Mahler: Symphonies No. 6 & No. 8

1. Symphony No. 6 in A minor ("Tragic")
Composed by Gustav Mahler
Conducted by Leonard Bernstein

2. Symphony No. 8 in E flat major ("Symphony of a Thousand")
Composed by Gustav Mahler
with Finchley Children's Music Group
Conducted by Leonard Bernstein

Mahler: Symphonies No. 6 & No. 8,Vladimir Ruzdjak,Donald McIntyre,Gustav Mahler,Leonard Bernstein,Finchley Children's Music Group,Orpington Junior Singers,New York Philharmonic,Hans Vollenweider,Erna Spoorenberg,Gwenyth Annear,Gwyneth Jones,John Mitchinson,Sony,Classical,Classical Music,Romantic Symphony,Symphonic

Average customer rating: Good selection thunderous applause Good Music at a Great Price You will like this! Good for the novice

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Tracks:

1. Also Sprach Zarathustra (Sunrise) - R. Strauss
2. Mars (The Planets) - Holst
3. Overture 1812 - Tchaikovsky
4. Entry Of The Gladiadtors - Fucik
5. Sabre Dance - Khachaturian
6. Procession Of The Sardar - Ippolitov Ivanov
7. Night On Bald Mountain - Mussorgsky
8. Anvil Chor (II Trovatore) - Verdi
9. The Thunderer March - Sousa
10. Thunder & Lightening Polka - J. Strauss
11. Prelude To Act III : Lohengrin - Wagner
12. The Ride Of The Valkryies - Wagner
13. Montagues & Capulets (Romeo & Juliet Ballet Suite) - Prokofiev
14. The Storm: Symphony No. 6 In F Major, 'Pastorale' - Beethoven
15. Rondeau - Edward Carroll
16. Overture: Fireworks Music - Handel
17. March To The Scaffold: Symphonie Fantastique - Berlioz
18. LesToreadors - Bizet
19. William Tell Overture: Finale - Rossini
20. Revolutionary Study - Abbey Simon
21. Fanfare For The Common Man - Copland
22. Sym No. 1 'Titan' IV Sturmisch Bewegt (Excerpt) - Mahler
23. Augurs Of Spring From Rite Of Spring - Stravinsky
24. Russian Dance From Petrouchka - Stravinsky
25. The Great Gate At Kiev From Pictures At An Exhibition - Mussorgsky

Customer Reviews:

Good selection.......2005-10-02

I bought this CD to use in my classroom as listening examples. I'm not just a super big fan of some of the performances, but they are all good and for the price you can't beat it. That's why I gave it 5 stars. It's worth more than it costs by far.

thunderous applause.......2005-08-31

This is a who's-who of great pieces of music you have heard all of your life, and never knew the names and stories! I listened to it over and over in the car and had my own concert! A friend borrowed it to add music to his Home Movies and it was perfect!

Good Music at a Great Price.......2004-03-06

I bought this CD mostly for "Entry of the Gladiators," which everyone will recognize as classic circus music. The performance on this CD (by Erich Kunzel and the Cincinnati Pops) is the best available version of Entry of the Gladiators. The rest of the CD offers mostly excerpts of classical music.

You will like this!.......2004-02-19

I had purchased an abundance of the "Favorites" collection and some were better than others.

This CD is at the top of them all. They may be short, but not that short. Wondrous music.

I can almost guarantee that you will like this music.
Well worth the price!

Good for the novice.......2002-06-08

The recordings on this disc are pretty good. However, the editors selected only the *loud* parts, as indicated by the title. I was pretty disappointed to find that the pieces are, in many cases, edited to reflect the most famous themes, etc, instead of including the whole work. In general, I would recommend this to the classical music novice, or someone who wants to expand their knowledge of classical music in general. Those who already are familiar with these pieces will probably feel gypped.

Average customer rating: Groundbreaking but partly outdated Outstanding Mahler Compilation Bernstein or Tennstedt: read on.... Comparing the two Bernstein Mahler cycles Mahler complete symphonies.

Mahler: The Complete Symphonies Dame Janet Baker , Jennie Tourel , Lili Chookasian , Martha Lipton , Israel Philharmonic Orchestra , New York Philharmonic , Hans Vollenweider , Adele Addison , Dame Gwyneth Jones , Erna Spoorenberg , Lee Venora , Lucine Amara , Reri Grist , John Mitchinson , and Richard Tucker Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music New York Philharmonic Orchestra | ( N ) | Featured Performers, A-Z | Classical | Styles | Music Classical | Box Sets | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Mendelssohn: 5 Symphonies; 7 Overtures Schubert: 8 Symphonies Bruckner: The Complete Symphonies Johannes Brahms: The Symphonies Dvorák: The Symphonies ASIN: B0000589BP Release Date: 2001-01-30

Tracks:

1. Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
2. Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
3. Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
4. Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
5. Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
6. Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
7. Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
8. Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
9. Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
10. Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
11. Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
12. Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
13. Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
14. Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
15. Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
16. Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
17. Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
18. Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
19. Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
20. Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
21. Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
22. Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

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

Tracks:

1. Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
2. Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
3. Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
4. Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
5. Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
6. Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
7. Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
8. Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
9. Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
10. Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
11. Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
12. Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
13. Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
14. 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...
15. 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...
16. 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...
17. 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...
18. 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...
19. 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...
20. 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...
21. 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:

1. Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
2. Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
3. Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
4. Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
5. Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
6. Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
7. Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
8. Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
9. Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
10. Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
11. Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
12. Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
13. Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
14. 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...
15. 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...
16. 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...
17. Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
18. 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:

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

Tracks:

1. Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
2. Sym No.4 in G: Movt I: Tempo I - Reri Grist
3. Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
4. Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
5. Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
6. Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
7. Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
8. Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
9. Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
10. Sym No.4 in G: Movt III: Andante - Reri Grist
11. Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
12. Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
13. Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
14. Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
2. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
3. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
4. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
5. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
6. 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
7. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
8. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
9. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
10. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
11. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
12. 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
13. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
14. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
15. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
16. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
17. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
18. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
19. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
20. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
21. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
22. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
23. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
24. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

1. Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
2. Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
3. Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
4. Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
5. Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
6. Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
7. Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
8. Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
9. Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
10. Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
11. Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
12. Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
13. Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
14. Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
15. Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
16. Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
17. Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
18. Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
19. Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
20. Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
21. Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
22. Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
23. Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
24. Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
25. Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
26. Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
27. Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
28. 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: Good -- but not great Outstanding, yet Affordable Mahler Set Ignore the name(s): Listen to the Music! An exceptionally fine bargain best overall cycle

Mahler: Symphonies 1-10; Das Lied von der Erde Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Similar Items: Mahler: Symphonies Nos. 1-9; Adagio Mahler: Symphony No. 2 in c minor [Hybrid SACD] Prokofiev: The Complete Symphonies Beethoven: Piano Sonatas (Complete) [Box Set] Mahler - The Symphonies plus Das Lied von der Erde Boxset / Leonard Bernstein, Wiener Philharmoniker, London Symphony Orchestra, Israel Philharmonic Orchestra ASIN: B000BQ7BX2 Release Date: 2006-01-10

Tracks:

1. I. Langsam, Schleppend, Wie Ein Naturlaut - Im Anfang Sehr Gemachlich - Kolner Rundfunk-Sinfonieorchester
2. II. Kraftig Bewegt, Doch NIcht Zu Schnell - Kolner Rundfunk-Sinfonieorchester
3. III. Feirlich Und Gemessen, Ohne Zu Schleppen - Kolner Rundfunk-Sinfonieorchester
4. IV. Sturmisch Bewegt - Kolner Rundfunk-Sinfonieorchester
5. I. Allegro Maestoso. Mit Durchaus Ernstem Und Feierlichem Ausdruck - Krisztina Laki

Tracks:

1. II. Andante Moderato. Sehr Gemachlich - Krisztina Laki
2. II. In Ruhig Fliessender Bewegung - Krisztina Laki
3. IV. Urlicht: Sehr Feierlich, Aber Schlicht - Krisztina Laki
4. V. Im Tempo Des Scherzo. Wild Herausfahrend - Krisztina Laki
5. Wieder Sehr Breit - Krisztina Laki
6. Ritardando...Maestoso. Sehr Zuruckhaltend - Krisztina Laki
7. Wieder Zuruckhaltend - Krisztina Laki
8. Langsam, Misterioso - Krisztina Laki
9. Etwas Bewegter - Krisztina Laki
10. Mit Aufschwung, Aber Nicht Eilen - Krisztina Laki

Tracks:

1. I. Kraftig. Entschieden - Gwendolyn Killebrew
2. II. Tempo Di Menuetto - Gwendolyn Killebrew
3. III. Comodo. Scherzando - Gwendolyn Killebrew
4. IV. Sehr Langsam - Gwendolyn Killebrew

Tracks:

1. V. Lustig IM Tempo UNd Keck Im Ausdruck - Gwendolyn Killebrew
2. VI. Sehr Langsam - Ruhevoll - Empfunden - Gwendolyn Killebrew
3. I. Bed Achtig. Nicht Eilen - Lucia Popp
4. II. In Gemachlicher Bewegung. Ohne Hast - Lucia Popp
5. III. Ruhevoll - Lucia Popp

Tracks:

1. IV. Sehr Behaglich - Lucia Popp
2. I. Trauermarsch (Im Gemessenem Schritt - Streng - Wie Ein Kondukt) - Kolner Rundfunk-Sinfonieorchester
3. II. Sturmisch Bewegt, Mit Grosster Vehemenz - Kolner Rundfunk-Sinfonieorchester
4. III. Scherzo (Kraftig, Nicht Zu Schnell) - Kolner Rundfunk-Sinfonieorchester
5. IV. Adagietto (Sehr Langsam) - Kolner Rundfunk-Sinfonieorchester
6. V. Rondo - Finale (Allegro) - Kolner Rundfunk-Sinfonieorchester

Tracks:

1. I. Langsam - Allegro - Kolner Rundfunk-Sinfonieorchester
2. II. Nachtmusik I - Kolner Rundfunk-Sinfonieorchester
3. III. Scherzo: Schattenhaft - Kolner Rundfunk-Sinfonieorchester
4. IV. Nachtmusik II. Andante Amoroso - Kolner Rundfunk-Sinfonieorchester
5. V. Rondo - Finale - Kolner Rundfunk-Sinfonieorchester

Tracks:

1. I. Allegro Energico, Ma Non Troppo - Kolner Rundfunk-Sinfonieorchester
2. II. Scherzo. Wuchtig - Kolner Rundfunk-Sinfonieorchester
3. III. Andante Moderato - Kolner Rundfunk-Sinfonieorchester

Tracks:

1. IV. Finale: Sostenuto - Allegro Moderato - Kolner Rundfunk-Sinfonieorchester
2. I. Andante Comodo - Kolner Rundfunk-Sinfonieorchester
3. II. Im Tempo Eines Gemachlichen Landlers - Etwas Tappisch Und Sehr Derb - Kolner Rundfunk-Sinfonieorchester

Tracks:

1. III. Rondo Burleske: Allegro Assai. Sehr Trotzig - Kolner Rundfunk-Sinfonieorchester
2. IV. Adagio: Sehr Langsam Und Noch Zuruckhaltend - Kolner Rundfunk-Sinfonieorchester
3. I. Adagio - Kolner Rundfunk-Sinfonieorchester

Tracks:

1. Veni, Creator Spiritus - Maria Venuti
2. Imple Superna Gratia - Maria Venuti
3. Infirma Nostri Corporis - Maria Venuti
4. Accende Lumen Sensibus - Maria Venuti
5. Veni, Creator Spiritus - Maria Venuti
6. Gloria Patri Domino - Maria Venuti
7. Poco Adagio: Waldung, Sie Schwankt Heran - Maria Venuti
8. Ewiger Wonnebrand - Maria Venuti
9. Wie Felsenabgrund Mir Zu Fussen - Maria Venuti
10. Gerettet Ist Das Edle Glied - Maria Venuti
11. Uns Bleibt Ein Erdenrest - Maria Venuti
12. Hier Ist Die Aussicht Frei - Maria Venuti
13. Hochste Herrscherin Der Welt - Maria Venuti
14. Dir, Der Unberuhrbaren - Maria Venuti
15. Bei Der Liebe, Die Den Fussen - Maria Venuti
16. Neige, Neige, Du Ohnegleiche - Maria Venuti
17. Blicket Suf Zum Retterblick - Maria Venuti
18. Alles Vergangliche - Maria Venuti

Tracks:

1. I. Das Trinklied Vom Jammer Der Erde - Marjana Lipovsek
2. II. Der Einsame Im Herbst - Marjana Lipovsek
3. III. Von Der Jugend - Marjana Lipovsek
4. IV. Von Der Schonheit - Marjana Lipovsek
5. V. Der Trunkene Im Fruhling - Marjana Lipovsek
6. VI. Der Abschied - Marjana Lipovsek

Customer Reviews:

Good -- but not great.......2007-07-07

Having listened intently to this set two times now, once with scores in hand, once without, I have to give this set less than a 5 star rating. The sound is adequate, compressed at times, muddy at others. The later symphonies fare better than 1 & 2. Conducting is fine: very straightfoward and unfussy. Plays it straight. And maybe that's a problem. The sixth in particular never really scales the heights or depths. Same story with 8. Layout is weird, but economical. My biggest beef is the orchestral execution. There are a LOT of bloopers that should have been fixed. In a live concert you can accept, even expect, some error in music this difficult. But on recordings they become very irritating. I grant that most people would never notice any, but if you have a good ear and really know this music there are some problems. The worst is an abundance of wrong notes in the 4th movement of the 7th, which otherwise is a superb version -- one of the best. Another easy to spot example occurs at the end of the 6th: why did the cellos leave the bass clarinet to fend for itself just a few bars before the end? Why didn't someone fix this?
I'm glad I heard this set, but there are better, albeit more expensive. As a complete set there isn't any that is altogether perfect, but Solti/Decca, Haitink/Philips, Kubelik/DG and deWaart/RCA come closer.

Outstanding, yet Affordable Mahler Set.......2007-06-10

If you are looking for a great Mahler set that doesn't give you the Walletdämmerung syndrome, yet you also want excellent musicians and soloists and a conductor with a most refreshing and philosophically true understanding of Mahler's music, I would recommend that you purchase this box set of Mahler symphonies with Gary Bertini. Although Gary Bertini was not a big name in the recording industry, he was deemed as a highly esteemable conductor in Europe. His Mahler offers a completely different sound from what you would hear from Bernstein, Abbado, Walter, and Klemperer, much closer to what Rafael Kubelik did with his Mahler, but Bertini offers a degree of transparency in his music that you cannot hear in any other conductor. Despite the transparency, his Mahler does not lack passion. If you want to know what I mean, you must listen to his Symphonies no. 1,2,4,5,6,7,8, and 9. These renditions are ranked with the very best Mahlerians in a very competitive field. Bertini is also supported by an ensemble of an extremely high calibre--the WDR or the Kölner Rundfunks Orchester. They play with a finesse and a grace that rivals the very best Mahler orchestras, including the Vienna Philharmonic, the Bavarian Radio Symphony, and the Concertgebouw. In terms of virtuosity and beauty, the orchestra offers some of the most glorious playing and a crystalline sound balance that you would want in a world-class German orchestra.

The soloists are all excellent too. You have Florence Quivar, Paul Frey, Lucia Popp, Julia Varady, Julia Hamari, and Alan Titus, among others. You must simply hear the alto part that Quivar sings in the Resurrection Symphony!

Included in this already sparkling box set is a Das Lied von der Erde with Marjana Lipovsek and Ben Heppner. While I will always love Klemperer, Ludwig, and Wunderlich, I think this Das Lied von der Erde comes close to being one of the very best recordings of the work. Heppner sings with his usual golden tone and security, and sings the tenor's songs with an abandon and an elan that makes his interpretation very attractive. Lipovsek sings the mezzo parts with a tragically imbued tone that improved over her recording with Solti years earlier. You must listen to what she does in the Abschied. I have never heard a more resentful and reflective understanding of this very complex movement other than Christa Ludwig, Janet Baker, and Kathleen Ferrier.

All in all, a Mahler box set that everyone should get along with Haitink, Chailly, and Kubelik.

Ignore the name(s): Listen to the Music!.......2007-05-07

Gary Bertini and the Cologne Radio Symphony? The Mahler symphonies have been recorded in toto by many of the "biggest" names in music Leonard Bernstein (three times), Solti, Kubelik, Haitink and so on with the best known orchestras in the world ---- Vienna Philharmonic, Concertgebouw, New York Philharmonic, Chicago Symphony, Berlin Philharmonic, and so on and so on. I've given away my bias by those I've chosen to list and the sequence I've put them in.
And along comes a little known conductor, now deceased, with an orchestra I would not rank with those above; and by virtue of their sheer musicianship they belong alongside all the above. Mr. Bertini's performances hew closer to Mr. Kubelik and Mr. Haitink in being moderate in both tempo and phrasing. At the same time, Mr. Bertini still beings a far greater feeling of intensity and passion than either. Mr. Bertini's performances have a sweep and a grandeur that places them on the same plane as Mr. Bernstein's performances without entirely going "over the top" as Mr. B. was inclined to do.
No: Bertini's recording of the Sixth Symphony does not take us emotionally to the depth of Mr. Bernstein's last recording (DG digital). Nor has Mr. Solti's magnificent performance of the Eighth been surpassed. But I were asked to choose one cycle to live with for the rest of my life, it would be this one.

An exceptionally fine bargain.......2007-03-26

Gary Bertini's EMI Mahler cycle is more or less contemporary with Tennstedt's Mahler cycle on the same label. But, according to the gossip, the company decided to keep Bertini in the vaults since the former and LPO where more publicly known. In my view, however, Bertini's set is clearly superior. The orchestra - Kölner Rundfunk Sinfonieorchester - is outstanding, far better than LPO, and so are most of Bertini's interpretations as well.

Considering that Bertini and the orchestra are not among the obvious "stars", it is an exceptional sleeper. In fact, Bertini was virtually unknown before this cycle made him famous, post mortem.

The cycle combines both live and studio recordings. The live ones were recorded in Japan where the audience knows how to behave. Excellent stereo sound adds to the pleasure.

But one could note that some of Bertini's tempi are among the slowest on record. The final movement of symphony no. 9 stops at 28:34, which is ten minutes more than Walter's 1939 classic. It's even a few seconds slower than Chailly's very slow account on Decca. The finale of the third is six minutes longer than Tennstedt's on EMI. But the adagietto in the fifth stops at just above 10 minutes, so Bertini is not consistently very slow when Mahler's music may invite sentimental conductors to drag. Unlike such conductors, however, Bertini has the ability to keep tension during a long breath, bringing forth interesting details in contextual balance.

Thus the performances of symphonies 1, 5, 7, 8, 9 and Das Lied von der Erde are outstanding, challenging almost every recording in the current catalogue. The remaining symphonies are also convincingly presented, in perfectly consistent performances.

However, one irritating thing with this set is that the fourth symphony is divided over two discs. That EMI decision was not necessary. The cycle could still fit on 11 CDs with a different editing. The policy for all record companies should be to avoid unnecessary splitting.

At a super-bargain price, this is of course the first choice among boxed sets, especially the contemporary ones. All the recordings in this box have something that attracts repeated listening. This is true of Gielen's outstanding cycle too (Hänssler), but it requires you to pay four times the price. Still, Kubelik (DG) remains my favourite cycle. But Bertini's is better recorded.

Warmly recommended!

best overall cycle.......2006-12-09

There's little that I could add to the testimonials that have already been written here . While none of these performances would be an absolute first choice for me, save Bertini's Mahler 8th (which IS extraordinary), all of them have an amazing consistantcy in style, sound quality, and orchestral execution. The inclusion of a really fine "Das Lied von der Erde", expertly sung by Ben Heppner and Marjana Lipovsek, makes this a clear front runner. While Bertini didn't record a complete Mahler 10th symphony (finished by Deryck Cooke and others), his M10 Adagio is outstanding - giving the feeling of completeness on to itself. In fact, other than Leonard Bernstein, I can think of no other conductor who has been so satisfying in capturing the complete emotional range of Mahler's symphonies; going from the fresh and youthful first symphony (and Bertini is truly fresh and youthful); working on up to the cosmic orgasm that is the 8th symphony (and Bertini is cosmically orgasmic here), and still making the drastic shift to the zen-like, other-worldliness of the so-called farewell trilogy: "DLvdE", 9th symphony, and 10th symphony adagio. He runs the entire gamut, Janet.

Much positive has been written about Gielen's fine Mahler cycle. But his box set doesn't include his recording of the Cooke 10th (Chailly's does!), which is really a very good 10th. It's also more expensive. In addition, getting Gielen's Mahler 6th separately also gives you a really fine performance of Alban Berg's "Three Pieces For Orchestra" - a very natural coupling for that dark work. Better to pick and choose with Gielen, I think. If you want a box, get the Bertini.

Average customer rating: I still come back to these performances after 10 years. Great artistic interpretations & technical reproduction It's all about Mahler Let's ride roughshod over Mahler Great Recordings

Mahler - The Symphonies / Chicago Symphony Orchestra, Sir Georg Solti Kiri Te Kanawa , Georg Solti , Gustav Mahler , George Solti , Chicago Symphony Orchestra , Isobel Buchanan , Mira Zakai , Arleen Auger , Heather Harper , Yvonne Minton , Lucia Popp , John Shirley-Quirk , Martti Talveala , and Helga Dernesch Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Bargain Box Sets | Opera & Vocal General | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Opera & Vocal General | Opera & Vocal | Today's Deals in Music | Formats | Music The Decca Records Store | Specialty Stores | Music Similar Items: Beethoven: The Symphonies Anton Bruckner: The Symphonies Liszt: Works for Piano and Orchestra Johannes Brahms: The Symphonies Mahler - The Complete Symphonies / LPO, Tennstedt ASIN: B0000041Z6 Release Date: 1992-02-11

Tracks:

1. Symphony No. 1: I Langsam. Schleppend. Wie ein Naturlaut
2. Symphony No. 1: II Kraftig bewegt, doch nicht zu schnell
3. Symphony No. 1: III Feierlich und gemessen, ohne zu schleppen
4. Symphony No. 1: IV Stuermisch bewegt
5. Symphony No. 2 'Resurrection': I Allegro maestoso

Tracks:

1. Symphony No. 2 'Resurrection': II Andante moderato
2. Symphony No. 2 'Resurrection': III In ruhig fliessender Bewegung
3. Symphony No. 2 'Resurrection': IV Urlicht. Sehr feierlich, aber schlicht
4. Symphony No. 2 'Resurrection': V In tempo des Scherzo

Tracks:

1. Symphony No. 3: I Kraftig - Entschieden
2. Symphony No. 3: II Tempo di Menuetto. Sehr massig
3. Symphony No. 3: III Comodo. Scherzando. Ohne Hast
4. Symphony No. 3: IV Sehr langsam. Misterioso
5. Symphony No. 3: V Lustig im Tempo und keck im Ausdruck

Tracks:

1. Symphony No. 3: VI Langsam. Ruhevoll. Empfunden
2. Symphony No. 4: I Bedachtig. Nicht eilen
3. Symphony No. 4: II In gemachlicher Bewegung. Ohne Hast
4. Symphony No. 4: III Ruhevoll
5. Symphony No. 4: IV Sehr behaglich

Tracks:

1. Symphony No. 5: I Trauermarsch
2. Symphony No. 5: II Sth bewegt. Mit grer Vehemenz
3. Symphony No. 5: III Scherzo: Krig, nicht zu schnell
4. Symphony No. 5: IV Adagietto: Sehr langsam
5. Symphony No. 5: V Rondo-Finale: Allegro

Tracks:

1. Symphony No. 6: I Allegro energico, ma non troppo
2. Symphony No. 6: II Scherzo: Wuchtig
3. Symphony No. 6: III Andante
4. Symphony No. 6: IV Finale: Allegro moderato

Tracks:

1. Symphony No. 7: I Langsam - Allegro
2. Symphony No. 7: II Nachtmusik I: Allegro moderato
3. Symphony No. 7: III Scherzo
4. Symphony No. 7: IV Nachtmusik II: Andante amoroso

Tracks:

1. Symphony No. 7: V Rondo-Finale
2. Symphony No. 9: I Andante comodo
3. Symphony No. 9: II Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb

Tracks:

1. Symphony No. 9: III Rondo-Burleske. Allegro assai. Sehr trotzig
2. Symphony No. 9: IV Adagio. Sehr langsam und noch zuruckhaltend
3. Symphony No. 8: Part 1: Hymnus: Veni, Creator Spiritus - Veni, Creator Spritus
4. Symphony No. 8: Part 1: Hymnus: Veni, Creator Spiritus - Imple superna gratia
5. Symphony No. 8: Part 1: Hymnus: Veni, Creator Spiritus - Infirma nostri corporis
6. Symphony No. 8: Part 1: Hymnus: Veni, Creator Spiritus - Accende lumen sensibus
7. Symphony No. 8: Part 1: Hymnus: Veni, Creator Spiritus - (Veni, Creator Spiritus)
8. Symphony No. 8: Part 1: Hymnus: Veni, Creator Spiritus - Gloria Patri Domino

Tracks:

1. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Poco adagio: Waldung, sie schwankt heran
2. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Ewiger Wonnebrand
3. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Wie Felsenabgrund mir zu Fussen
4. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Gerettet ist das edle Glied
5. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: 5.1: Uns bliebt ein Erdenrest, 5.2: Hier ist die Aussicht frei
6. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: 6.1: Hochste Herrscherin der Welt, 6.2: Dir, der Unberuhrbaren
7. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Bei der Liebe, die den Fussen
8. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Neige, neige, Du Ohnegleiche
9. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Blicket auf zum Retterblick
10. Symphony No. 8, Part II: Final Scene from Goethe's Faust Part II: Alles Vergangliche

Amazon.com

György Solti has come in for his share of hard knocks as a Mahler interpreter, and no one will pretend that he has the same sort of intuitive empathy for this music that Leonard Bernstein has. But he does have the Chicago Symphony Orchestra--no mean advantage--and many of these performances have come up sounding rather well. London also has been smart to include his first (and better) performance of the Fifth, and he generally does quite well by Symphonies Nos. 2, 6, 7, 8, and 9 as well. There may be better performances of the other symphonies available, and every music lover will have personal preferences, but at a budget price this set offers pretty impressive value for the money. It deserves its success. --David Hurwitz

Customer Reviews:

I still come back to these performances after 10 years........2007-07-06

I was a young high schooler when I bought this set. When i heard all of these performances I was inspired and amazed at the power of mahler. Now 10 years later i will say my tastes have changed, and I have heard many other versions of mahler. And while there are many amazing performances of all of mahler symphonies I still think this set is truely inspirational. With all that said i want to take the time to point out my new mahler passion. Abbado and the Lucerne festival orchestra and their ongoing mahler DVD project.

If you have the rescources and the money, I would suggest that you invest in this series. The performace of Symphony 5 is great and on par with many of the great performances. I still think Solti's 5th is the definitive recording, but the lucerne performance is still worth the money. And the "Ressurection" symphony is truely an inspiring performace. But it is the 7th symphony that is truely awe inspiring. I have never heard a performance so full of life and musicality. I cry everytime i hear it. I just ordered the new release of mahler's 6th symphony and i have high expectations as well.

Back to Solti's mahler. In my humble opinion the Recordings of 2, 3, 5, and 6 are definitive recordings. I have not come across another recording that I like better. I would have said the same thing of the 7th until I heard Abbado's on DVD. Now it is my definitive 7th. The 8th is generally consididered difinitive as well and i won't argue at all, but i did recently come across a new recording on the naxos label with the Warsaw philharmanic and Antoni Wit conducting. It is well worth checking out. The ninth i fully admit is the symphony I am least familiar with. I do however enjoy the recording here in the Solti set, but fully contest that there might be better out there. So this leaves us with the 1st and 4th. The recordings in this set are fine recordings, but again there are probably better ones out there. One of my favorite 1st is one on the Harmoni Mundi label, with the Florida Philharmonic and James Judd conducting, but I recently found out it is out of print. So if you come across a copy I highly recomend picking it up. So as for the 4th, I don't have any recording to recommend.

So my overall recommendation is if you wan't a great reference recording of the mahler symphonies this is the way to go. I don't think there is another set out there that can compete with the solti version. I also say that if you can, expereince the ongoing mahler interprtations on DVD with Abbado and the lucerne festival Orchestra.

Great artistic interpretations & technical reproduction.......2007-01-09

Beautifully reproduced. I say that because I also had CDs of these performances before they were reproduced for this collection. Absolutely warm and human interpretations by Solti. Thanks for putting this all together.

It's all about Mahler.......2005-12-04

So many Mahler performances, both in concert and on record, are mannered to the extent that one senses a conductor trying to convey the impression that it is his personal suffering, not the composer's vision, which is producing such beautiful music.
Not Solti's. He and his incredibly virtuosic orchestra let Mahler do the talking. The 5th, 6th and 7th especially lend themselves to Solti's approach, while the 8th benefits from his
long, successful career in the pit. Though Karajan, Walter, Guilini and others have recorded great 9ths, I defy anyone to find a better played one than this. Solti gives us the orchestral tours de force that are the Mahler Symphonies and which, I believe, explain why "my(his)time will(has) come."

Let's ride roughshod over Mahler.......2005-09-18

In its day, these readings sold very wel for Decca, given the splendid sonics and the spectacular virtuosity of the CSO, but Solti can't help himself--he is a driven, unsubtle conductor who approaches every symphony in a coarse, sometimes frenzied manner. Mahler conducting has come a long way since then...and had come a long way before then, to think aobut it.

Great Recordings.......2004-12-14

Unlike many of the people who have weighed in on this set, I absolutely love these recordings. Unlike most who review on this site, I have actually performed many of these works (my being a classical violist). I know these symphonies like the back of my hand. Solti's interpretation is masterful in every aspect, he in fact, is the only conductor who has ever made the Rondo-Finale of the symphony no. 5 make sense as a cohesive movement. The CSO plays absolutely brilliantly, as always, so there is nothing to criticize there. I just think that most who listen to these recordings have been caught up in the over-dramaticized versions recorded by Bernstein, not to say that his recordings don't also have merit. To any one looking for a complete Mahler set, I recommend this one above any other.

Average customer rating: Very fine but not the very best An Emotionally Riveting, Fine Mahler Symphony Cycle From Chailly, etc. The best and most interesting Mhaler cycle First-rate Mahler, and a tremendous bargain! Highly professional, hardly cataclysmic

Mahler: The Symphonies Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Mahler: Symphonies 1-10; Das Lied von der Erde Mahler: Symphony No.7 Wagner: Der Ring des Nibelungen Shostakovich: The Complete Symphonies - Mariss Jansons (10 CD) Mahler: Symphony No. 6 ASIN: B00092ZALS Release Date: 2005-07-12

Customer Reviews:

Very fine but not the very best.......2007-03-26

This is a fine contemporary Mahler cycle, but some of Chailly's interpretations are among the slowest on record. For example, symphony no. 9 is incredibly slow. Despite that, most of the recordings in this set are very fine.

With one exception it is the great Concertgebouw Orchestra we hear on these recordings. The Concertgebouw concert hall is famous for its acoustics, but - surprisingly - Decca's recordings are not impeccable. Symphony 2 and 4 both sound a bit dry, lacking in atmosphere. Nonetheless, we get symphonies 3, 8-10 in moving interpretations, and very well recorded. Symphony nos. 5, 6 and 7 are however unconvincing, lacking sardonic character. They are not the recordings you will go back to when comparing them with other fine and recent recordings, such as Barshai and Barenboim (no. 5), Herbig and Sanderling (no. 6) and Barenboim and Gielen (no. 7).

So within a crowded field of Mahler cycles, including the classic sets, Chailly's set is not as consistently convincing as Bertini (EMI) and Gielen (Hänssler). Pick either of these as first choices among all-digital contemporary sets, or go for the classic Kubelik set on DG.

An Emotionally Riveting, Fine Mahler Symphony Cycle From Chailly, etc........2007-03-12

Much to the surprise of music critics and fans, Riccardo Chailly has emerged as one of our most prominent conductors of late 19th Century classical music, especially of Mahler's symphonies. Here in New York City, there is still ample praise for his spellbinding performances of the Mahler 7th Symphony with the New York Philharmonic Orchestra over a year ago. Most recently, his performance of the Mahler 5th Symphony with his current orchestra, the Leipzig Gewandhaus Orchestra, earned ample critical praise from Anthony Tommasini, The New York Times's chief classical music critic. I was present too at the same concert, and heard the finest live performance I've heard of this symphony, and one of the greatest performances I have ever heard of a Mahler symphony.

This Decca box set includes Riccardo Chailly's historically-informed interpretations of Mahler's symphonies, recorded with his former orchestra, the Royal Concertgebouw Orchestra (except for the Adagio of the unfinished 10th Symphony, which was recorded much earlier with the Berlin Radio Symphony Orchestra) from the 1990s into the early 2000s. These recordings truly rank among the finest recent recordings of Mahler's symphonies I've heard, with the most notable ones those of the 4th, 7th and 8th symphonies, though the rest are fine in their own right (I concur with another reviewer who observed that the sound quality seems slightly inferior for the 2nd symphony, but otherwise, the recordings are superb examples of Decca's state-of-the-art sound engineering.). Personally, I find the recent cycles from Abbado and Boulez more intriguing, but this is a matter of my own personal taste rather than a negative judgement of Chailly's skills as a Mahler interpreter. Without question, Chailly's emotionally riveting interpretations should be regarded favorably by anyone interested in acquiring a recently recorded Mahler symphony cycle.

The best and most interesting Mhaler cycle.......2007-01-29

When compiling my ideas and opinions of all the best and most hailed Mahler cycles out there, Bernstein, Abbado, Tilson Thomas, etc., I find Ricardo Chailly's to be the best, and most interesting recording of them all. The tone , color of the orchestra and the raw emotion and imagination that Chailly evokes from the players is unmatchable. There are however some questionable solos, particularly in the 5th that were sloppy, and the tempos in the 6th were very constrained and needed more movement. But overall Chailly is a master, and he brought the 8th to my attention like no other conductor out there. Please give it a listen.

First-rate Mahler, and a tremendous bargain!.......2006-07-18

This is as fine a Mahler box available today. First off, you have the magnificent Royal Concertgebouw, as fine an orchestra in the world today, which happens to have a great tradition of Mahler on disc, going back to Mengelberg's 4th recorded in the 30's. Throughout every single performance, they are consistently world class, responding idiomatically to Mahler's unique soundworld. In the 10th, Chailly conducts the Berlin Radio symphony and their playing equals that of the Concertgebouw's. Chailly's interpretations may lack the hysteria of Bernstein's DG Cycle, or the sheer orchestral fireworks from Solti or Tennstedt, but I found Chailly's Mahler to be consistently thoughtful and musically intelligent, more so than his competition. While some performances are better than others, his interpretive thoughts are never less than good. There's only one minor quibble I can think of. No. 2 has some issues in sound, in that it's somewhat over-reverberant, sometimes obscuring detail. But in terms of performance, it receives a fine reading from Chailly. Aside from no. 2, Decca's digital recordings are all of demonstration quality, rich yet detailed. Great Mahler cycles under 100 bucks don't exactly grow on trees, the great ones being Bertini, Bernstein I and Kubelik. This one belongs in that distinguished company. I could go into strenuous detail about each individual performance, but I'll save you the time. Just get this set and hear for yourself! Add together the superb Royal Concertgebouw, Chailly's fine interpretations, first class DDD recordings and a price of about 8 bucks a disc, and this box is just about unbeatable. Buy buy buy!

Highly professional, hardly cataclysmic.......2006-03-16

This set doesn't reach the same level of sheer audacity heard in the Solti, Bernstein or even Kubelik renditions of Mahler's beloved orchestral works, but, needless to say, the Concertgebouw Orchestra doesn't disappoint easily in this repertoire. And for Chailly, who conducted the band for almost two decades, they really are in top notch form. Orchestral execution is very good, sometimes plain marvellous, and the overall sound is nothing short of spectacular.

Then, what is this set short of? It's a question that is not answered easily. Mahler's works require not only a conductor and a band willing to explore and execute several levels of musical greatness, there also has to be the urge to bring out every drop of emotion, symbolism, love, life, death, prayer, aching nostalgia and sometimes just plain desperation. The likes of Bernstein, Gielen and Solti certainly make the best of these important elements, albeit, sometimes, at the cost of orchestral flubs or having to bear the blame for being too 'over-indulgent'.

Well, at least the last qualification doesn't apply to Chailly. His views on Mahler are more cultured, detailed and above all, musical. He let's the music speak for itself without ever crossing the border. This pays good dividends in the most neutral of all Mahler symphonies, the first, and the highly colourfull Third gets what is probably one of the three finest performances ever recorded on disc. The Fifth, although superbly played and recorded, might just lack a certain amount of emotional thrust to really let off, but the Sixth with it's unusually slow first movement comes across very satisfactory without ever being emotionally detached. The Eigth is another highlight in this set with superb vocal contributions as is the Ninth that absolutely belongs at the peak of a high mountain of outstanding Mahler Ninth's. So far, this set is nothing short of fabulous, especially with the equally excellent rendition of Cooke's reconstruction of Mahler 10.

Unfortunately, Chailly's thoughtful and sober approach leaves something to be desired in the symphonies that require just a tad more than just fabulous orchestral playing to make the music a real knock-out. The Second symphony lacks a required amount of overall tension and deliverance at the very end and the Fourth symphony simply sounds weird with a first movement that is stiff on the rubato, but the singing of Barbara Bonney is fantastic. The Seventh could not have made a bigger difference with Bernstein's neurotic all-or-nothing approach. Here Chailly chooses to accentuate elements that really show this work's influence on the Second Viennese School very effective, but as a result is sadly underplaying the finale with brass extremely timid.

To sum up, this may not be the most satisfactory complete Mahler set around, but it surely is one of the best played thanks to an orchestra with a long-standing tradition in Mahler and a conductor who really has put some thought on the music. Certainly worth having, even though you may prefer other conductors/performers in this music.

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

Mahler - The Complete Symphonies / LPO, Tennstedt Lucia Popp , London Philharmonic Orchestra , Elizabeth Connell , Edith Mathis , David Hill , Jorma Hynninen , Trudeliese Schmidt, Richard Versalle, Edith Wiens Doris Soffel , Hans Sotin , Nadine Denize , and Ladies of London Philharmonic Chorus Southend Boys' Chor Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Classical | Box Sets | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Bruckner: The Complete Symphonies Beethoven - The Complete String Quartets / Alban Berg Quartet Mozart: Chamber Music Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead Liszt: Works for Piano and Orchestra ASIN: B00000C2KM Release Date: 1998-11-03

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

Some comments of each recording.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I have the distinct feeling that, in time, Tennstedt's Mahler will grow in the affections of others as it has with me. Simply put, there is something very authentic about these accounts. The sense of commitment is unquestionable. Generally, the interpretations are thoughtful and emotionally satisfying. Tennstedt often digs deeply to ferret a wealth of detail, which provides substantial rewards, including a broader, more fulfilling connection with Mahler's musical messages. (Listen to the thoroughly captivating reading given of the first movement of the Fourth Symphony or the soulful account of the final movement of the Ninth.) The conductor's characterization of these messages tends to be vivid, yet typically free of emotional excess. This is as true of Mahler's uplifting aspects as it is of his anxiety ridden, sardonic and tragic aspects. Where other sets are concerned, I also like Bernstein in his earlier all-New York Philharmonic endeavor and Kubelik with the BRSO on DG. Any of these three compilations merits high marks. Overall, however, it is difficult to pick a clear winner. Each presents individually moving interpretations. My preferred performances in the Bernstein set are 2-3-4-6-7-9 ; in the Tennstedt set, 3-4-5-7-8-9 ; and in the Kubelik set, 1-2-3-5-7-8-9. (Incidentally, after listening to selected excerpts, I'm anxious to hear some of Kubelik's live and complete performances in his Audite set.).... Sonically, Bernstein's recordings are typically fine (but not the Fifth). Tennstedt's are often clear, detailed and ambient, though sometimes there is a touch of brightness and sharpness. Kubelik's are uniformly good except for occasionally tinny sounding trumpets.... Regarding orchestral execution, I am rarely concerned about what some others allude to as occasional inconsistency in the quality of play demonstrated by the New York Philharmonic's horns. Frankly, there are a few intermittent brass problems with Kubelik's BRSO too. As far as what some cite as the London Philharmonic's tendency toward occasional lapses in concentration, either I don't detect those lapses as much or I tune them out or don't care. Tennstedt's is a wonderful set to own. Obviously, it's not perfect, but it's the kind that augurs for solid quality and satisfaction over t