Question about Bertini's Mahler

[JDWalley]

I notice that set seems to have some fierce admirers. The question I have, for those of you with the set:  I notice that many of the symphonies are live recordings. Do you get much audience noise, and is there applause at the end of each work?

[eyeresist]

Do you get much audience noise, and is there applause at the end of each work?

No, and no. It's generally agreed that the sound is excellent (except maybe for 4, which was the first to be recorded).

[DavidW]

You would be surprised that it is live.  It could pass for a studio effort.

[Mirror Image]

I would say Bertini's Mahler is one of the best 'Mahler symphony cycles' out there. I'm not a hardcore Mahler fan like some are here , but I can do nothing but praise these performances. The audio quality is great and I heard no audience noise or don't recall hearing anything that distracted from the music.

[mahler10th]

I would say Bertini's Mahler is one of the best 'Mahler symphony cycles' out there. I'm not a hardcore Mahler fan like some are here , but I can do nothing but praise these performances. The audio quality is great and I heard no audience noise or don't recall hearing anything that distracted from the music.

The only thing I hear in Bertinis Mahler is an exceedingly good recording quality.  Alas, I don't rate it all, because there is no...it lacks...the spirit of Mahler isn't in it, it is played big and straight with little magic.     I think it is one of the most dreadfully overrated releases - it only has excellent audio quality going for it.

[eyeresist]

The only thing I hear in Bertinis Mahler is an exceedingly good recording quality.  Alas, I don't rate it all, because there is no...it lacks...the spirit of Mahler isn't in it, it is played big and straight with little magic.     I think it is one of the most dreadfully overrated releases - it only has excellent audio quality going for it.

I think it's common to overrate cycles due to a few standout performances. I've never heard a Mahler cycle that was outstanding all the way through. My faves from the Bertini set are 2, 5 & 8, though as usual opinions as to high and low points will vary widely from listener to listener (some rate 6, 7, 9 & dLvdE as the best). From your complaint, I am guessing you like a large quotient of taffy-pulling in your Mahler

[springrite]

The only thing I hear in Bertinis Mahler is an exceedingly good recording quality.  Alas, I don't rate it all, because there is no...it lacks...the spirit of Mahler isn't in it, it is played big and straight with little magic.     I think it is one of the most dreadfully overrated releases - it only has excellent audio quality going for it.

That is my sentiment exactly. Not bad, but nothing special. For Mahler, something special is essential!

[Lisztianwagner]

It's a great set. I've only listened to the 5th and 6th symphony from Bertini's Mahler cycle; though the performances are beautiful, with an excellent sound quality.

[mahler10th]

...I am guessing you like a large quotient of taffy-pulling in your Mahler

Interesting.  The only time I ever heard the word 'taffy' was in the nickname of a Welsh sandwich chef whom I worked with at Gleneagles Hotel in the 1980's.  Are you suggesting I engage in 'pulling' him regularly whilst in rapture to the end of Mahlers first Symphony?     

I have just looked up 'taffy pulling' and saw it on youtube.

http://www.youtube.com/v/ldUbzN4MEGM

It is not an activity I recommend whilst listening to Mahler, no matter how sweet the taffy gets.  Barefisted pounding of raw steak may be a more favourable alternative.   

[DavidRoss]

From your complaint, I am guessing you like a large quotient of taffy-pulling in your Mahler

I hadn't heard the expression before but think it a perfect description! John, do you like Tennstedt's Mahler?

Bertini is fairly neutral and not so interventionist, admirably consistent, and as the others have said, audience noise on the set is virtually nonexistent. A darned good choice for a first set by one conductor, though my preferred "non-interventionist" boxset is Kubelik's, also uniformly good but with some outstanding performances in the Wunderhorn symphonies (and his DLVDE on Audite is one of the best, with fine playing, great sensitivity to the chamber-musicish score, a very good tenor, and the best mezzo ever to sing Mahler!).

[mahler10th]

I hadn't heard the expression before but think it a perfect description! John, do you like Tennstedt's Mahler?

Bertini is fairly neutral and not so interventionist, admirably consistent, and as the others have said, audience noise on the set is virtually nonexistent. A darned good choice for a first set by one conductor, though my preferred "non-interventionist" boxset is Kubelik's, also uniformly good but with some outstanding performances in the Wunderhorn symphonies (and his DLVDE on Audite is one of the best, with fine playing, great sensitivity to the chamber-musicish score, a very good tenor, and the best mezzo ever to sing Mahler!).

Tennstedt's Mahler is taffy pullingly brilliant.  I like the 'intervention / non-intervention take you have.  I think one of the most successful non - interventionists was Neumanns set with the CPO.  Unlike Bertini who just plays it and BIG and CLEAR, Neumann allowed natural prominences in the Orchestra, and we hear lots of interesting things we don't otherwise hear with a straight player like Bertini.  'Romantic' Tennstedt, Solti 'the blaster' and Inbal 'the storyteller' Mahler interpretations are all necessary for me to function as a normal human being!   (And some Neumann to get real)

[Leo K.]

Bertini's box is my top Mahler cycle, next to MTT's SFSO and the remastered Sony cycle of Bernstein. I could live with just those three cycles.

[DavidRoss]

Bertini's box is my top Mahler cycle, next to MTT's SFSO and the remastered Sony cycle of Bernstein. I could live with just those three cycles.

 

[Brahmsian]

Tennstedt's Mahler is taffy pullingly brilliant. 

I guess I'm a taffy puller as well!    I especially love Tennstedt's LPO 6th.

[trung224]

 I agree with Springrite and Scots John, the Bertini set is very good, none of the performances are bad or wrong headed, but nothing more. For me, the great Mahler sets must have at least 5 or 6 standout performance (Bernstein' DG set) or at least have  unique character (like Bohemian style in Kubelik' set, or modern style in Boulez' or Gielen' set).

[eyeresist]

Tennstedt's Mahler is taffy pullingly brilliant.

I prefer T's fairly straightlaced studio set to the "better" live recordings, in which he heaves to and fro too much and reminds me of late Bernstein

[Mirror Image]

The only thing I hear in Bertinis Mahler is an exceedingly good recording quality.  Alas, I don't rate it all, because there is no...it lacks...the spirit of Mahler isn't in it, it is played big and straight with little magic.     I think it is one of the most dreadfully overrated releases - it only has excellent audio quality going for it.

In my (more recent) traversal of Mahler cycles, one set rose above the crop and it was Abbado's on DG. I also liked Kubelik's a lot. One thing I look for in a cycle is consistency. I can't say your Inbal cycle did much for me. If anything, Inbal is a mediocre conductor who rarely rises above the occasion. Your other favorite Tennstedt is quite good, but I don't listen to it often. But, all of this said, I don't listen to Mahler much, but when I do Bertini, Kubelik, Abbado, and Chailly are within walking distance.

[eyeresist]

I can't say your Inbal cycle did much for me. If anything, Inbal is a mediocre conductor who rarely rises above the occasion.

I'm afraid I agree with this.