the movement as a whole sounds chillingly cool. Her wide vibrato does not always suite the music well either. The chorus, particularly the Pacific Boys Choir, sings faithfully in the fifth movement, however, again, the humanity Mahler is so desperately trying to represent is somehow conspicuously absent from the reading. It sounds calculated, micro-managed, and lacks the necessary transcendence. However, the top to bottom clarity of texture is quite extraordinary - the fact that the bassoons are perfectly audible during the large brass swells at the close of the fifth movement really says something about Thomas's sense of orchestral balance.

The finale features wonderful contributions from the strings, which add a great deal of warmth to this otherwise cooler account of the symphony. Thomas stretches the music to the breaking point several times, and even though Tempo I is quite flowing and well paced, the movement as a whole still feels long. Thomas seems to climax too soon, resulting in an episodic finale that doesn't quite build towards the final passages as others do - Ricardo Chailly's Royal Concertgebouw 3rd is a fantastic example of a well-balanced architectural finale that concludes with tremendous level of satisfaction. In Thomas's hands, the final passages, as powerful as they are here, are so painfully slow - it feels as if Thomas has purchased gravitas (or at least his idea of gravitas) at the expense of taste. Beautiful, hair-raising moments abound in this finale, but on the whole, it never really captures the brilliant architecture of the music. Chailly's architectural grasp, on the other hand, is astounding. His recording, along with Bernstein's legendary New York Philharmonic recordings, are reference.

On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, and at times even coquettish. The brass is rich, powerful, but never overbearing. The percussion, while excellent as a section, has never been captured faithfully by the engineers - only in forte does the timpani cut through the texture with any real acuity. The strings are rich, plush and bright. Again, the orchestra itself really is something, and, as far as orchestral perfection goes, the San Francisco Symphony delivers a near perfect performance, despite its bright sheen.

Overall, Michael Tilson Thomas is quite well versed in Mahler and there is, despite all the shortcomings, a profundity of incite here. The playing is top notch, the contributions from the soloists are wonderful, and many of Thomas choices are good. However, his insistence on micro-managing every aspect of the score prevents his orchestra from creating a true idiomatic Mahler sound. The first movement lacks the necessary dichotomy between the marches and, thus, the tension falls flat. Thomas's tight grip keeps the forth and fifth movement stubbornly earthbound. And the architecture of the finale is as odd with Thomas's overly expressive account. It is frustrating, really, when everything is perfect on paper but fails in reality. This most expansive and disparate of Mahler symphonies needs a conductor who can pull together the sprawling universe of Mahler's sound world and instill cohesion and apply structure. Here, Thomas fails.

The kindertotenleider fares no better. A tepid, lifeless contribution from the orchestra is met with dry-eyed singing from Michelle DeYoung. Disappointing.

Hard to beat.......2006-09-09

I'll admit it. I'm a Bernstein fan, and Bernstein's Mahler cycle on DG, though thoroughly quirky, is difficult to beat. In fact, the only way to top it is to try to match it through individual recordings. Such is the case with the present recording with MTT and the SFSO. Having the advantages of a more modern recording and less concern over capturing a live performance, this recording often exceeds what Bernstein achieved with the New York Philhamonic twenty years ago. Of course, MTT is no stranger to recording this work, having already offered a fine recording with the LSO. The playing of the SFSO in this recording is magnificently defined and polished without losing the fire required by the Third. I certainly prefer Christa Ludwig to Michelle DeYoung, but as a solitary drawback, this can easily be overlooked. There are a lot of generic recordings of Mahler's Third, including Abaddo and Chailly. It's nice to have a fresh offering so full of power and life!

what i have longed to hear.......2005-08-26

having heard many recordings and the berlin philharmonic play this under claudio abbado, i know what i want to hear in this piece. hearing all those other performances, i find passages that i want different. this recording seemed to fill in all the holes that other recordings had and then some. the sound on this disc is much more consistent with the SFSO recording of Mahler's 1st and sounds dramatically different than their recording of Mahler's 2nd. the playing throughout, as usual with the SFSO, is superb. while they do not change color and character as swiftly as the Royal Concertgebouw under Chailly, i feel that they have a better overall interpretation of the symphony's mood. the whole orchestra seems to understand, better than any other recording i have heard, what their individual roles are in the piece. my only problem with the disc is the advertising. the SFSO webpage and the liner itself states that this is a 5.1 SACD. it is not, as all the other SFSO SACDs. it is a 5.0 SACD, lacking a low-frequency channel. i hihgly recomend this recording and any other by the SFSO under MTT.

Average customer rating:

Simply Sublime, especially for the price!
Shattering version of Kindertotenlieder
Vintage perfection

Mahler Lieder: Des Knaben Wunderhorn

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: Das Lied von der Erde
Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al
Great Recordings Of The Century - Schubert: Die Schone Mullerin / Fischer-Dieskau, Moore
Des Knaben Wunderhorn
Schubert: Schwanengesang; 4 Lieder

ASIN: B00005AVMM
Release Date: 2001-04-10

Tracks:

Lieder Eines Fahrenden Gesellen: I. Wenn Mein Schatz Hochzeit Macht - Dietrich Fischer-Dieskau
Lieder Eines Fahrenden Gesellen: II. Ging Heut Morgen Ubers Feld - Dietrich Fischer-Dieskau
Lieder Eines Fahrenden Gesellen: III. Ich Hab' Ein Gluhend' Messer - Dietrich Fischer-Dieskau
Lieder Eines Fahrenden Gesellen: IV. Die Zwei Blauen Augen Von Meinem Schatz - Dietrich Fischer-Dieskau
Kindertotenlieder: I. Nun Will Die Sonn' So Hell Aufgeh'n - Dietrich Fischer-Dieskau
Kindertotenlieder: II. Nun Seh' Ich Wolhl, Warum So Dunkle Flammen - Dietrich Fischer-Dieskau
Kindertotenlieder: III. Wenn Dein Mutterlein Tritt Zur Tur Herein - Dietrich Fischer-Dieskau
Kindertotenlieder: IV. Oft Denk' Ich, Sie Sind Nur Ausgegangen! - Dietrich Fischer-Dieskau
Kindertotenlieder: V. In Diesem Wetter, In Diesem Braus - Dietrich Fischer-Dieskau
5 Gesange Aus 'Des Knaben Wunderhn': Das Irdische Leben - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Gesange Aus 'Des Knaben Wunderhn': Verlor'ne Muh - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Gesange Aus 'Des Knaben Wunderhn': Rheinlegenchen - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Gesange Aus 'Des Knaben Wunderhn': Lob Des Hohen Verstandes - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Gesange Aus 'Des Knaben Wunderhn': Trost Im Ungluck - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Ruckertlieder: I. Ich Atmet' Einen Linden Duft! - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Ruckertlieder: II. Liebst Du Um Schonheit - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Ruckertlieder: III. Blicke Mit Nicht In Die Lieder! - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Ruckertlieder: IV. Ich Bin Der Welt Abhanden Gekommen - Dietrich Fischer-Dieskau/Daniel Barenboim
5 Ruckertlieder: V. Um Mitternacht - Dietrich Fischer-Dieskau/Daniel Barenboim

Customer Reviews:

Simply Sublime, especially for the price!.......2007-02-04

This CD reissue of Dietrich Fischer-Dieskau doing three of Mahler's suites of 'orchestral songs' is one of the finest side effects of the advent of the CD medium. To get these important works done by such a stellar performer for less than $12 is a wonder. At this price, one can easily have more than one performance of these pieces, even more than one by Fischer-Dieskau. I like Herr Dietrich doing Mahler much more than I like his Schubert or other earlier 'lieder' composers.

Shattering version of Kindertotenlieder.......2006-08-06

This is the version of "Kindertotenlieder" that I first heard while in college, and so far it remains my favorite (in my opinion the definitive) recording. All those involved -- Fischer-Dieskau, the orchestra and Maestro Kempe -- catch every nuance, but it is Mr. Fischer Dieskau's rendering of the text that makes it especially poignant. For example, in the third song "Wenn Dein Mutterlein Tritt Zur Tur Herein," the steadiness of the orchestra's rhythm contrasts exquisitely with the anguished English horn solo, and Fischer-Dieskau vivid protrays a grieving father, reminded at the most mundane moments in daily life of his child's absence. I actually can't listen to this recording too often, since on of my sisters died (many years ago) and it simply hits too close to home. The other pieces recorded, "Lieder Eines Fahrenden Gesellen," excerpts of "Des Knaben Wunderhorn" and the "Ruckertlieder" are equally well performed.

Vintage perfection.......2001-10-16

The Philharmonia Orchestra under Furtwangler accompany Fischer-Dieskau in the Lieder eines fahrenden Gesellen, and these performances alone make this CD treasurable. The singing is fresh and involving, but the orchestral work really stands out - just perfect, and this from a conductor who allegedly didn't think too much of Mahler! The Kindertotenlieder are also beautifully done, this time with Kempe and the Berlin Philhamonic. The sound in both these vintage sessions (1953 & 1955) is simply phenomenal - the mellifluous tone and lack of digital harshness put no barriers between the listener and the performers. In fact, the later (1980) selections, where Fischer-Dieskau is accompanied by Barenboim on piano, are less pleasant in this respect as well as being, for mine, less memorable generally. Nevertheless for over forty minutes of sheer musical wonder this disc deserves its place in EMI's self-declared pantheon of great recordings.

Average customer rating:

Simply Wonderful
Jessye is the best!
A monumental talent

Jessye Norman Classics
Giuseppe Verdi , Francis Poulenc , Wolfgang Amadeus Mozart , Georges Bizet , Richard Strauss , Henry Purcell , Franz Schubert , Hector Berlioz , Johannes Brahms , Gustav Mahler , George Gershwin , Charles Gounod , New Philharmonia Orchestra , BBC Symphony Orchestra , Orchestre National de France , Leipzig Gewandhaus Orchestra , London Symphony Orchestra , Boston Symphony Orchestra , Royal Philharmonic Orchestra , Lamberto Gardelli , Sir Colin Davis , Seiji Ozawa , Kurt Masur , Raymond Leppard , Alexander Gibson , and Jessye Norman
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

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An Evening With Jessye Norman
Amazing Grace: Jessye Norman
The Essential Jessye Norman [Includes DVD: Jessye Norman Sings Carmen]
Brava, Jessye!: The Very Best Of Jessye Norman
Jessye Norman - Christmastide

ASIN: B00000414K
Release Date: 1992-04-14

Tracks:

Egli non riede ancora! - Non so le tetre immagini
Les Chemins de l'amour
E Susanna non vien! - Dove sono i bei momenti
Non! tu ne m'aimes pas!
Es gibt ein Reich
Thy Hand, Belinda - When I Am Laid In Earth
Auf dem See, D. 543
L'ile inconne
Von ewiger Liebe, Op. 43 No. 1
Oft denk' ich, sie sind nur ausgegangen
Fruhling
Love Is Here To Stay
Ave Marie
Sanctus

Customer Reviews:

Simply Wonderful.......2003-11-15

I have always loved Jessye Norman since the first time I heard her voice. That occasion occurred when I bought a completely unknown Verdi opera, Il Corsaro, and was delighted with the result. I knew who Caballe was (I had recordings of her singing, and enjoyed them), but Jessye Norman was a complete unknown to me. I was taken back by the rich vibrant spacious voice that I heard. What also interested me was the fact she could do coloratura work, and float a very beautiful high B flat. The voice then was not as fully developed as now, nor was her artistry as deep, but what I heard was simply breathtaking and I was hooked on her as an artist from that time forth.

This disk is simply a sampling of her singing, and it does show her singing a wide variety of things. She is not perfect in everything she sings (and even the Great Maria Callas was not successful in everything she sang, and I doubt any artist is; some works simply are better suited to their voices and their temperments than others), but one cannot fault her interpretations. The voice is always beautiful and well managed.

I perfer Norman in German opera, which is sampled here, and even though I think she sings a great Strauss (the Ariadne) I feel that composer really doesn't give her much. I have a recording of her doing Salome, which I love and she is superb, but Strauss is not the composer for her. Wagner is where she really sings and takes your breath away. Sadly, there is no real representation of his music here.

French opera is another place she really excels. However, nothing of any real worth is represented here.

American music, particularly spirituals, is another field in which she is sublime. Her Christmas Album is incredible. In this area all we have is the Gershwin, which is extremely well sung, but not really to my liking. To me, for some reason, Ethel Mermon should be singing that song.

As for the Baroque music; Norman is actually exceptional in it. Her voice is fabulous and breathes much warmth into music that is often sung in such a cold lifeless way it loses any power to communicate. I happen to love her Dido (I have the complete opera, and I have that opera with many other singers who are equally fine). I do agree with the one writer who stated that her voice is really "too much" for this music. It actually is. If one has heard Norman in real life, she has an incredibly powerful, full voice. It has nobility in it that is well suited to the grandest of the grand. She is an unforgetable Cassandre in Berlioz's opera. In many ways, it is like hearing Brunhilde sing Vivaldi with the voice large enough to wash over a Wagnerian orchestra being accompanied by 10 instruments. However, not matter how loud or strong her singing, the voice always remains warm, caressing, and enveloping (it is never sharp and penetrating like Nilsson cutting into the ear like a spear). Norman never violates the style of the music she sings. She just has a huge voice. Yes, she can sing the most melting pianissimos, and does so, but God gave her a treasure trove (not a simple chest) of virtues and abilities in her voice. Even though I love her voice, and her singing of Dido, the truth is she is too much of a good thing for that role. Now that isn't to say the music is lesser music, not at all for it is truly great music, it is simply the way it is written, the style of the period it comes from, and the emotional content and the way it should be expressed is simply not right for her lush and glorious sound.

With all this said, this is a super recording. The sound is excellent. I would say, Norman did very well with her recording career having Philips be her label. They have served her voice well. One thing I must say, and this is rather general about recordings; Philips has really done well to capture the true quality of this amazing voice. Most companies simply can't capture large voices well, and often we hear their many problems before we can hear their many strengths. Decca for all its wonderful recording technique never captured the real Nilsson, nor the real Sutherland (and definitely not the real Tebaldi), simply because the miking system has the most terrible time capturing large voices without distorting them. EMI was the worst at capturing big sounding voices and keeping them sounding true.

Philips has managed to capture the sound of Norman's voice and to remain fairly true to it. One is not surprised to hear her in performance after hearing one of her recordings. You just feel more "part of it" in a live setting than on the recordings. Nilsson shocked me, for I was completely unprepared for the strength of her penetrating and exciting sound when I hear her live for the first time. It was like the records captured only a shadow of what and who she was.

The fact that the engineers at Philips have captured her sound so well really places this recording (and all the rest of Normon's recordings) on the top of my list for "authentic sound." I recommend this recording as a wonderful introduction to the art of Jessye Norman. She is a complete artist, and like all singers, she has areas where she is super and without rival, and other areas where she is not necessarily our first choice. Yet, no matter what she sings one can never claim she is uninvolved, detached, or careless in her work. She sings with conviction, and she puts her own stamp on everything she sings. She literally makes the music her own.

Jessye is the best!.......2001-08-09

This is an excellent sampling of some of Jessye's great works. She is so clear and vibrant. You will want to listen to this over and over again. I even bought some of the full length recordings of her music that was sampled here.

A monumental talent.......2000-08-06

Jessye Norman has a landmark voice. It has such warmth, variety of colour, strength and depth that few can surpass her interpretations. The tracks on this CD are a good mixture that show off the best qualities of her voice.

Of course few CDs are perfect and, I'm afraid this is not one of them. Although the Poulenc and Brahms songs are supurbly executed and the Strauss song and aria are similarly noteworthy I must take exception to two of the renditions. Jessye's Dido leaves something to be desired. For me, and those others I have discussed this with, her voice is too rich and uncharacteristic for a touching Baroque aria. I've had the good fortune to play continuo in a live performance of Dido and Aeneas and the Dido in that performance was much colder, though still emotional. For me too Jessye's vibrato is a little too much for the work. Likewise unsatisfactory for me was the Gerschwin. I thought it was a little too much like a vacuum cleaner at points (no offence intended).

Tracks:

Sym No.5: Funeral March
The Boy's Magic Horn: The Drummer Boy
Songs Of The Death Of Children: Now Will The Sun Rise As Brightly
Songs Of The Death Of Children: I Often Think They Have Merely Gone Out!
Sym No.1 'Titan': 3rd Movt
Sym No.2 'Resurrection': Primal Light
Songs Of A Wayfarer: I Went Out This Morning Over The Countryside/Resurrection, Sym No.2:...
Sym No.5: Adagietto
The Song Of The Earth: The Drunkard In Spring
The Boy's Magic Hn: Who Thought Up This Song
The Song Of The Earth: The Farewell

Amazon.com

This auspicious, surprising, release debuted the Winter & Winter imprimatur, which carries on German producer Stefan Winter's longstanding role in blurring musical boundaries, as he did for so many years with the jazz label JMT. Pianist Uri Caine, known mainly for playing in the polystylistic mode of New York's downtown jazz scene, steeped himself in Mahler's music in preparation for the 1995 series of concerts leading up to this CD. Caine's ensemble--14 members strong, at points--recasts portions of Mahler's symphonic cloudbursts into a setting that smacks of klezmer, jazz, and crazy combinations of the scores' lavish bombastics. It's clear that Mahler's works tested the boundaries of so many available sounds at the turn of the century, from cantors to martial brass to Wagnerian bulk. Caine attempts it all, succeeding most somberly in the sections based on the Resurrection Symphony and most clangorously in the First Symphony's third movement, transformed into a serious klezmer bash by Caine, clarinetist Don Byron, and drummer Joey Baron. --Andrew Bartlett

Customer Reviews:

jaw-dropping interpretation of Mahler.......2006-12-03

I am a Mahler fan - and I don't like jazz! So I was rather nervous at listening to this first time around. But I found it simply stunning. The resurrection symphony slow movement, complete with screeching solo violin emulating a searingly distorted electric guitar was, in fact, profoundly moving. And the sheer musicianship of the performers, in the more sensitive sections earned my utmost respect. This album is shocking, unbearable, gripping, lighthearted, exciting, mocking, reverential, tender - everything Mahler was. Fantastic buy!

Mahler revered.......2006-11-16

On his 1997 release Urlicht / Primal Light, Uri Caine took some of Gustav Mahler's most famous compositions, and, well, jazzed them up, with some of the most prominent musicians on the downtown New York scene, including Dave Douglas and Joey Baron.

What still surprises me about this beautiful album is just how faithful Caine is to Mahler. Unlike his later Goldberg Variations, this isn't Mahler deconstructed, it's Mahler revered, in a small group jazz (and at times, thanks to Don Byron , klezmer) setting. It makes perfect sense -- if some of the greatest jazz performances have come from mediocre show tunes, why not use symphonies and lieder as a starting point for improvisation?

Uri Caine's mutiny against Mahler.......2006-09-30

I've been a big Mahler fan since Bernstein's first recording (4th Symphony) as well as a knowledgeable follower of jazz. These pieces are grotesque caricatures of Mahler melodies and while I have not heard Caine's other depredations, after listening to this one I think I'll pass. If this is something released after a jam session that somehow was rescued from the cutting room floor, my apologies. But Mahler's melodies do not belong in a setting like this and who is Caine to try to improve on Mahler's orchestrations? Save your money.

raw, gritty and fertile freshly tilled earth.......2005-12-13

it's not pure as in so many anally treated works of Mahler. admittedly i am not interested in listening to see if the sonority of the instruments is perfect to some pompous standard, and it's not but there is another dedication here and an unmeasurable energy. i love the youthfulness of this work.

The New quintessential performance of Mahler.......2005-07-06

This is the story i was told when buying this record, it's been many years so this is as close as i could remember it:

"There is an annual competition where orchestras from all over the world come together to perform Mahler pieces. It's been going many many years... then along came Uri Caine. His orchestra included Cantors (jewish religious singers) and a cacophony of other messy instruments and ideas to perform with. They won to competition to the horror of stuffy stuck-up Mahler purists the world over.. How could this horrible mess win over all ther other very traditional (very similar and boring) performances!? Uri Caine's orchestra has continued to win every year since. Why? Because Uri's interpretation gives a fuller understanding of Gustav Mahlers background, his roots, he brings so much life to the music."

So then i actually listened to the music myself and it was breathtaking, funny, it told stories, it had personality, it was bursting at the seams with new ideas.

I listen to all kinds of music, but rarely jazz and rarely classical. I was not familiar with Uri Caine or Gustav Mahler, but after hearing that story, then listening for myself i had to have this cd. And while often my purchases are terrible mistakes, this one was a resounding success. This cd is my most treasured.

Average customer rating:

One baritone + one piano = underfed Mahler
Beautifully poignant

Mahler: Kindertotenlieder

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Mahler: 5 frühe Lieder / Lieder eines fahrenden Gesellen
Des Knaben Wunderhorn

ASIN: B000002RYY
Release Date: 1997-11-11

Tracks:

Kindertotenlieder: I. Nun Will Die Sonn' So Hell Aufgeh'n
Kindertotenlieder: II. Nun Seh' Ich Wohl, Warum So Dunkle Flammen
Kindertotenlieder: III. Wenn Dein Mutterlein
Kindertotenlieder: IV. Oft Denk' Ich, Sie Sind Nur Ausgegangen
Kindertotenlieder: V. In Diesem Wetter
Lieder Nach Texten Von Friedrich Ruckert: Blicke Mir Nicht In Die Lieder
Lieder Nach Texten Von Friedrich Ruckert: Ich Atmet' Einen Linden Duft
Lieder Nach Texten Von Friedrich Ruckert: Liebst Du Um Schonheit
Lieder Nach Texten Von Friedrich Ruckert: Um Mitternacht
Lieder Nach Texten Von Friedrich Ruckert: Ich Bin Der Welt Abhanden Gekommen
Das Lied Von Der Erde: II. Der Einsame Im Herbst

Customer Reviews:

One baritone + one piano = underfed Mahler.......2005-09-24

Hampson uses his considerable powers to inflate these piano renditions of Mahelr song cycles into something better than they are. One piano is not remotely adequate to represent Mahler's wonderfuly rich orchestral world, and Hampson overworks to compensate. A miss by a great singer.

Beautifully poignant.......2004-05-29

I love this version of the Kindertotenlieder. After having heard the orchestral version with Fischer-Dieskau for hours and hours, I came across the Hampson-Rieger disk and fell in love with it. The piano versions bring out the pain in the songs much more than with orchestra acompaniment, and Thomas Hampson's voice and interpretation are absolutely "einmalig"!

Track Listings:

Track Listings

track listings

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