Reviews (5)

Why pay more?
Both the First and Fifth Symphonies are considered to be the gems of Bernstein's later Mahler cycle on DG.Previously, they were available separately at full price each.But now, thankfully, they have been released together, along with Songs of a Wayfarer featuring Thomas Hampson, at a 2 for 1 price.Shame on Amazon for not recommending this one instead of the 2 CDs separately.I guess it has to do more with profits than with recommendations.

Mahler's music on steroids
I must admit that I always have had difficulties with Bernstein's Mahler interpretations, both his earlier on CBS/SONY and - in particular - the newer on DG. I cannot really appreciate Bernstein's habit of exaggerating phrasing and orchestral details, as well as his overall broad emphasis on sentimentality. These are the typical features his Mahler interpretations are notoriously famous for.

This set exhibits these features. What we have here are big and bold interpretations, like Mahler's music on steroids. However, I don't think Mahler's music benefits from such heavy, mannered articulation.

Apart from this general picture of Bernstein's interpretations, I want to emphasize two annoying details.

First, in symphony #1, Bernstein cannot resist the temptation of showing off by adding a stroke on the bass drum at the very last chord. This stroke is not indicated in the score and, in my view, it should not be there at all. It does not make the ending better, quite the contrary.

Second, in symphony #5, Bernstein goes for the Visconti "Death in Venice" style in the adagietto. It is taken in a very slow and mannered way. I am not convinced that this depressing and syrup-sentimental view of the movement is correct. Mahler originally wrote it as a love song, and the early tradition of interpretations indicate that a swift take is what Mahler probably had in mind, despite the "sehr langsam". Bruno Walter's 1947 mono take with NYPO (SONY) is for example below 8 minutes in duration. This is also the case with an even earlier, 1926 Mengelberg take (Naxos Historical or Archipel, on the latter together with symphony #4). Schwarz (Everest), Barshai (Brilliant), Kondrashin (Audiophile), Zander (Telarc - listen to the second discussion disc for Zander's argument) and most recently Gielen (Hänssler, part of a box) have all similar tempo choices. Thus, following an "authenticist" view of this movement it is an intermezzo leading to the grand finale. By contrast, Bernstein plays it as a showpiece: an elegy that can be performed in isolation from the rest of the work. This is not to surprise. In 1968 Bernstein performed the movement at Robert Kennedy's funeral, and he was probably keen on his funeral-elegy conception of the music from that occasion onwards.

Thus, despite an attractive price and a pretty fine but not outstanding fill-up, I cannot recommend this set. For excellent accounts of the fifth symphony, go for any of those mentioned above. For the first symphony, Barbirolli (Dutton), Kubelik (DG or Audite), or Walter (SONY) are the primary choices for the non-completist collection. For the Lieder, consider Janet Baker (EMI, orchestral version) or Fischer-Dieskau (DG, orchestral version).

Reviews (18)

The Finest performance of this work!!!
There is something here which goes beyond the normal studio recordings one hears of this piece..mainly is the performance is one with the electricity of a concert.The opening bass notes in 16ths are spellbinding. In spite of other people's reservations about some small glitches, these no way detract from the glory of this performance.In fact, they may even add to the wonder and humanity of Klemperer's artistic vision.

No other recordingcatches the spirit of this mighty work!

A clear first choice
Mahler's second symphony has its greatest exponent in Otto Klemperer. He performed it frequently, and this celebrated incarnation of Klemperer's interpretation is an unsurpassed achievement. Klemperer's grasp of the details is impressive, as well as his overall view of the work as an organic whole. The Philharmonia plays beautifully - the orchestra was in its best shape when this recording was made early in the sixties. Choir and soloists are also impressive.

Moreover, the recording quality is good enough for most ears, at least if your hifi equipment is of decent quality.

This is the recording of the second symphony that I appreciate most, a frontrunner before Scherchen's with the Vienna Symphony and Walter's with New York Philharmonic. It has its place in every collector's shelf. A real desert island disc, warmly recommended.

Reviews (5)

A Fabulous Mahler Third!
There is no one- I repeat, no one- who understood Mahler's musical language more exactly than Leonard Bernstein; this fact is evident in every Mahler recording that Bernstein ever made, and this one is no exception. Unlike some other reviewers, I had no problems whatever with the sound quality; I have always felt that people too often focus on the technology of a recording and not enough on the actual music, so maybe I am a little more tolerant. I certainly agree that there are points in the course of this album that the recording shows its age; notwithstanding, it is hard to tell what all the fuss was about.

Except for those very few points, the performance is excellent; from the powerfully ominous opening theme to the last brilliant bars of the finale, it is all masterfully conceived and marvelously executed. The first movement, as long as it is, does not sound as over-the-top and even outright vulgar as it does in some other recordings, like Claudio Abbado's, and in particular the fifth movement, with the womens' and childrens' choruses singing their playful 'Wunderhorn' song, is fabulous, as is the famous posthorn solo in the third movement.

However, special praise is due for the unbelievable finale. This long movement is Mahler at his most brilliant, and Bernstein squeezes from it every last drop of musical sentiment, power and majesty; the last few minutes will raise the hair on the back of your neck with their amazing crescendo up to the symphony's final ecstatic close.

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

Bernstein in an Historical Recording of Mahler's Third Symphony
Bernstein is rightly regarded as the conductor who championed all of Mahler's symphonies in the 1960s when most were unfamiliar to audiences.That so many Mahler symphonies appear each year on every Americanorchestra's schedule is one of the great, but often overlooked, Bernsteinlegacies.His recordings of all the Mahler symphonies in the 1960s was anhistorical landmark, and the lesser-known of the symphonies (such as the3rd, 6th, and 9th) had the most to gain by their new found exposure at thehands of a master conductor at the top of his form.

The New YorkPhilharmonic musicians in 1961 were probably far less familiarwith thelong and complicated Mahler's 3rd than they are today.As anapparentresult, there are many places throughout the performance whereeverythingdoesn't quite line up correctly.There are several key, extended solos inthe 3rd symphony---the violin and posthorn (trumpet) solos are outstanding, but the trombone solo suffers from inconsistent intonation (asdo the trumpet and horn sections elsewhere).

The orchestra plays quitewell throughout---particularly the woodwindsection---and Bernstein leadsthem in a well constructed and often joyousperformance.The firstmovement has a very nice pace to it and an exciting ending.The 3rdmovement, however, seems a bit labored and slow, rather than rolling alongwith the lilting pastoral feeling at its heart.The finale is extremelysuccessful in Bernstein's hands, with a slow and measured pace leading upto a gorgeous climax.

At times Bernstein seeks the broad gesture insteadof carefully crafted ensemble work from his musicians.I had very highexpectations of this recording when I purchased it, primarily because ithas been so favorablymentioned over the years.The recording is excitingand well worthinvestigating, but I was still slightly disappointed thatit did not live up to my hyped-up expectations.

While this recording maybe of particular interest to Bernstein fans or Mahlerafficionados, it isnot the best recording of the 3rd symphony around.Better to buyHorenstein's with the London Symphony Orchestra or James Levine's with theChicago Symphony Orchestra; apparently Salonen's recording with the Los Angeles Philharmonic Orchestra is fine, but I was not overwhelmed when Iheard them perform the work live.

Reviews (8)

Heavenly voice for the Heavenly Life
This recording, to me, is the best I've heard in my 40 years as a Mahler fan. I've heard it hundreds of times, and each time, I still close my eyes and feel the tears of heavenly joy when Kathleen Battle's voice soars in the "Saint Ursula" line in the final movement.As for the orchestra: heavier Mahler is better done by the New York Philharmonic, but the fourth is perhaps the most Viennese of Mahler's work, and the Vienna Philharmonic is as perfect for it as they are for Johann Strauss.What can you say of Lorin Maazel other than "one of the the great conductors of the 20th century?"The combination of Battle, the Vienna Phil, and Maazel makes this one THE definitive Mahler fourth, in my book.

(credentials of critic: BA in applied music, bassoon performance and composition; former principal bassoonist in a number of minor orchestras as well as the USAF Academy band; public school band director in the late 60's; a Mahler fan since teenage years)

Maazel, a great Mahlerian....
It's a pitty that we label conductors. Mahlerian, Brucknerian... Maazel is one of the most versitile conductors of today and I have had the chance to hear him twice live (with the BRSO) in breathtaking performances of the Classics and the Romantics. I have acquired his complete cycle with the VPO for Sony and I was greatly surprised with the music-making. There are for sure instances that Horenstein and Bernstein can not be surpassed but this account of the 4th has it's place with the very best. Clean sound, sentimental playing and a great finale with Kathleen Battle singing heavenly. Bravo Maestro....

Reviews (12)

tragic?
i've listened to this piece a few times now, and my first impression still stands: it's not 'tragic'. sure, the military march in the 1st movement sets things up for a cataclysmic finale, but the ensuing movements don't follow thru. the scherzo, for example is pretty upbeat, with only a hint of something being amiss. the slow movement, likewise, is actually quite serene, not sad or troubled (much less hysterical or resigned). and the finale is anything but a disaster. sure, it doesn't end on the usual 'triumphant bang', but just because a piece ends more sedately, does that automatically make it 'tragic'? 'enigmatic' might be a better word. anyhow, after slogging thru all 10 mahler symphs, this is my fave. it's still too long and pretentious, but it's got a certain 'je ne sais quois' that makes it listenable to these ears.

Among the best
This performance of the 6th is distinguished for me by a combination of a beauty of sound and refinement of textures that surpass all other recordings I have heard with the weight and power of phrasing and tone necessary to convey the gravitas and tragic intensity of this work. Compared to Bernstein's well known recording on Sony, also at midprice, I find it less emotionally wrought and volatile, more measured and monumental in its approach, yet with enough momentum to avoid sounding static. Ideally, one should have both. Perhaps the most distinctive aspect of this performance, along with his distinctly deliberate pacing of the second movement scherzo with barely any slowing down for the trio section (Szell also does it this way), is the andante moderato, which, at Karajan's expansive pace and long breathed phrasing, comes across as akin to a Bruckner adagio, full of heavenly bliss and exaltation, an approach in distinct contrast to the wrenching intensity that Bernstein brings to this movement.
The same concern for beauty and refinement of sound and textures also marks his conducting of the two Mahler song cycles, and Christa Ludwig sings with beauty and sensitivity. However, I feel that these performances, as fine as they are, ultimately fail to convey the heartbreaking poignancy of the justly acclaimed Barbirolli-Baker 1960s recordings of these pieces (available in beautifully remastered sound on EMI's Great Recordings of the Century series).
I strongly recommend this recording.

Shattering
This symphony, arguably Mahler's most grim, has a profoundly emotional effect on most listeners.The relentless march of the first movement, the contemplative and sorrowful slow movement, and the final half-hour or so with the "hammer blows of fate" make a riveting experience.This is also an extremely difficult piece to play, requiring an expert ensemble to make its impact.

This amazing recording not only produces that experience but displays von Karajan and the Berlin Philharmonic at their peak.Just listen to the last ten minutes of the opening movement, for example.I have a number of excellent recordings of this piece, but have never heard the final pages of the first movement played with such complete confidence and orchestral virtuosity.(And for that matter, at such a whirlwind speed.)In fact, if I were demonstrating to a friend "just what an orchestra is capable of," the end of the opening "Allegro" might be just the thing.

This fierce ending is then followed by a "Scherzo" that changes the mood somewhat, but only for awhile, until the great "Andante" begins the long descent into darkness until the end.The haunting slow movement must be one of Mahler's finest, and it is played superbly here; I couldn't get it out of my head for days afterward.

The "Finale" opens with a surge of orchestral power, gradually growing ever bleaker until the end.There are far too many great moments to mention; suffice to say that this movement - indeed, the entire symphony - is a serious test of a great orchestra's abilities.By the final pages, you are likely to feel emotionally exhausted.

Editorial Review

Editorial Review

Reviews (2)

WHO SAID THAT ART COULD ONLY BE BEAUTIFUL?
Gustav Mahler began work on the Ninth symphony in 1908 and completed it in1909. Mahler was reluctant to complete the work because of his suspicionthat all composers signed their death warrant once they completed their 9thsymphony. The demise of Beethoven and Bruckner only helped to confirm thissuspicion. Death would indeed strike down Gustav Mahler only two yearsafter he completed this tour de force. Mahler's famous pupil Bruno Walterwould give the first performance of the ninth on June 26,1912. The Ninthsymphony consists of four movements scored in different keys and presentsmans deepest fears with a pungent bare honesty equal to that of a innocentchild. Sir John Barbirolli was noted for his profound heartfelt devotion tothe music of Gustav Mahler and the Berlin Philharmonic turn out to be theperfect component in this recording. The schizophrenic emotions of thefirst movement are manifest and striking. Berlin then provides stylishimaginative ensemble work to convey the ludicrous self parody of the secondmovement and the demented counterpoint of the third movement. The grotesqueimage of death which defines the final movement is played with a sinisterradiant beauty that captivates the senses and makes the heart cry. Thehorrid creature is unveiled and what a wonderful glory it is. Essential.

a visionary performance
It is my pleasure and honor to be the first to review this recording. To be candid I'm also quite astounded to hold this position as this performance was originally recorded in 1964 and remastered digitally in1989.It has been available for a very long time.To the best of myknowledge and belief, this was the first recording the Berlin PhilharmonicOrchestra made of this score, as in the early 1960s Herbert von Karajanperformed little or no Mahler, and prior to Karajan, Wilhelm Furtwangleralso generally avoided this composer.

Reviews (8)

Not a first choice, but still a must-have
I own nine different recordings of Mahler's Das Lied Von Der Erde, and I would probably rate this somewhere in the middle, with Kubelik, Sanderling, and Klemperer ahead of it, and close to on-par with the Horenstein.

This is an excellent and deservedly legendary performance. Patzak and Ferrier both give extremely artistic performances. There is great charisma and depth to their singing and interpretation of the words and melodies. However, technically, there are far better performances out there (they were both past their prime). Fritz Wunderlich, Peter Schrier, and Waldemar Kmentt as tenor and Janet Baker and Alfreda Hodgson as alto come to mind immediately. Bruno Walter gives a very moving reading of the song cycle, but the Vienna Philharmonic Orchestra does not perform very well. It sounds rather unrehearsed and unrefined (and not in a good "fresh" way).

What you have here is a very moving, very magical performance of Das Lied Von Der Erde that should be heard by everyone. But it saddens me to think that many people would purchase this as their "only" recording of this piece (due to the justifiably positive reviews) and feel they can explore this piece sufficiently with it.

I highly recommend checking out the Kubelik/Baker/Kmentt recording. It is an absolutely essential recording with a brilliant conductor, excellent orchestra and sound, the best alto performance available for this work (Baker!), and an excellent tenor. Klemperer and Sanderling give equally amazing readings with two of the best tenors you will ever hear perform this piece (Schrier and Wunderlich, respectively).

Although I find this recording to be far inferior to the three mentioned above, I truly believe one must own several recordings of this work, and in that respect, this Walter/Ferrier deserves the shelf space.

You have to listen in order to believe
Mahler is one of my favorite composers, I consider him the best composer of symphonies ever. "Das Lied von der Erde" might not be as "big" as his other symphonies, yet with the proper vocalists, it can make you shiver in you chair. And this recording surely packs the proper vocalists. There is a perfect balance between the powerful tenor Julius Patzak and the crystal clear voice of Kathleen Ferrier. The Wiener Philharmoniker orchestra under Bruno Walter is working in perfect union with the vocalist. I don't know if this is the "best" recording of "Das Lied von der Erde", but it surely deserves a place of honor in any music lover's collection. 5 shining stars for this piece.

Immense secular sacred music
Mahler is a tremendous composer of the 20th century. His Jewish origins are showing at every turn in his music and that gives a tremendous depth in the suffering and contemplation of death that he engulfs himself into. We expect a soprano and we get Kathleen Ferrier who is an angel-like and dream-like contralto whose depth and sombreness is so great that we follow her in the earth into which the music, the singing, the lyrics and even the artmosphere of the recording lead us. We feel the tendrils of all plants growing from this earth, both overground and underground, caress us, entwine us, wrap us up, roll us up into the shroud of a promised and unevadable death. What is surprising in this great music is that there is no world beyond death, that death is nothing but a door opening onto the total merging of one person into the natural world, into the earth and the sky, the stars and the deep fire that burns under the ground, a fire of intense recollections and life beyond life in the memory of those that remain behind. Mahler is the child of a world that has lost God and that has discovered, or rediscovered, our mother Nature. No suprise then that midnight is the time when the magic of this going beyond takes place and conquers our senses. Mahler and Ferrier reach an unheard of level of mourning in this midnight that is so far from light, from daylight, from the morning that will bring the sun again. They both, music and voice, go down into this darkness, this sombreness, this angst too, never to return. Death becomes a voyage into the total and eternal life of nature and the earth that will necessarily survive us forever.