Gustav Mahler: 10 Symphonien

On this CD:

1. Symphony No. 1 in D major ("Titan")
Composed by Gustav Mahler
Performed by Bavarian Radio Chorus , Bavarian Radio Orchestra with Edith Mathis , Norma Procter
Conducted by Otto Freudenthal , Rafael Kubelik

2. Symphony No. 2 in C minor ("Resurrection")
Composed by Gustav Mahler
Performed by Bavarian Radio Chorus , Bavarian Radio Orchestra with Edith Mathis , Norma Procter
Conducted by Otto Freudenthal , Rafael Kubelik

3. Symphony No. 3 in D minor
Composed by Gustav Mahler
Performed by Tolzner Knabenchor , Bavarian Radio Orchestra Conducted by Rafael Kubelik , Gerhard Schmidt

4. Symphony No. 10 in F sharp minor (unfinished)
Composed by Gustav Mahler
Performed by Tolzner Knabenchor , Bavarian Radio Orchestra with Rudolf Joachim Koeckert , Elsie Morison
Conducted by Rafael Kubelik

5. Symphony No. 4 in G major
Composed by Gustav Mahler
Performed by Bavarian Radio Orchestra with Rudolf Joachim Koeckert , Elsie Morison
Conducted by Rafael Kubelik

6. Symphony No. 5 in C sharp minor
Composed by Gustav Mahler
Performed by Bavarian Radio Orchestra Conducted by Rafael Kubelik

7. Symphony No. 6 in A minor ("Tragic")
Composed by Gustav Mahler
Performed by Bavarian Radio Orchestra Conducted by Rafael Kubelik

8. Symphony No. 7 in E minor ("Song of the Night")
Composed by Gustav Mahler
Performed by Bavarian Radio Orchestra Conducted by Rafael Kubelik

9. Symphony No. 8 in E flat major ("Symphony of a Thousand")
Composed by Gustav Mahler
Performed by Bavarian Radio Chorus , Munich Motet Choir Woman's Choir with Martina Arroyo , Franz Crass , Dietrich Fischer-Dieskau , Donald Grobe , Julia Harmair , Eberhard Kraus
Conducted by Rafael Kubelik

10. Symphony No. 9 in D major
Composed by Gustav Mahler
Performed by Bavarian Radio Orchestra Conducted by Rafael Kubelik

Product Description

Amazon.com
While each performance faces stiff competition, Kubelík's late sixties/early seventies Mahler cycle, taken as a whole, remains the most consistent in the catalog. He is also one of the only Mahler conductors on record to divide first and second violins left to right, as was the composer's practice. Newcomers wishing to acquire all the symphonies cheaply in one place won't be disappointed here. --Jed Distler

Gustav Mahler: 10 Symphonien,Julia Harmair,Norma Procter,Dietrich Fischer-Dieskau,Franz Crass,Gustav Mahler,Gerhard Schmidt,Otto Freudenthal,Rafael Kubelik,Bavarian Radio Chorus,Bayerischen Rundfunkorchester,Bayerischen Rundfunks Sinfonie-orchester,Frauenchor des Münchener Motettenchors,Tölzner Knabenchor,Eberhard Kraus,Edith Mathis,Elsie Morison,Erna Spoorenberg,Martina Arroyo,Donald Grobe,Rudolf Joachim Koeckert,Rudolf Köckert,Polygram Records,Classical,Classical Music,Romantic Symphony,Symphonic
Gustav Mahler: 10 Symphonien
Average customer rating: 4.5 out of 5 stars
  • Natural-born Mahler
  • Get your Mahler right here!
  • one of the very finest mahler cycles
  • Straight Mahler With No Chaser
  • Good but inconsistent....
 Gustav Mahler: 10 Symphonien

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
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ASIN: B000001GBR
Release Date: 1990-02-13

Tracks:

  1. Symphony No.1 'Titan': Langsam. Schleppend - Im Anfang sehr Gemachlich
  2. Symphony No.1 'Titan': Kraftig bewegt, doch nicht zu schnell - Trio. Recht gemachlich
  3. Symphony No.1 'Titan': Feierlich und gemessen, ohne zu schleppen
  4. Symphony No.1 'Titan': Sturmisch bewegt

Tracks:

  1. Symphony No. 2 'Resurrection': Allegro maestoso
  2. Symphony No. 2 'Resurrection': Andante moderto
  3. Symphony No. 2 'Resurrection': (Scherzo) - In ruhig fliessender Bewegung
  4. Symphony No. 2 'Resurrection': Urlicht. Sehr feierlich, aber schlicht
  5. Symphony No. 2 'Resurrection': Im Tempo des Scherzo - Wild herausfahrend
  6. Symphony No. 2 'Resurrection': Langsam - Misterioso

Tracks:

  1. Erste Abteilung - Part I - Premiere Partie: Symphony Nr. 3: Kraftig. Entschieden
  2. Zweite Abteilung - Part II - Second partie: Symphony Nr. 3: Tempo di Menuetto - Sehr maBig
  3. Zweite Abteilung - Part II - Seconde Partie: Symphony Nr. 3: Comodo - Scherzando - Ohne Hast
  4. Erste Abteilung - Part II - Premiere Partie: Symphony Nr. 3: Sehr langsam - Misterioso - Durchaus
  5. Sweite Abteilung - Part II - Seconde Partie: Symphony Nr. 3: Lustig im Tempo und keck im Ausdruck

Tracks:

  1. Frauenchor des Bayerischen Rundfunks: Langsam. Ruhevoll. Empfunden
  2. Symphonie No. 10: Andante - Adagio

Tracks:

  1. Symphonie No. 4: Bedachtig - Nicht eilen
  2. Symphonie No. 4: In gemachlicher Bewegung - Ohne Hast
  3. Symphonie No. 4: Ruhevoll
  4. Symphonie No. 4: Sehr behaglich

Tracks:

  1. Symphonie No. 5: Part I: Trauermarsch. In gemessenem Schritt. Streng - Wie ein Kondukt
  2. Symphonie No. 5: Part I: Sturmisch bewegt - Mit groesster Vehemenz
  3. Symphonie No. 5: Part II: Scherzo. Kraeftig, nicht zu schnell
  4. Symphonie No. 5: Part III. Adagietto - Sehr langsam - attacca:
  5. Symphonie No. 5: Part III: Rondo-Finale - Allegro - Allegro giocoso - Frisch

Tracks:

  1. Symphonie No. 6 'Tragic': Allegro energico, ma non troppo. Heftig, aber markig.
  2. Symphonie No. 6 'Tragic': Scherzo - Wuchtig
  3. Symphonie No. 6 'Tragic': Andante moderato
  4. Symphonie No. 6 'Tragic': Finale - Allegro moderato - Allegro energico

Tracks:

  1. Symphonie No. 7: Langsam (Adagio) - Allegro risoluto, ma non troppo
  2. Symphonie No. 7: Nachtmusik - Allegro moderato
  3. Symphonie No. 7: Scherzo - Schattenhaft
  4. Symphonie No. 7: Nachtmusik - Andante amoroso
  5. Symphonie No. 7: Rondo - Finale - Tempo I (Allegro ordinario)

Tracks:

  1. Symphonie No. 8 - Symponie der Tausend: Allegro impetuoso
  2. Symphonie No. 8 - Symponie der Tausend: Poco adagio- Piu mosso (Allegro moderato)
  3. Symphonie No. 8 - Symponie der Tausend: AuBerst langsam - Adagissimo

Tracks:

  1. Symphonie No. 9: Andante comodo
  2. Symphonie No. 9: Im Tempo eines gemaechlichen Laendlers - Etwas taeppisch und sehr derb
  3. Symphonie No. 9: Rondo-Burleske - Allegro-assai - Sehr trotzig
  4. Symphonie No. 9: Adagio - Sehr langsam und noch zurueckhaltend

Amazon.com

While each performance faces stiff competition, Kubelík's late sixties/early seventies Mahler cycle, taken as a whole, remains the most consistent in the catalog. He is also one of the only Mahler conductors on record to divide first and second violins left to right, as was the composer's practice. Newcomers wishing to acquire all the symphonies cheaply in one place won't be disappointed here. --Jed Distler

Customer Reviews:

5 out of 5 stars Natural-born Mahler.......2002-05-21

Among the 20th century's most criminally underrated conductors, Rafael Kubelik may also have been the last with an authentic "Mahler connection": His father was concertmaster in Prague in the years when Mahler guest-conducted there.

It's an oversimplification to say that Kubelik, as a Czech, brought out the Bohemian lineage of Mahler's music rather than its Austrian-German traditions (the village in which Mahler was born is now part of the Czech Republic), but that does go some way toward identifying the lyricism, rusticity and naturalness in these performances. You won't exactly mistake this music for that of Dvorak, but neither will it surprise you to know that the conductor was also a great Dvorak interpreter. Throughout, the Bavarian Radio Symphony renders playing of great character and warmth, even if DG's sound doesn't always do it complete justice. Tempi tend to be a little faster overall than some listeners are accustomed to, and that briskness is probably closer to the performing style of conductors in Mahler's own time. (It also means that, except for the Third Symphony, which is simply too long a piece to perform in less than 90 minutes, each symphony fits onto a single CD.)

Lyricism and naturalness don't preclude making a cumulative impact, and Kubelik brings out the mystery and angst in this music as well as its beauty. Along with the Tennstedt series, this box would be my primary recommendation for anyone looking to collect Mahler's symphonic cycle as a complete set. I should add, however, that the two sets aren't interchangeable. Kubelik's straightforwardness is almost a corrective to Tennstedt's Romanticism (or Bernstein's), and if you prefer your Mahler with a little more expressiveness, drama, and lingering over details, Tennstedt's your guy. Kubelik, you might say, tells it like it is.

4 out of 5 stars Get your Mahler right here!.......2001-12-13

Symphony no.1:Perfect tempos and a great finale.Symphony no.2:Maybe the best of the bunch.Symphony no.3:Good but not outstanding.Symphony no.4:Excellent though the work itself is the weakest of Mahler's cycle.Symphony no.5:Outstanding,though a tad dragged out.Symphony no.6:No arguing with the performance but the work is too long.Symphony no.7:Played like the orchestra was having a ball!Symphony no.8:The best of Mahler and a fine reading.With Mathis,Fischer-Dieskau and Grobe this one was guaranteed to be a winner.Symphony no.9:Mahler spun this one out too long but movement 4 is glorious.Symphony 10:One overlong movement.There is something a bit sickly,indulgent and nuerotic in almost everything Mahler wrote(a la Wagner)that turns many off to his work.Mahler wrung the last sweet and bitter drops out of the flower of romanticism.There are moments so soft and serene as to be barely audible and then the music explodes and jars you as an unexpected bolt of lightning.His music is likened to two opposing forces ever struggling to ascension.In Mahler's case it is the battle of resignation and passion.This is typical of romanticism,but Mahler seems torn above all others. As for the sound of the discs,in places the brasses and winds are too shrill i.e. no.6,but for an overall set the sound is passable and the price is bargain basement.There is no blaring,cinematic excesses of Solti or oversentimentality of Bernstein.This may not go down as the definitive Mahler, but as for now this is the set to own.

5 out of 5 stars one of the very finest mahler cycles.......2001-01-09

Despite a perplexing lack of attention from the world of classical reviewing, Kubelik's Mahler cycle remains one of the finest and most consistent, as he allows the composer's fine works to speak for themselves, something they are more than capable of doing. The First has always been an aknowledged great performance, but there are delights to be heard throughout this set... The finale of the Second here is one of the most powerful performances ever commited to disc. The third movement of the Third is magical in its atmosphere unlike few others. The strings in the scherzo of the Fourth have an icy, distant, melancholy feel to them totally appropriate to this music. The Fifth remains my favorite performance of this piece, searing in its intensity-the bright sound only making this the more true. The remaining four symphonies are equally compelling, most notably the Seventh, a great performance, cohesively blending the three sections, and making total sense of the final movement for once. This is a set that finally should be placed alongside the other great interpretations.

5 out of 5 stars Straight Mahler With No Chaser.......2000-11-23

Rafael Kubelik simply was one of the most consistently reliable conductors of the 20th Century. He didn't try to compose Broadway hits and symphonies, rationalize any Nazi party connections, marry millionaire heiresses, smash telephones, camp out in Hollywood, delegitimize twelve-tone music or display overt ruthlessness. Although it is said he didn't like recording, the man sure seemed to put a lot of effort into making his own sound a lot better than many other more famous names over the years. Then again, maybe he was in the right place at the right time, too. On the other hand, timing is everything with conductors. Sometimes, of course, his timing was bad as were his unfortunate tenures as music director of the Chicago Symphony Orchestra in the early 1950s and at England's Covert Garden Opera House in the late 1950s. Although he probably shared some blame for this, it's hard to fight against powerful people who are only using you as a scapegoat for their own personal agendas. That said, Kubelik made some wonderful records in Chicago on Mercury during his stay there and later for EMI in the 1950s. And in the 1960s, he really hit his mark during his tenure as music director of the Bavarian Radio Symphony Orchestra in Munich and as one of Berlin Philarmonic's most popular guest conductors. Fortunately for us, DG recorded him quite extensively through the 1970s and so did Columbia in the 1980s as well. His superb recorded legacy will live on long after his enemies are forgotten. Turning now to this Mahler boxed set, we find another supreme example of Kubelik's consistent and passionate approach. Basically, this set is a wonderful and economic way for someone who is just starting to become interested in Mahler to have all the symphonies at their disposal. Stylistically, Kubelik uses comparatively fast tempos and doesn't really care to linger on some of Mahler's more gentle moments. Yet all the excitement and orchestral mastery of Mahler's genius are there. Bruno Walter to the contrary, one is almost tempted to feel that this is how Mahler might have conducted his own symphonies. I love Bernstein (Jewish angst and prophetic doom), Solti (ear-splitting sonics), Horenstein (rage against the machine), Walter (warm Wiener Blut) and Klemperer (amoralistic architecture) when it comes to Mahler. Abbado, Haitink, Rattle, Karajan, Szell and Giulini have their moments in certain symphonies as well. But for those who like to hear Mahler without all the speculative neuroses and meanings, not to mention a great price, Kubelik's set is wonderful to listen to. Consistency and adaptablity were the hallmarks of Kubelik's musical career as his recordings from Mozart to Schoenberg show. To me, they are also the two hallmarks of any Mahler performance.

4 out of 5 stars Good but inconsistent...........2000-11-19

This set is an enjoyable one because of the 1st (truly remarkable) the 6th and 8th symphonies and a very mysterious 2nd. The problems lie with the recorded sound which at times is strikingly two dimensional. Bland basses and screeching, distorted winds and brass somewhat overwhelm Kubelik's work. This is strange because his recording of Smetana's 'Ma Vlast' with the Boston Symphony was impeccable and was DG as well.

The interpretations in this set are fine. The vocal work in the 8th is first class as well as in the 3rd but the 7th suffers enormously from a very banal reading and terrible engineering. The 4th movement is quite dull. The 5th, 6th, 9th and 10th (adagio) though not up to snuff as far as Bernstein's or Boulez' discs, definitely stand on their own.

The real triumph of the set though is the 1st. There is so much color and vitality here and thanks to DG, one can by this disc separately from the set. The 1st is one of Kubelik's greatest recordings.

Although economical, one might fair better with sets from Solti or Bernstein in the interpretive sense.
Mahler: 10 Symphonien Symphonies - Leonard Bernstein (13 CD Set)
Average customer rating: 5 out of 5 stars
  • Recordings of a great conductor who understood Mahler well.
 Mahler: 10 Symphonien Symphonies - Leonard Bernstein (13 CD Set)

Manufacturer: Grammophon
ProductGroup: Music
Binding: Audio CD

All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
General ContemporaryGeneral Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
New York Philharmonic OrchestraNew York Philharmonic Orchestra | ( N ) | Featured Performers, A-Z | Classical | Styles | Music
Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
ClassicalClassical | Box Sets | Stores | Music
ASIN: B000001GFS
Release Date: 1991-10-11

Tracks:

  1. Sym No.1: Langsam. Schleppend. Wie ein Naturlaut-Im Anfang sehr gemachlich - Concertgebouworkest Amsterdam/Bernstein
  2. Sym No.1: Kraftig bewegt, doch nicht zu schnell-Trio. Recht gemachlich - Concertgebouworkest Amsterdam/Bernstein
  3. Sym No.1: Feierlich und gemessen, ohne zu schleppen - Concertgebouworkest Amsterdam/Bernstein
  4. Sym No.1: Sturmisch bewegt - Concertgebouworkest Amsterdam/Bernstein

Tracks:

  1. Sym No.2 'Resurrection': 1. Satz: Allegro maestoso. Mit durchous ernstem und feierlichem Ausdruck - New York Phil/Bernstein
  2. Sym No.2 'Resurrection': 1. Satz: Sehr mag und zuruckhaltend - New York Phil/Bernstein
  3. Sym No.2 'Resurrection': 1. Satz: Schnell - New York Phil/Bernstein
  4. Sym No.2 'Resurrection': 1. Satz: Tempo I - New York Phil/Bernstein
  5. Sym No.2 'Resurrection': 1. Satz: Tempo sostenuto - New York Phil/Bernstein
  6. Sym No.2 'Resurrection': 2. Satz: Andante moderato. Sehr gemachlich - New York Phil/Bernstein
  7. Sym No.2 'Resurrection': 2. Satz: Nicht eilen. Sehr gemachlich - New York Phil/Bernstein
  8. Sym No.2 'Resurrection': 2. Satz: In Tempo I zuruckkenhren - New York Phil/Bernstein
  9. Sym No.2 'Resurrection': 2. Satz: Energisch bewegt - New York Phil/Bernstein
  10. Sym No.2 'Resurrection': 2. Satz: Wieder ins Tempo zuruckgehen. Tempo I - New York Phil/Bernstein

Tracks:

  1. Sym No.2 'Resurrection': 3. Satz: In ruhig fliender Bewegung - New York Phil/Bernstein
  2. Sym No.2 'Resurrection': 3. Satz: Sehr getragen und gesangvoll - New York Phil/Bernstein
  3. Sym No.2 'Resurrection': 3. Satz: Zum Tempo I zuruckkehren - New York Phil/Bernstein
  4. Sym No.2 'Resurrection': 4. Satz: 'Urlicht': Sehr leicht, aber schlicht - Christa Ludwig
  5. Sym No.2 'Resurrection': 5. Satz: Im Tempo des Scherzos. Wild herausfahrend - New York Phil/Bernstein
  6. Sym No.2 'Resurrection': 5. Satz: Langsam - New York Phil/Bernstein
  7. Sym No.2 'Resurrection': 5. Satz: Im Anfang sehr zuruckhaltend - New York Phil/Bernstein
  8. Sym No.2 'Resurrection': 5. Satz: Wieder sehr breit - New York Phil/Bernstein
  9. Sym No.2 'Resurrection': 5. Satz: Molto ritenuto. Maestoso - New York Phil/Bernstein
  10. Sym No.2 'Resurrection': 5. Satz: Wieder zuruckhaltend - New York Phil/Bernstein
  11. Sym No.2 'Resurrection': 5. Satz: Sehr langsam und gedehnt - New York Phil/Bernstein
  12. Sym No.2 'Resurrection': 5. Satz: Langsam. Misterioso: 'Auferstehn, ja auferstehn wirst du' - Barbara Hendricks/Westminster Choir
  13. Sym No.2 'Resurrection': 5. Satz: Langsam ppp. Nicht schleppen: 'Wieder aufzubluhn wirst du gesat' - Barbara Hendricks/Westminster Choir
  14. Sym No.2 'Resurrection': 5. Satz: Etwas bewegter: 'O glaube, mein Herz, o glaube' - Christa Ludwig/Westminster Choir
  15. Sym No.2 'Resurrection': 5. Satz: Mit Aufschwung, aber nicht eilen: 'O Schmerz, du Alldurchdringer' - Barbara Hendricks/Christa Ludwig/Westminster Choir

Tracks:

  1. Sym No.10-Adagio: Andante - Wiener PO/Bernstein
  2. Sym No.10-Adagio: Andante come prima - Wiener PO/Bernstein
  3. Sym No.10-Adagio: - Wiener PO/Bernstein
  4. Sym No.10-Adagio: - Wiener PO/Bernstein
  5. Sym No.10-Adagio: a tempo - Wiener PO/Bernstein
  6. Sym No.3: 1. Satz: Kraftig. Entschieden - New York Phil/Bernstein
  7. Sym No.3: 1. Satz: Immer das gleiche Tempo - New York Phil/Bernstein
  8. Sym No.3: 1. Satz: Tempo I - New York Phil/Bernstein
  9. Sym No.3: 1. Satz: Zeit lassen - New York Phil/Bernstein
  10. Sym No.3: 1. Satz: Zeit Lassen - New York Phil/Bernstein
  11. Sym No.3: 1. Satz: Immer dasselbe Tempo. (Marsch) Nicht eilen - New York Phil/Bernstein
  12. Sym No.3: 1. Satz: Im alten Marschtempo (Allegro Moderato) - New York Phil/Bernstein
  13. Sym No.3: 1. Satz: Tempo I - New York Phil/Bernstein

Tracks:

  1. Sym No.3: 2. Satz: Tempo di Menuetto. Sehr massig - New York Phil/Bernstein
  2. Sym No.3: 2. Satz: -L'istesso tempo - New York Phil/Bernstein
  3. Sym No.3: 2. Satz: A tempo. (Wie im Anfang) - New York Phil/Bernstein
  4. Sym No.3: 2. Satz: Ganz plotzlich gemachlich. Tempo di Menuetto - New York Phil/Bernstein
  5. Sym No.3: 3. Satz: Comodo. Scherzando. Ohne Hast - New York Phil/Bernstein
  6. Sym No.3: 3. Satz: -Wieder sehr gemachlich, wie zu Anfang - New York Phil/Bernstein
  7. Sym No.3: 3. Satz: -Etwas zuruckhaltend - New York Phil/Bernstein
  8. Sym No.3: 3. Satz: Schnell und schmetternd wie eine Fanfare-Tempo I. Mit geheimnisvoller Hast - New York Phil/Bernstein
  9. Sym No.3: 3. Satz: -Wieder sehr gemachlich, beinahe langsam - New York Phil/Bernstein
  10. Sym No.3: 4. Satz: Sehr langsam. Misterioso. Durchaus ppp: 'O Mensch! Gib acht!' - Christa Ludwig
  11. Sym No.3: 4. Satz: Piu mosso subito - New York Phil/Bernstein
  12. Sym No.3: 5. Satz: Lustig im Tempo und keck im Ausdruck: 'Bimm bamm/Es sungen drei Engel' - New York Choral Artists/Brooklyn Boys Chorus/Christa Ludwig
  13. Sym No.3: 6. Satz: Langsam. Ruhevoll. Empfunden - New York Phil/Bernstein
  14. Sym No.3: 6. Satz: Nicht mehr so breit - New York Phil/Bernstein
  15. Sym No.3: 6. Satz: Tempo I. Ruhevoll - New York Phil/Bernstein
  16. Sym No.3: 6. Satz: Nicht mehr so breit - New York Phil/Bernstein
  17. Sym No.3: 6. Satz: Tempo I - New York Phil/Bernstein
  18. Sym No.3: 6. Satz: Langsam. Tempo I - New York Phil/Bernstein

Tracks:

  1. Sym No.4: Bedachtig. Nicht eilen - Concertgebouworkest Amsterdam/Bernstein
  2. Sym No.4: In gemachlicher Bewegung. Ohne Hast - Concertgebouworkest Amsterdam/Bernstein
  3. Sym No.4: Ruhevoll - Concertgebouworkest Amsterdam/Bernstein
  4. Sym No.4: Sehr behaglich: 'Wir geniessen die himmlischen Freuden' - Helmut Wittek

Tracks:

  1. Sym No.5: Part I: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Konduk - Wiener PO/Bernstein
  2. Sym No.5: Part I: Sturmisch bewegt. Mit groer Vehemenz - Wiener PO/Bernstein
  3. Sym No.5: Part II: Scherzo. Kraftig, nicht zu schnell - Friedrich Pfeiffer
  4. Sym No.5: Part III: Adagietto. Sehr langsam - Wiener PO/Bernstein
  5. Sym No.5: Part III: Rondo-Finale. Allegro-Allegro giocoso. Frisch - Wiener PO/Bernstein

Tracks:

  1. Sym No.6: Allegro energico, ma non troppo. Heftig, aber markig - Wiener PO/Bernstein
  2. Sym No.6: Scherzo. Wuchtig - Wiener PO/Bernstein
  3. Sym No.6: Andante moderato - Wiener PO/Bernstein

Tracks:

  1. Sym No.6: Finale. Allegro moderato-Allegro energico - Wiener PO/Bernstein
  2. Sym No.7: 1. Satz: Langsam (Adagio) - New York Phil/Bernstein
  3. Sym No.7: 1. Satz: Nicht schleppen - New York Phil/Bernstein
  4. Sym No.7: 1. Satz: Allegro risoluto, ma non troppo - New York Phil/Bernstein
  5. Sym No.7: 1. Satz: a tempo (sempre l'istesso) - New York Phil/Bernstein
  6. Sym No.7: 1. Satz: Moderato - New York Phil/Bernstein
  7. Sym No.7: 1. Satz: - New York Phil/Bernstein
  8. Sym No.7: 1. Satz: Adagio (Tempo der Einleitung) - New York Phil/Bernstein
  9. Sym No.7: 1. Satz: Allegro come prima - New York Phil/Bernstein
  10. Sym No.7: 1. Satz: poco ritenuto...a tempo - New York Phil/Bernstein
  11. Sym No.7: 1. Satz: Nicht eilen! - New York Phil/Bernstein

Tracks:

  1. Sym No.7: 2. Satz: Nachtmusik: Allegro moderato - New York Phil/Bernstein
  2. Sym No.7: 2. Satz: Nachtmusik: Sempre l'istesso Tempo - New York Phil/Bernstein
  3. Sym No.7: 2. Satz: Nachtmusik: Poco meno mosso - New York Phil/Bernstein
  4. Sym No.7: 2. Satz: Nachtmusik: Tempo - New York Phil/Bernstein
  5. Sym No.7: 2. Satz: Nachtmusik: - New York Phil/Bernstein
  6. Sym No.7: 2. Satz: Nachtmusik: Sehr gemessen - New York Phil/Bernstein
  7. Sym No.7: 3. Satz: Scherzo: Schattenhaft - New York Phil/Bernstein
  8. Sym No.7: 3. Satz: Scherzo: Trio - New York Phil/Bernstein
  9. Sym No.7: 3. Satz: Scherzo: Wieder wie zu Anfang - New York Phil/Bernstein
  10. Sym No.7: 4. Satz: Nachtmusik: Andante amoroso - New York Phil/Bernstein
  11. Sym No.7: 4. Satz: Nachtmusik: - New York Phil/Bernstein
  12. Sym No.7: 4. Satz: Nachtmusik: Tempo I. poco rit. - New York Phil/Bernstein
  13. Sym No.7: 5. Satz: Rondo-Finale: Tempo I (Allegro ordinario) - New York Phil/Bernstein
  14. Sym No.7: 5. Satz: Rondo-Finale: Sempre l'istesso Tempo - New York Phil/Bernstein
  15. Sym No.7: 5. Satz: Rondo-Finale: Tempo II (Allegro moderato ma energico) - New York Phil/Bernstein
  16. Sym No.7: 5. Satz: Rondo-Finale: Tempo I - New York Phil/Bernstein
  17. Sym No.7: 5. Satz: Rondo-Finale: - New York Phil/Bernstein
  18. Sym No.7: 5. Satz: Rondo-Finale: Tempo! subito - New York Phil/Bernstein
  19. Sym No.7: 5. Satz: Rondo-Finale: Meno mosso (Tempo II) - New York Phil/Bernstein
  20. Sym No.7: 5. Satz: Rondo-Finale: Accelerando - New York Phil/Bernstein

Tracks:

  1. Sym No.9: 1. Satz: Andante comodo - Concertgebouworkest Amsterdam/Bernstein
  2. Sym No.9: 1. Satz: (Horneinsatz) - Concertgebouworkest Amsterdam/Bernstein
  3. Sym No.9: 1. Satz: Bewegter - Concertgebouworkest Amsterdam/Bernstein
  4. Sym No.9: 1. Satz: - Concertgebouworkest Amsterdam/Bernstein
  5. Sym No.9: 1. Satz: Wie von Anfang - Concertgebouworkest Amsterdam/Bernstein
  6. Sym No.9: 1. Satz: Plotzlich bedeutend langsamer (Lento) und leise - Concertgebouworkest Amsterdam/Bernstein
  7. Sym No.9: 2. Satz: Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb - Concertgebouworkest Amsterdam/Bernstein
  8. Sym No.9: 2. Satz: Poco piu mosso subito (Tempo II.) - Concertgebouworkest Amsterdam/Bernstein
  9. Sym No.9: 2. Satz: Tempo III. - Concertgebouworkest Amsterdam/Bernstein
  10. Sym No.9: 2. Satz: A tempo II. - Concertgebouworkest Amsterdam/Bernstein
  11. Sym No.9: 2. Satz: Tempo I. - Concertgebouworkest Amsterdam/Bernstein
  12. Sym No.9: 2. Satz: Tempo II. - Concertgebouworkest Amsterdam/Bernstein
  13. Sym No.9: 2. Satz: Tempo I. subito - Concertgebouworkest Amsterdam/Bernstein
  14. Sym No.9: 3. Satz: Allegro assai. Sehr trotzig - Concertgebouworkest Amsterdam/Bernstein
  15. Sym No.9: 3. Satz: L'istesso tempo - Concertgebouworkest Amsterdam/Bernstein
  16. Sym No.9: 3. Satz: Sempre l'istesso tempo - Concertgebouworkest Amsterdam/Bernstein
  17. Sym No.9: 3. Satz: L'istesso tempo - Concertgebouworkest Amsterdam/Bernstein
  18. Sym No.9: 3. Satz: - Concertgebouworkest Amsterdam/Bernstein
  19. Sym No.9: 3. Satz: (Klarinetteneinsatz) - Concertgebouworkest Amsterdam/Bernstein
  20. Sym No.9: 3. Satz: Tempo I. subito - Concertgebouworkest Amsterdam/Bernstein
  21. Sym No.9: 3. Satz: Piu stretto - Concertgebouworkest Amsterdam/Bernstein

Tracks:

  1. Sym No.9: 4. Satz: Adagio: Sehr langsam und noch zuruckhaltend - Concertgebouworkest Amsterdam/Bernstein
  2. Sym No.9: 4. Satz: Adagio: Plotzlich wieder sehr langsam (wie zu Anfang) und etwas zogernd - Concertgebouworkest Amsterdam/Bernstein
  3. Sym No.9: 4. Satz: Adagio: Molto adagio subito - Concertgebouworkest Amsterdam/Bernstein
  4. Sym No.9: 4. Satz: Adagio: a tempo (Molto adagio) - Concertgebouworkest Amsterdam/Bernstein
  5. Sym No.9: 4. Satz: Adagio: Stets sehr gehalten - Concertgebouworkest Amsterdam/Bernstein
  6. Sym No.9: 4. Satz: Adagio: Fliender, doch durchaus nicht eilend - Concertgebouworkest Amsterdam/Bernstein
  7. Sym No.9: 4. Satz: Adagio: Tempo I. Molto adagio - Concertgebouworkest Amsterdam/Bernstein
  8. Sym No.9: 4. Satz: Adagio: Adagissimo - Concertgebouworkest Amsterdam/Bernstein
  9. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': Allegro mipetuoso - Wiener Singverein/Wiener Sangerknoben
  10. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': A tempo. Etwas gemagter; immer sehr fliend - Price/Blegen/Riegel/Schmidt/Baltsa/Prey/Dam/Chor
  11. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': Tempo I. (Allegro impetuoso) - Chor/Price/Blegen/Schmidt/Baltsa/Riegel/Prey/Dam
  12. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': Tempo I. (Allegro impetuoso) - Wiener PO/Bernstein
  13. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': Sehr fliend-Noch einmal so langsam als vorher.. - Dam/Riegel/Schmidt/Baltsa/Price/Blegen
  14. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': Plotzlich sehr breit und leidenschaftlichen... - Price/Blegen/Schmidt/Baltsa/Riegel/Prey/Dam
  15. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': 'Veni, creator spirtus' - Chor
  16. Sym No.8: Part I: Hymnus 'Veni, creator spiritus': a tempo... - Chor/Prey/Dam

Tracks:

  1. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Poco adagio - Wiener PO/Bernstein
  2. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Piu mosso. (Allegro moderato) - Wiener PO/Bernstein
  3. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Wieder langsam - Chor
  4. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Moderato Pater ecstaticus:... - Prey
  5. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Allegro-(Allegro appassionato) - Dam
  6. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Allegro deciso. - Chor/Price/Schmidt
  7. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Molto leggiero - Chor/Price/Schmidt
  8. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Schon etwas langsamer und immer... - Chor/Price/Schmidt/Riegel
  9. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Im Anfang noch etwas... - Chor/Price/Schmidt/Riegel
  10. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Sempre l'istesso tempo - Riegel/Chor
  11. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Aurst langsam. Adagissimo - Chor/Blegen
  12. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Fliend - Price/Schmidt/Baltsa
  13. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Una poenitentium:... - Blegen
  14. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Unmerklich frischer - Wiener PO/Bernstein
  15. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Mater gloriosa:... - Riegel/Chor
  16. Sym No.8: Part I: Final Scene from Goethe's 'Faust', Part II: Sehr langsam beginnend - Chor/Price/Blegen/Riegel/Prey/Dam

Customer Reviews:

5 out of 5 stars Recordings of a great conductor who understood Mahler well........1999-03-26

Let us not give Leonard Bernstein all the credits in the pioneer & promotion into the performances of Mahler symphonies & songs. We should not want to be vapid. Besides Bruno Walter, a lifelong advocate in enhancing the appreciation of Mahler's achievements, we have witnessed the advocacy of Sir John Barborolli, Jascha Horestein, Maurice Abravanel, Klaus Tennstedt, Otto Klemperer, Vaclav Neumann, Sir George Solti, Raphael Kubelik, Bernard Haitink, Claudio Abbado.

Leonard Bernstein, I believe, was unique in that he recorded Mahler's works in more than one occassion. Furthermore, he went public (on television & in writing)in discussing how important Mahler was to Vienna & to the music world. That added something more special to his performances of Mahler & ultimately into the recordings (Does this remains you of Eugene Jochum with Bruckner, Evegeny Svetlanov with Glazunov, or Kyrill Kondrashin with Tchaikovsky?). For some reason, there was a kinship between Bernstein & Mahler that somehow was not dublicated (with exceptions, perhaps, to Tennstedt, Abravanel, Barborolli & Neumann).

The set is full of Compact Discs having passionate & highly energetic performances, typical of Leonard Bernstein in his days. I would not dismiss the recordings of the above-mentioned conductors, for they highly contributed also in the enlargement of the appreciation of Mahler & his works.

Highly recommendable, although explorations are not necessarily a bad thing.
Mahler: Symphonien No. 9 & 10
Average customer rating: 5 out of 5 stars
  • Astonishing
 Mahler: Symphonien No. 9 & 10

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
ASIN: B000005GJV
Release Date: 1992-08-18

Customer Reviews:

5 out of 5 stars Astonishing.......2006-06-11

I don't think I can honestly say that I have a favorite composer, and yet my Mahler performances outnumber all others in my classical collection. This is ironic because for a long time I was actually cool towards his work (I confess--I'd heard Bernstein's bombast)...until someone whose taste and knowledge I respect guided me through the near-limitless catalog of Mahler performances available on CD.
His top recommendation was Bertini's series with Cologne.
Not only was his advice spot-on, but it seems that the rest of the music industry has finally gotten off its collective posterior and is now according Maestro Bertini the kudos he deserves, posthumously, as it happens.
I own a numbers of 9's that I feel are select; these include Karajan's live reading with Berlin and Ancerl's gorgeous Czech Phil on Supraphon. I won't say that this recording betters those accounts, but it's of the same caliber and although its slowness is like the Karajan, the resemblence ends there; it's not like either of them (which, to be precise here, are unlike each other). The audio quality, however, IS better than either; at points, the strings positively shimmer and the precision and clarity are unbelievable. This is truly a 9 for the ages, and if you're a fan of this work, you're cheating yourself if you don't familiarize yourself with it.
Bertini, whose fidelity to Mahler "as written," would never have considered performing a "completed" 10, gives us a performance of the adagio that'll knock your socks off. This is a disturbing, subtly sinister work that scares the bejesus out of me in a way that much more obvious works that I favor--such as "Le sacre du printemps" and "Scythian Suite--can't approach. It puts me in mind of some of Herrmann's eerier work, and I can't help but wonder if this might have served as inspirational fodder.
If you can find a used copy of this at a reasonable price and you're only looking to acquire another 9, buy all means, grab it--it's a two-disk space hog (why oh why did the development of "slimline" jewel cases take so long?), but the booklet is nice. My recommendation is, though, that you jump on EMI's recently released (to rave reviews, I might add) box while it's available and avail yourself of the entire cycle in a space-saving presentation. It can be had very reasonably on Amazon and contains some of the best Mahler you're likely to ever hear.

Track Listings:

  1. Handel: Messiah HWV56; Music for the Royal Fireworks HWV351
  2. Ignacy Jan Paderewski Plays Romantic Music
  3. Il "Carlo Felice" di Genova: Un secolo di grandi voci, Vol. 1
  4. Italian Great Tenors
  5. Johannes Brahms: Piano Music, Volume II
  6. Jose Carreras Sings Catalan Songs
  7. Josef Hofmann Plays Chopin
  8. Jurassic Park & Others: Classic John Williams [Import] [Soundtrack]
  9. Karel Ancerl conducts Haydn: Symphony No. 92 in G major / Franck: Symphony, in D minor, Op. 48 / Prokofiev Symphony No. 1
  10. L'Art de Hans Knappertbusch - Wagner: Siegfried-Idyll & extracts from "Tristan und Isolde", "Die Meistersinger", and "Die Götterdämmerung" with Christa Ludwig / Bruckner: Symphony No. 3 / Beethoven: Piano Concerto No. 5 (Paul Badura-Skoda, piano); Symphony No. 8; Piano Concerto No. 3 (with Andor Foldes, piano) [Box se

Track Listings

track listings

Track Listings

Gothic Legends [Box set]

Ingvar Lidholm: Orchestral Works

Love Reigns

Coxa

Meat Loaf & Friends [Import]

Midnight Train to Georgia

Kids In Action

germanbooks88.com Music: ...In Real Time

Crystal Gayle Christmas

It's a Blue World [Import]

Here's Where The Strings Come In

Merciless [Import]

Il Treno Va [Import]

Rachmaninov - Vespers Op. 37 - Valeri Polyansky

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