Mahler's Das Lied von der Erde

[mjwal]

Have you got into French Radio comedy? There's something I listen to sometimes which reminds me of the Goon Show, called Le Duo des non, on Sud Radio. And there's an "I'm sorry I haven't a Clue" type thing on Sunday afternoons on France Culture.

http://www.duodesnon.com/

Also a thing I used to enjoy called Les chevaliers du fiel.

I hardly listen to radio nowadays* - that was all in my misspent youth - apart from which I think my auricular French is probably not good enough to get the humour; I have to read the language to appreciate subtleties. Thus I really need DVDs of French movies with French subtitles to get everything. *I make an exception for Private Passions - the last emission was particularly good, the aged daughter of Alfred Kerr (a rather more intellectual German equivalent of James Agate) reminiscing and presenting a recording of an excerpt from an opera by her mother with libretto by Kerr himself - ah, the nostalgia...
To return to DLvdE - I have now listened to the Steinberg recording. Jon Vickers is really excellent in this, even if he rushes the beat once in "Das Trinklied vom Jammer der Erde", which might be Steinberg's fault. I am, however, beginning to have trouble really engaging with orchestral renditions that are so sonically compromised that they remind us more of those badly recorded piano accompaniments of Lieder from, say, the Raucheisen edition, than really the the main thing. It's just me, I know - my attention lapses to the extent that I find - as I did here in places - the consistency of the orchestral fabric compromised. I also found Maureen Forrester a slight disappointment in this: her voice is too unremittingly rich (sounding like a tenor at times), though her final "ewig"s are wonderful. In the Reiner recording she has learned to refine her technique and represents the best of all possible worlds in this part, though I prefer both Rosbaud and Jochum as interpreters of the work as a whole.

[Leo K.]

I'm revisiting the Solti/CSO Das Lied, a recording I didn't like initially - it was my first listen to this work in 1993 - but now I absolutely love. In particular, Yvonne Minton's Der Abshied is probably the most moving I've heard in this work in over twenty versions or so.

[knight66]

Copied across from 'Mahler Rebooted', my review of the following..

Mahler: Das Lied von Der Erde Nezet-Seguin, LPO, Sarah Connolly, Toby Spence

Each time I review another Das Lied, I suggest that I have enough performances, yet, my decision is easily undermined. Somehow, I felt this would be special and it is. This is a live performance from Feb 2011. That is important to what you hear in a couple of ways. It was recorded before Toby Spence became ill. He is back to performing again, but I don't know whether he sounds as overwhelmingly healthy as here....I do hope so. The other significance is that being live and in very close up sound, the singers provide for the audience and the placing robs the dynamics of some of the marked ppp, or pp markings. But the performers are nevertheless obviously sensitive to the dynamics, though deliberately depart from them several times and as is obvious, this is a performance choice and perhaps some decisions are taken to 'make sure', not a slur, but sheer professionalism.

So, where is this performance on that continuum from the stoic approach of Klemperer to the heady opulence of Levine? It is more towards the latter, but less voluptuous. The orchestra playing is also very upfront and the soloists forward. I like this ventilated sound, the soloists from the orchestra, especially the woodwind sound as lovely as I have ever heard. The conductor is sane and accommodates the singers without indulging them. He is especially impressive during that compressed symphony in the final song, the funeral march clear, but the arc of the piece doing its work and taking us into the mists across that bridge. That hectic passage where the young men ride through the water is kept in superb control, so the singer and orchestra stay in harness, but it is not at all cautious.

Spence is plain out terrific, the voice is forward, open, ringing. I don't know just how big the voice is, but on the recording it is heroic and he pits himself against the wall of sound in the first movement. He does as well as just about anyone. There are brief moments of strain, but less so than with most who have recorded this work. I won't mention the usual comparators, it stands on its own as a satisfying performance. He has the verbal acuity of the other songs under his belt, though does not shade the tone colour much.

Connelly: What a completely beautiful sound, I have never heard her sound more lovely. It is rich, grave and even through the range. This is a highly detailed reading with nothing bland. I did notice that often at the end of phrases crotchets become minims, but this is live and the moments are taken and I see that as expression within the bounds of the art of performance. It is never done in such a way as to slow the music down at all.

That final song, the core of the work is half an hour of terrific concentration with considerable flexibility and is very moving. At many points I felt gooseflesh as the words were made to tell. This is a living, organic performance, not a cold distant delivery of the notes.

The close sound does not quite allow the final dissolve into nothingness, but this is one of the very best performances I have heard and I will be keeping it by me to mine it time and again.

Mike

[Leo K.]

Copied across from 'Mahler Rebooted', my review of the following..

Mahler: Das Lied von Der Erde Nezet-Seguin, LPO, Sarah Connolly, Toby Spence

Each time I review another Das Lied, I suggest that I have enough performances, yet, my decision is easily undermined. Somehow, I felt this would be special and it is. This is a live performance from Feb 2011. That is important to what you hear in a couple of ways. It was recorded before Toby Spence became ill. He is back to performing again, but I don't know whether he sounds as overwhelmingly healthy as here....I do hope so. The other significance is that being live and in very close up sound, the singers provide for the audience and the placing robs the dynamics of some of the marked ppp, or pp markings. But the performers are nevertheless obviously sensitive to the dynamics, though deliberately depart from them several times and as is obvious, this is a performance choice and perhaps some decisions are taken to 'make sure', not a slur, but sheer professionalism.

So, where is this performance on that continuum from the stoic approach of Klemperer to the heady opulence of Levine? It is more towards the latter, but less voluptuous. The orchestra playing is also very upfront and the soloists forward. I like this ventilated sound, the soloists from the orchestra, especially the woodwind sound as lovely as I have ever heard. The conductor is sane and accommodates the singers without indulging them. He is especially impressive during that compressed symphony in the final song, the funeral march clear, but the arc of the piece doing its work and taking us into the mists across that bridge. That hectic passage where the young men ride through the water is kept in superb control, so the singer and orchestra stay in harness, but it is not at all cautious.

Spence is plain out terrific, the voice is forward, open, ringing. I don't know just how big the voice is, but on the recording it is heroic and he pits himself against the wall of sound in the first movement. He does as well as just about anyone. There are brief moments of strain, but less so than with most who have recorded this work. I won't mention the usual comparators, it stands on its own as a satisfying performance. He has the verbal acuity of the other songs under his belt, though does not shade the tone colour much.

Connelly: What a completely beautiful sound, I have never heard her sound more lovely. It is rich, grave and even through the range. This is a highly detailed reading with nothing bland. I did notice that often at the end of phrases crotchets become minims, but this is live and the moments are taken and I see that as expression within the bounds of the art of performance. It is never done in such a way as to slow the music down at all.

That final song, the core of the work is half an hour of terrific concentration with considerable flexibility and is very moving. At many points I felt gooseflesh as the words were made to tell. This is a living, organic performance, not a cold distant delivery of the notes.

The close sound does not quite allow the final dissolve into nothingness, but this is one of the very best performances I have heard and I will be keeping it by me to mine it time and again.

Mike

Thanks for the review, I agree, this recording is definitely a keeper!!

[Leo K.]

When I have to hear a recording 2 times in a row I know there is a special quality about it - more thoughts later! (Not that anyone cares obviously)

[betterthanfine]

Any thoughts on the Colin Davis recording with Vickers and Norman? I've heard it be called 'the worst recording ever' of the piece, and also 'surprisingly good'. I came across it used recently and didn't buy it, but am starting to regret it now. Is it worth going back for?

[brunumb]

When I have to hear a recording 2 times in a row I know there is a special quality about it - more thoughts later! (Not that anyone cares obviously)

I care Leo!
Make it sooner rather than later please   

[Leo K.]

I care Leo!
Make it sooner rather than later please   

Thank you sir! One more listen and I should be ready

[Leo K.]

Any thoughts on the Colin Davis recording with Vickers and Norman? I've heard it be called 'the worst recording ever' of the piece, and also 'surprisingly good'. I came across it used recently and didn't buy it, but am starting to regret it now. Is it worth going back for?

I've always liked this recording because I love Norman's way with Mahler. I wouldn't say it's essential though.

[betterthanfine]

I've always liked this recording because I love Norman's way with Mahler. I wouldn't say it's essential though.

I have Klemperer, Giulini, and Nezet-Seguin. I think I'll get the Davis for good old Jessye then, I love that glorious voice of hers. Thanks, Leo.

[Marc]

Goosebumps with Van Beinum, Haefliger, Merriman and the Concertgebouw Orkest.

I listen to the cd and smell the vinyl.

[knight66]

Any thoughts on the Colin Davis recording with Vickers and Norman? I've heard it be called 'the worst recording ever' of the piece, and also 'surprisingly good'. I came across it used recently and didn't buy it, but am starting to regret it now. Is it worth going back for?

Ten years earlier and Vickers would have been ideal; but here it is too late for him and he is strained and parched. Norman does sound terrific. Davis provides a lot of detail from the players and the pacing is sensible. I Had this on LP and it disappointed me. But a couple of years ago I got it on CD and was pleasantly surprised. Not a top recommendation, but worth getting. I do prefer the Norman version conducted by Levine. One of the very few recordings of his that I rate highly.

Mike

[betterthanfine]

Ten years earlier and Vickers would have been ideal; but here it is too late for him and he is strained and parched. Norman does sound terrific. Davis provides a lot of detail from the players and the pacing is sensible. I Had this on LP and it disappointed me. But a couple of years ago I got it on CD and was pleasantly surprised. Not a top recommendation, but worth getting. I do prefer the Norman version conducted by Levine. One of the very few recordings of his that I rate highly.

Mike

Thank you for weighing in, Mike. I'd heard about Vickers being well past his prime in this recording. I'd be interested to hear Davis in Mahler though. I'll keep an eye out for the Levine as well, I was wondering how it would compare to the Davis recording re: Norman.

[brunumb]

Thank you sir! One more listen and I should be ready

Are you ready yet Leo?   

[Sergeant Rock]

Ten years earlier and Vickers would have been ideal; but here it is too late for him and he is strained and parched.

There was almost a Vickers/Baker/Szell/Cleveland recording in 1970 but a ridiculous union rule wouldn't allow the orchestra to rehearse with Vickers before the recording, and Szell refused to record without a rehearsal. The concert before the proposed recording featured Richard Lewis (who couldn't do the recording either because he'd just done it with Ormandy). So, no Szell Das Lied...at least no studio version.

Sarge

[Leo K.]

Are you ready yet Leo?   

Ooooops, sorry! I'll see what I can do And thanks for asking 

[Leo K.]

When I have to hear a recording 2 times in a row I know there is a special quality about it - more thoughts later! (Not that anyone cares obviously)

This recording is a gentle Das Lied. The singers don't over-power you, and Fischer-Dieskau conducts with natural sounding twists and turns in the phrasing, a nice change of pace. I agree with Ralph Moore (Amazon review) that "this is one of the most peaceful, pastoral accounts I have heard but the 'Abschied,' while not as monumental or indeed relentlessly funereal as some, still carries dignified weight." He also says (and I wholeheartedly agree) "No big, bawling, over-stretched tenors but a lighter-voiced singer with impeccable intonation, crystalline diction and an attractive, if slightly "white", tone; Elsner is occasionally too inclined to take refuge in his sweet falsetto to dodge some of the more challenging moments. No fruity, swooping gestures from our contralto, but a very tight, well-schooled voice with depth but the ability to float and lighten her sound, equally good diction and a complete absence of the dreaded wobble. The singers' restraint matches that of D-F-D's conducting and the orchestral playing: there is much fine shading, judiciously applied rubato, some ravishing, resinous woodwind playing and lovely flutes. Tempi are conventional but there is a poise and delicacy about this reading which is sincere and moving - no grandstanding or cheap effects."

[brunumb]

This recording is a gentle Das Lied. The singers don't over-power you, and Fischer-Dieskau conducts with natural sounding twists and turns in the phrasing, a nice change of pace.

Thanks Leo.

[knight66]

There was almost a Vickers/Baker/Szell/Cleveland recording in 1970 but a ridiculous union rule wouldn't allow the orchestra to rehearse with Vickers before the recording, and Szell refused to record without a rehearsal. The concert before the proposed recording featured Richard Lewis (who couldn't do the recording either because he'd just done it with Ormandy). So, no Szell Das Lied...at least no studio version.

Sarge

One of the most tantalising might have beens. When I was involved in choral concerts, we hada number of near misses including Bernstein, Kubelik and Goodall amongst others, all replaced relatively late on due to health issues. Of course, they possibly would not have been recorded, but still......

Mike

[Leo K.]

For me the great version of that work, is this one. I like to say that this recording is one of best disc of the history of recorded music.

I'm just beginning to appreciate the Klemperer Das Lied, it truly is symphonic and magnificent in every way.