Customer Reviews

Bernstein Century - Mahler: Symphonies Nos. 2, 8 (Part One), & 5 (segment)

5 star:		(13)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

Bernstein so closely identified himself with the Mahelr Second that he made three recordings. For a long time two have stood out: the first, from 1963, with the New York Phil. (Sony) and the last, from 1988, from a live concert, also in New York (DG). Sony owns another live concert from 1974 with the London Sym. and the unmatched Janet Baker as soloist in "Urlicht," but it has boomy cathedral sound and is hard to find. Comparing the two major recordings brings out interesting contrasts.

Sony 1963: Bernstein was 45 and freshly arrived at Mahelr when he made this recording. The phrasing in every movemeent has a spontaneous freshness that few have ever duplicated, including Bernstien himself. Nothing is played for rhetorical effect. Tempos are moderate; the orchestra plays beautifully and is captured in spacious sonics at Manhattan Center. The two vocal soloists, mezzo Jennie Tourel and soprano Lee Verona, were Bernstein favorites, but neither is ideal. Tourel sounds mature and doesn't blend well with Verona in the finale; her Urlicht is sincere and moving, however. The professional chorus is excellent but recorded too far back for us to make out the words or for maximum impact.

DG 1988: Twenty-five years later, when Bernstein was 70, he retained the basic shape of his earlier interpretation but slowed it down, by almost 4 min. in the finale, which is quite broad now. Spontaneity has been exchanged for a deeper, more settled view but also some rhetoric. The sound is multi-miked, often close up, and with not as much air around it as for Sony. Also, there is more underlining for emphasis, but not to an extreme. I think the finale suffers from Bernstein's earnestness to make sure it sounds cosmic--yet the stupendous coda does indeed sound cosmic. He uses another aging mezzo, Christa Ludwig, for the Urlicht, which she sings beautifully. It's too bad that LB takes 2 min. longer in this short movement; it sounds funereal. Soprano Barbara Hendricks sounds ideal. The chrosu is also better than on Sony and recorded, like the organ in the finale, with much more impact than before; we canmake out more words thanks to the multi-miking.

As interpretations, I think there is little to choose for the first three movements. After that, Bernstein is more musically fresh in 1963 but captured in more dramatic sonics in 1988. Chorus and soloists are also better in the 1988 set. The later performance ends in wrenching catharsis, and for some lsiteners that will make the difference. Both sets are five-star readings on the highest plane of performance and musicality.

(One thing greatly in favor of the Sony set is the fillers: a moving live performance of the Adagietto from the Mahelr Fifth at the funeral service for Robert F. Kenney in St. Patrick's Cathedral, and a riveting "Veni Creator spiritus" from the Mahler Eighth, a live performance to celebrate the opening of Philharmonic Hall in 1962.)

Bruno Walter and Otto Klemperer were two contemporary disciples of Mahler who gave us differing, but authoritative accounts of that composer's Second Symphony. Bruno Walter came close, but Leonard Bernstein takes us further in his first recording of this masterpiece. From the opening fortissimo string tremolo, he gradually leads us deeper into the spiritual world of Mahler, and if we are willing, he is convinced that we will be transcended like we have never been before. Purists may quibble about the liberties Bernstein takes with the score, but they are overruled when there are profound musical statements to be made.

Lenny was right! In this recording, following Mahler's capsulated description about his work, Bernstein was able to convince his musicians that they too, had to be "battered to the ground with clubs and then lifted high to the heavens on angels' wings." I was fortunate to be introduced to Mahler's spiritual world with this recording, and must admit that I had the same experience. Considering the large number of recordings that followed, none since this Bernstein document (even his later Columbia Masterworks and DG recordings) depict Mahler's musical catharsis as does this one. Unfortunately, the 1963 stereo sound now shows its age. I'm thankful that it was recorded in stereo, but sorry that digital technology did not then exist to fully convey the quite-evident shattering power that Bernstein brings forth. Indication where digital recording would have helped is the buildup in the overpowering crescendo drum roll of the huge percussion section in the final movement, seemingly much more powerful than any recording of this since made. However, it sounded great when I first heard it in the late '60's, and the new 24-bit CD transfer helps the dated sound out.

In addition to Bernstein's "man-on-a-mission" approach, the much underrated, and sorrowfully, now largely forgotten mezzo-soprano Jennie Tourel, conveys every bit of her conviction as a Mahlerian on this spiritual journey. Her "Ich bin von Gott und will wieder zu Gott, der liebe Gott, der liebe Gott" in the fourth movement Wunderhorn song preceding the giant finale is the best I've ever heard, even surpassing the interpretations by the great female Mahler singers, Maureen Forrester, and Janet Baker. The Collegiate Chorale also sings their part unlike any other chorus on all other recordings of the Second that I've heard. Rather than raising the roof "shouting" the piece as loud as possible as all other choruses do in their recordings of the Second, the Collegiate actually SINGS the piece. They do it most lyrically and hymn-like, yet maintain the necessary dynamic level to not be drowned out by the huge orchestra. And at the a capella choral entrance, they properly intone the music more quietly and reverently than on any other recording I've heard.

Three cheers to Lenny and his performers for producing what will certainly go down in the annals of recorded Mahler history as one of the top Mahler documents ever made. It is this recording that I automatically think of whenever I hear the name, "Leonard Bernstein."

Other reviewers have neglected to comment on the Adagietto from the Mahler 5th played at Robert F. Kennedy's funeral in New York City's St. Patrick's Cathedral in 1968, and the first movement of the Mahler 8th for the opening of Philharmonic Hall at Lincoln Center in September, 1962. It was at the latter where President and Mrs. John F. Kennedy were on-hand for the festivities. All I can say is that with this performance of the 5th's Adagietto, the grief-stricken Bernstein gave a significant contribution to a very somber occasion, and his performance of the first movement of the 8th was a significant contribution to a joyous occasion. These two shorter documents can be regarded as two important happenings in what were some of the most important artistic and personal episodes in Bernstein's life. The juxtaposition of the recordings in this set is interesting also. First, is the near high of Bernstein's personal and artistic life and his involvement with the Kennedy family in the early '60's, starting with the Mahler 8th first movement. Second, is attainment of the "high" with the complete Mahler 2nd recording exactly a year later (Sept., 1963), and the start downward with the shock of John Kennedy's assassination two months later. Third, is arrival at the "low" with the assassination of Robert F. Kennedy in 1968. "The Bernstein Century" is an apt title for this particular set, and the entire series.

*****2010 update: This legendary recording of Mahler's Second Symphony has been released on SACD audiophile CD format in Japan, and though costly, it now has improved sound. I have since obtained the SACD, and can truthfully say that the remastering it was given has helped this glorious performance. Get the SACD if your funds permit. I have reviewed the SACD at its proper site within Amazon.com

This is the recording that was my introduction to Mahler's 2nd, so I was very happy to see it reissued on CD. The sound is quite good for a recording from the early 60s, and the final five minutes are completely overwhelming. I remember wearing down the LP grooves (and probably annoying my neighbors) by replaying that section over and over. It still has a stunning effect....the sheer beauty of Mahler's music, the power of the words, and the intensity of the performance all give the listener an unforgettable experience.

Bernstein's remake of this piece in the 80's was great, and in general his second cycle of Mahler symphonies is better than the first, but not in this case. This studio recording has more energy and drive than most live recordings I have heard. Instead of an analytical interpretation (Litton/Dallas), a showy interpretation (Solti/Chicago), or a scholarly interpretation (Kaplan/London), Bernstein goes for the very heart of the piece and lets it speak free of the constraints placed on it by most other conductors. The result is a performance of remarkable depth, intensity, musicality, and consistency. The playing could be a little more in tune in some places, but this does not really matter. Get yourself a copy of this recording as soon as possible!

Let's get this straight: this is one of the greatest CD's ever released. Yes, I'm a fan of Mahler and of Bernstein. If I were not, I'd still have to recommend this album for many reasons; the sound, interpretation and thus, the heart. This top-notch remastered double CD is a truly legendary recording of the 2nd from 1963. It succeedes to supply and enhance a very analogue feeling and is by far the most gripping and intense M2 I have ever heard! The only drawback would be the Andante, which is on the slower side of "slow". Still, more than anything, the heart, the heart, the heart of Mahler (or if you will, Bernstein?) is presented to the listener. I can only speak for myself, but this recording and reading has certainly changed my life - touching, moving and enormous.

Many have conceded that among 20th century conductors it was Leonard Bernstein who became the driving force in effectively meeting the challenge of making a convincing statement of Mahler's symphonic music. Others have cited some of the pioneering and insightful mono and stereo performances of Walter and Mitropoulos and those of Scherchen. In any event, there has been little doubt that Bernstein has almost always brought great intensity to his Mahler interpretations. But his tendency to sometimes engage in drawn out tempos has been, at times, controversial. This is evident particularly in his opening to Mahler's "Resurrection" Symphony, despite the composer's indication of allegro. Bernstein proceeds with what sounds, at least, like adagio. He later speeds up, then slows down again--perhaps, to listeners, a little exasperating. However, others might feel he is setting the mood for the rest of the first movement and even for the entire symphony. Include me in that company. Indeed, what Bernstein does bring to this magnificent work is passion, and there is little doubt in my mind, based on what I have encountered about Mahler, that this is precisely what the composer sought to convey himself through his compositions and his conducting.

Being familiar with a number of other versions of Mahler 2, I found it particularly interesting to compare Bernstein's account with that of Klemperer (with the Philharmonia Orchestra) who, not untypically, offers a view of considerable strength and stature. Despite these qualities and perhaps a greater sense of overall structural unity, Klemperer cannot quite match the range and depth of feeling wrought by Bernstein, though I admit there are times when Klemperer's characteristic sobriety helps to imbue his interpretation with a more primordial Mahlerian feel. On certain emotional/spiritual grounds however I find Bernstein somewhat more effective. Examples: In the first movement, he expresses some of the composer's phrases with a tenderness that Klemperer only hints at. In the final movement, themes from the previous movements return with more vividness and urgency. Further, in that movement the "fright fanfare", with its opening of the sky, is given a more menacing effect, while the procession of the dead is conveyed with a greater feeling of grandeur. When it comes to singing, mezzo-soprano Jennie Tourel clearly displays a wider range of feeling than Hilde Rossl-Majdan in the fourth movement "Ulricht". Lastly, in the sections for chorus and orchestra in the final movement, Bernstein is more apocalyptic. Overall, a most impressive performance. For another "Resurrection" I consider to be among the very best, try the DG Kubelik with the Bavarian Radio Symphony.

Postscript: I had the opportunity to familiarize myself with Klemperer's 1951 live Amsterdam Concertgebouw conception with Kathleen Ferrier. Though the sound leaves something to be desired, this is a vividly detailed, often gripping interpretation. I feel it exceeds his aforementioned EMI stereo disc with respect to conveying in very convincing terms the meaning of this work as envisioned and expressed by the composer.

I have never been particularly fond of the Walter or Klemperor recordings of this work. They were graceful and beautiful but I've always felt the work required a far greater sense of drama than they could provide. And so I went to my local record library and listened to as many Mahler 2nds as they had. This one gripped from the first measure. I can't imagine a more exciting and larger than life performance. It must have been performances such as this that catapulted Bernstein into the staure he has today. Do not hesitate to invest in this CD, and certainly pick this recording over the horrendous version Bernstein recorded with the LSO (also on Sony).

This is the best recording of Mahler's second symphony that I have ever heard. Being a trombone player who likes composers that use my instrument to it's fullest, I know Mahler's music very in-depth. Bernstein is such a wonderful musician, pouring himself into every composer that he performs. He is simply amazing. The quality of this recording is superb. The New York Phil sounds great, with a live and full sound. The whole Bernstein Century series is wonderful and full of desirable recordings of all of the standard repertoire. I highly recommend all of the Mahler recordings in this collection especially the third symphony.

Without a doubt, this is the Mahler/Bernstein Resurrection Symphony to get. Not that his later DG recording with the same orchestra is bad, on the contrary, it's outstanding. However, I have become convinced that the present recording may be one of the greatest ever made - of any piece of music.

I purchased Bernstein's DG recording before I did this one (I can't quite remember why), and I was very pleased with what I got. With this in mind, and having four other recordings of the 2nd symphony already, I remember being a bit hesitant to purchase this one, not knowing really how much different the two interpretations could be. However, as a general rule I tend to prefer Bernstein's earlier CBS recordings (not just for the Mahler symphonies, but for most of the mainstream literature), and thus went ahead and bought this recording as well. Wow, was I in for a shock.

The two recordings are vastly different. For one, the tempi that Bernstein observes on this earlier version are much quicker, and I believe much more compelling - this is especially true for the final movement. In the final chorus of the later DG recording, Bernstein really just goes too slowly, and as a result, I believe the movement looses much of its impact. This is not the case with the present recording. The tempi in the final chorus are comparable to Walter's exceptional recording, and I have yet to hear a more powerful and awesome musical argument than the one Bernstein gives us here. This goes not just for the final chorus, but for all five movements.

So, if you must choose between the two Bernstein sets, then this is the one to get. Although there are many great moments in the DG recording, overall, it just can't hold up to this earlier one (you also get great fillers here - the Adagietto from the 5th symphony recorded live at the burial of Robert F. Kennedy, as well as the an amazing performance of part one of the 8th symphony recorded live at the opening of [what is now] Avery Fisher Hall). It all seemed to come together here for Lenny and the New York Philharmonic, and I really do believe this record to be one of the greatest musical achievements of the gramophone; I can't recommend it enough.

This is a crisp and clear version of Mahler's Second--poles apart from Bernstein's more recent version on DG. From the opening notes the sound of the orchestra and the organization of the work are lean and taut. The performance is charged with a high degree of nervous tension, and at times simmers with a dark fury. But Bernstein is light and bouncy where he needs to be, as in the orchestral version of the song about St. Anthony and the fishes. I imagine that a new Boulez version, it there is to be one, would take much the same approach as Bernstein does here. The recorded sound is good, not as sumptuous as the DG recording, but the lean, focused orchestral sound is well suited to the Bernstein's conception.