Mahler recordings...recent or past, commercial or broadcast.

[Leo K.]

Let me hear reviews or thoughts about your favorite or most disliked of Mahler commercial recordings...discussion of favorite broadcasts always welcome as well!

Here is one to start with (revised from my original view somewhat on Mahler board):



Wow, everything really sounds right in this performance of Mahler's #2, which easily equals my favorite modern accounts by Zinman, Chailly and Rattle in terms of interpretation, sound (I heard the SACD layer here) and overall mood. Like Gilbert Kaplan or Chailly, Fischer takes time to build and reveal the musical/dramatic discourse and doesn't give everything away in the first movement (like Rattle).

Indeed, this account (with Zinman) is among the least "romantic" of all Mahler 2's I've heard.  I have this impression because the playing is not overly exaggerated, rather the score is played straight without judgement or literal discourse. I am impressed how Fischer doesn't give in to the temptation to overdo every climax.

In the 1st movement, the performance of the "allegro maestoso" sections sound so straightforward, as if empty of subjectivity, which is why the second movement really seems to blossom when it arrives.  We go from a kind of apathy in the 1st movement to a warm nostalgia in the 2nd...a nice contrast.

In the second movement the contrast with the 1st movement is underlined with the warm timbre of dancing strings and the controlled expression and grace of the tempos...played in this manner, the 2nd movement couldn't be more different from the sarcastic 3rd movement, which is executed with even more rustic character and color, and the atmospheric trumpet section sounds soft and otherworldly...a hint of the finale to come...not overplayed or literal...just played as it is.

The Urlicht is beautifully sung by Birgit Remmart, with her tone and the illuminated execution of the orchestra a different world is conjured from what we heard before...that of surrender and light. A Mozartian grace appears in this performance for the first time, and the orchestral sound is that of repose and stillness...the first glimpse of the "other" side...very subtle and refined.

Somehow all these contrasts are held together, coherent but allowing the extreme contrasts to shine. The finale really hits hard, especially at the final measures, where suddenly the universe cracks into a another dimension altogether. I kept hearing the ghost of the classical era between the transparent choir and the clarity and graceful playing of the orchestra (the voice of Lisa Milne contrasts nicely with Remmart and the choir).

Before the enlightenment of the final pages occur, the contrast between the apathetic "cold universe" (exemplified in the 1st movement) and lyrical nostalgic vistas (heard before in the 2nd, 3rd and 4th movements) meet together to join in the finale until the climatic percussion crescendo pushes the envelope beyond structure and balance (as I imagine Mahler intended here) of the entire work. Bravo to the orchestra, which reminded me of Scherchen's Vienna State Opera Orchestra in his M2, because it doesn't sound like a large orchestra, and the sound is lean and intimate during the lesser scored sections. The whole performance appears to fly by...I usually go for slower tempos, but this M2 is built so well it doesn't matter.

Highly recommended!

[Leo K.]

Every revist to the Michael Tilson Thomas M6 just gets better and better...the staying power of this recording is impressive. It sure doesn't reveal its secrets right away, but after a period of time the special qualities begin to be heard...the tone of a horn here, the turn of a phrase there...and like a field of flowers in bloom, the overall arch of a complete picture comes into focus. This sound quality of the SFSO, which sounds very refined as if from a dream-like space, really shines in the andante movement, and a sense of the past and present seems to spread like a wave through each movement in linear time as I listen. Paradoxically, it seemed this work was the symphony where Mahler was at his most objective, his most scientific experiment in the context of arranged sounds.  For my ears, the MTT M6 has appeared to out perform all the recent M6's I've been hearing (with exception to the Zinman, which still compares well).
 

[Leo K.]

I really believe this is a very impressive M3, and it may even become my top choice, the last three movements are so rich and devotional, radiant with peace, mystery and joy.  I like the sudden turn into spirituality during the last three movements, more obvious than I'm used to hearing in this work, outlined in the tempos and soaring transparency in the execution of the Vienna Phil. Orch., especially in the strings.  In particular I love the final chord, which seems to hang on forever, but I love the whole way the ending is played...it is not like other recordings, it is more reflective than I'm used to...which is wonderful and fits the concept of the whole performance.  Bravo to Jesse Norman for such profound singing here, deep and thougthful.

I resisted buying the Abbado VPO M3 for years, because the opinions I had read complained about certain aspects of sound, or the slowness of the finale.  But I finally found a decently priced used copy and discovered this M3 to be incredible, and it has a unique sound too (not an audiophile experience, but a pleasing recording full of great detail).  The first movement is among the wildest and most confrontational I've ever heard.  It soars, it growls and swirls, and then the enchanted quieter moments are captured with presence and atmosphere in the interesting production (not to everyones taste obviously)...indeed it is one of my favorite Mahler recordings in my whole collection. 

[Leo K.]

This commerical recording and Barenboim's live M9th in Berlin (from April 2007) have both been revelatory and have offered a view of the 9th I haven't heard before, like the woodwind balances.  I forget how important the woodwind colorings are essential to this work, but Barenboim is there to remind me.  I also like how the strings are lean and rather cutting.  Overall there is a kind of "chamber music" atmosphere to the texture.  Although I usually turn towards the slower tempos of Horenstein, Bernstein, Karajan and etc, I've found Baremboim's account to be a real serious contender, if not more satisfying overall in terms of pace, instrumental detail and overall architecture of the four movements.  The 3rd movement in particular is usually a "problem" movement for me...it's a spot where my attention usually lags as I look forward to get to the last movement, but Barenboim keeps my attention all the way through and opens my ears to the ultimate importance of this movement in the grand scheme of this work's discourse. 

The whole performance is a "horizontal" rather "vertical" performance, if that makes sense.  This 9th is conducted like a Schoenberg work, where the focus in on the "line" (from start to finish) rather than whats happening above or below the line harmonically.  This is my impression anyways.  I guess I'm trying to say it's a lean performance, with not much fat.  Thats why the so called "compressed" climaxes in the sound quality don't really bother me at all.  In my car stereo the climaxes seem to explode...but the explosions cut like a laser.

This 9th isn't conducted like it's a 9th Symphony...it's more like a "5th Symphony" kind of performance...young and brash sounding...aggressive.  I like how this 9th isn't a sacred or holy work for Barenboim...it's just a symphony.

[Keemun]

Leo, thank you for posting your reviews.  If I find the time, I may contribute some as well.  Of the four you posted so far, I've only heard the MTT's 6th, which I agree is an excellent recording.  I'm very interested in hearing Abbado's 3rd and comparing it to my favorite: Boulez/VPO. 

[PerfectWagnerite]

This commerical recording and Barenboim's live M9th in Berlin (from April 2007) have both been revelatory and have offered a view of the 9th I haven't heard before, like the woodwind balances.  I forget how important the woodwind colorings are essential to this work, but Barenboim is there to remind me. 

Woodwinds only? How about brasses or did you miss that part? You noticed how around the 2-3 minute mark in the first movement (the first big climax) where you can't hear the solo trumpet even though he has an important solo?

[Leo K.]

Woodwinds only? How about brasses or did you miss that part? You noticed how around the 2-3 minute mark in the first movement (the first big climax) where you can't hear the solo trumpet even though he has an important solo?

I was selecting an element of the mix that I enjoyed hearing, in this case the woodwinds.  Yes, I can hear the brass just fine.

In this recording the climaxes sound rather compressed, as I mention near the end...a shame really as the brass tends to be compromised.  Actually, there is a problem with the oboe being too upfront near the end of the first movement, but I rather liked the effect all the same.

This recording won't be to everyone's taste.

[Leo K.]

Leo, thank you for posting your reviews.  If I find the time, I may contribute some as well.  Of the four you posted so far, I've only heard the MTT's 6th, which I agree is an excellent recording.  I'm very interested in hearing Abbado's 3rd and comparing it to my favorite: Boulez/VPO. 

Thanks very much...I too am a big fan of the Boulez, it is a great performance indeed.

[Leo K.]

Britten/Mahler 4/LSO

I found this disk at a used store, and thought this might be nice to hear, since I like historical recordings and this would be a good break from all the Mahler 6th's and 9th's I'd been binging on at the time.

This is recording is radiantly recorded (at the Aldeburgh Festival, 1961) and the LSO play beautifully.  The first movement is fast and airy (the church it was recorded in gives the sound some pleasant reverb) as if wind were blowing through the cracks between the boards of a barn...the clarity here is such a joy.  The solo violin in the scherzo is pretty creepy, but the lightness of the trios reveals the "devil" to be the shadow of a mouse.  I don't think I could ask for a better 3rd movement, since Britten is a great navigator through the strange form this movement moves in...the tenson never lags behind, the horizon on the plain is always in view.  The soprano is actually boyish and young sounding too.

Not bad for just 8 bucks.

[Sergeant Rock]

The soprano is actually boyish and young sounding too.

Is it Elly Ameling? I see Anna Reynolds listed on the cover too and mezzos have been known to sing it also.

Sarge

[Leo K.]

Is it Elly Ameling? I see Anna Reynolds listed on the cover too and mezzos have been known to sing it also.

Sarge

Hi Sarge,

Yes, Anna Reynolds is the singer in the 4th, and Amy Ameling (one of my favorite singers) is singing the Lieder eines fahrenden Gesellen...sorry I should have been more clear about that!

[Sergeant Rock]

Hi Sarge,
Yes, Anna Reynolds is the singer in the 4th...

Thanks. One more question: what's the timing for the Finale? Is Britten swift or leisurely? (I prefer my heaven to be rather languid  )

Sarge

[Leo K.]

Thanks. One more question: what's the timing for the Finale? Is Britten swift or leisurely? (I prefer my heaven to be rather languid  )

Sarge

The finale on this recording lasts 8:32.  A little brisk perhaps!

[MishaK]

Coming November 17:

Mahler 2/Haitink/CSO

I went to the concert from which this recording was made and unless they completely screwed up the engineering (which I can't imagine) this should be a great one.

[Leo K.]

Coming November 17:

Mahler 2/Haitink/CSO

I went to the concert from which this recording was made and unless they completely screwed up the engineering (which I can't imaging) this should be a great one.

I'm really looking forward to it!  I envy you that you were there too...Haitink being a hero of mine.

[Undutchable]

Coming November 17:

Mahler 2/Haitink/CSO

I went to the concert from which this recording was made and unless they completely screwed up the engineering (which I can't imagine) this should be a great one.

Have you listened to the Mahler 3 disc by Haitink and CSO?  Is it any good?

[MishaK]

Have you listened to the Mahler 3 disc by Haitink and CSO?  Is it any good?

Yes. Again, I went to the concert at which that was taped. I think it is a terrific performance. But it may not suit those who prefer their Mahler with more edge-of-the-seat emotional intensity. Haitink has always been an objectivist with an aversion for histrionics and his CSO Mahler 3 is one that patiently builds its climaxes. But the reward of the journey is a sense of structure and proportion second to none and a final adagio that really seems like the culmination of everything that came before. The trombone solo is second to none.

[Leo K.]

Yes. Again, I went to the concert at which that was taped. I think it is a terrific performance. But it may not suit those who prefer their Mahler with more edge-of-the-seat emotional intensity. Haitink has always been an objectivist with an aversion for histrionics and his CSO Mahler 3 is one that patiently builds its climaxes. But the reward of the journey is a sense of structure and proportion second to none and a final adagio that really seems like the culmination of everything that came before. The trombone solo is second to none.

I too would like to recommend Haitink's CSO Mahler 3.  As Mensch mentions above, I also strongly feel that the climax at the end of the last movement is among the most satisfying I've ever heard in a recording, since the build up is so carefully built in the proceeding movements the ending feels inevitable.

And I love the Chicago brass!

[The new erato]

I'd just like to chime in on Leo's recommendation of the Fischer 2nd. I'm NOT a fanatic Mahlerite, but his music has followed me on and off for 35 years, and this is one of my favorite Mahler discs in my collection. Must try the 4th as well (my favorite symphony) - yes; with age and maturity I'd found that Mahler is best when he keeps himself under close reigns. Probably why I prefer Brahms among all the romantics, why I prefer chamber to orchestral, and why I prefer Cavalli and Monteverdi to Wagner when it comes to opera. Succintness to effusiveness, that seems to be me (though I enjoy a romantic wallow every once in a while).

[Leo K.]

on the Weitblick label sourced from Europe

Timings:

I. 28:09
II. 15:27
III. 13:09
IV.28:29

This is a powerful and deeply moving M9 from February of 1985.  In interpretation it retains the hallmarks of his later recorded M9's but with "rougher" and edgy playing from the Vienna Symphony (even more rough than Bertini's account with the TMSO on Fontec), which brings a sense of innocence and discovery to the score.  There are mistakes in playing heard here and there, yet Bertini guides the orchestra with strength and sculpts a performance that touches and uplifts.  The sound is quite good for a live recording, with a somewhat limited dynamic range, but with wonderful balance and detail in the louder climaxes (all three climaxes in the first movement are a highlight of this recording). 

Although not essential, I warmly recommend this for fans of Bertini's art.  This performance has nuances not heard in his other accounts and I wouldn't want to be without it.  The Adagio is on a par with his TMSO M9, but the straight, earnest quality of the strings and strong brass make this one of the most tender and life affirming Adagios I have ever heard.