Customer Reviews

Mahler: 10 Symphonies

5 star:		(11)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

OK, you're just perhaps getting into Mahler or exploring a bit and you want some good recommendations. What you encounter on any given recording is rave reviews and trash reviews, all over the map, as they say.

Well, here's the terrible truth--and the Mahler fans'll be all over me on this one; punching furiously at "not helpful" in hopes of racking up a high score.

a) Although Mahler lived and composed around the turn of the last century his music didn't really catch on until the LP era. Yup, he's largely a stereo and music collector phenomenon. What happened is that with few exceptions there really wasn't even the beginnings of a solid critical assessment or performing tradition until--jeepers--the 1960s--50 years after the guy dropped dead. That's when people started to get an idea of what he was about, and plenty of conductors, like Bernstein, laid on their own very personal interpretations, tried to "own him" in sense. Not so oddly, everyone's Mahler came out sounding differently. Bernstein's Mahler sounded like Bernstein wrote it, Karajan's Mahler sounded like Richard Strauss wrote it, and Solti's Mahler sounded like Beethoven wrote it. Honestly, I don't think anyone was really all that sure about what it was supposed to sound like. Bruno Walter may have been the only conductor to truly own him, as he was Mahler's assistant, so his recordings are a good place to start and possibly a good standard to use. Unfortunately, I don't believe he recorded them all.

b)Responses to various performances seem to reflect different individual's personal relationships with various conductors more than anything. If you don't like George Solti you aren't going to like his Mahler no matter what and boyo that's for sure.

c)Mahler gave too detailed perfomance instructions on his scores which seem to confuse people more than anything. Gilbert Kaplan--some banker or something--is an amateur who took conducting lessons and became an expert on every tiny facet of Mahler's Second Symphony. Some find his recordings of it stunning. Maybe they are, but they sound too stunning for me, like the gal too beautiful to ask out. I like my Mahler down closer to me thanks very much which means I like performances that don't shine to Mahler's OCD. I seriously doubt even Mahler conducted the same piece precisely the same way twice, giving lie to his own presumptions on this matter. If I'm wrong that was quite an achievement on Mahler's part. Anyway, all that instruction makes for a confusing experience for a conductor who may "feel" the piece slightly differently and that creates a sort of performance cognitive disssonance--a tug of war of intentions--that often shows in many recordings.

d) Mahler was great, but inconsistent, and even today there's little consensus on when he was great or not so great. None of his music, interpreted by anyone, seems to leave a listener with the sense of wholeness and completion than one gets from, say, a mature work by Bach, Beethoven, or, above all, Mozart. You'll see endless rave reviews about how this or that conductor and orchestra finally makes this or that work hang together as a whole--not a good sign. What this tells me is that there may be no "perfect" Mahler performance (That's "NOT HELPFUL" over there on the right, just use the mouse and click) because there is no perfect Mahler symphony. (No, my email address is not included in my profile so don't bother checking, and I live in Greenland anyway, so put down the rope). My sense has always been that with the really big works, the ones describing the totality of the universe, the sum of all fears, infinity, nebular clusters, God, and so on, meaning nearly all of them, the man was just possibly overreaching a hair. His stuff's absolutely worth listening to but, at times, if you leave it feeling like you've just been lectured about your immortal soul by some wild-eyed guy with crazy hair don't be too concerned. If Mozart had ever met Mahler after hearing his music he would have shot him and gone to the electric chair believing he'd killed the Anti-Christ.

e) Because so much of Mahler is about death and resurrection or almost, his ardent fans tend to share the same, shall we say, metaphysical zeal, and frequently express it in periodic cat fights over the mystical significance and portentiousness of this or that work and other trivialities. Ardent Mahler fans are the last people to listen to (Forget it, no detective agency in the world can track me down!) for Mahler recommendations. It would be like walking into a cult and religion fair, walking up to the first booth (Mormons or Rastafarians maybe?) and politely asking the booth attendants which of these many fine religions represented here at the fair would they recommend? Before you know it you'd be sucked into a raging maelstrom, a black hole, never to be heard from again. You'll be listening to Boulez's Mahler with a pistol in hand and an eye on the door, or Bernstein, on a Walkman, in agony at the Wailing Wall in Jerusalem. Life will never again contain a moment of happiness. You are trapped in Mahlerland, where every moment is pure Hell.

I recommend this set of Mahler's symphonies because Kubelik, more than anyone perhaps, plays the music well and wth feeling and atmosphere and makes Mahler's alternately hysterical and demanding ghost go cool his heels in the Green Room. His interpretations are less about Mahler and more about the music on the page. That's certainly why some don't like these recordings. When I want to rant, rave and then go foetal, I listen to Bernstein's Mahler because Lennie feels my pain; when I want my angst with elegance it's Karajan all the way, if I'm in Beatnik hep-cat mode I go with Boulez--"Ah, yes, emotion. Cool Daddy-o!" If I want a taste of old Vienna circa 1905 it's Bruno Walter. Basically go out and have fun with this often amazing music, meaning don't be a typical Mahler fan and don't be like Mahler--the un-fun-est composer who ever lived. Hopefully you'll end up with good entertaining handfuls of each major work and you'll be blissfully ignorant of which ones are the "right" ones.

Rafael Kubelik's interpretations of the Mahler symphonies with the Symphonieorchester des Bayerischen Rundfunks from the later sixties and early seventies are here collected in a fine box which is a real bargain. Some of the interpretations are among the finest available, e.g. symphonies nos. 1, 2, 3, 4, 7, and 8. The orchestra was probably in its top form under Kubelik's baton, giving its very best, and the soloists are usually first rate.

In general, Kubelik's Mahler is clearly less sentimental and or broad than, for instance, Bernstein's or Abbado's. He presents Mahler's complex works without mannerism but with enthusiasm. This makes the music in each sound very crisp and straightforward, as if it were played for the first time. (This might annoy people that want to have their Mahler served with syrup.) But Kubelik has also a consistent grasp of Mahler's oeuvre as a whole, providing a very clear picture of the nine symphonies including the first movement of the unfinished tenth.

Even though the sound picture given these DG recordings is quite close and less spacious, the general HiFi quality is more than satisfactory.

In short, I think Kubelik's Mahler must be regarded as the first choice if you want a classic boxed set with these symphonies presented by a single conductor.

There is a sublime quality to these readings...the BRSO is not Berlin or NY but they seem to strive for goals and ideals far beyond the reaches of these groups. There is a sense of the mountains in this music...inspired majesty and an almost unbelievable passion to all of these readings!!

Sadly, few people ever get the chance to listen to Kubelik in this repetoire and time has been unkind to his memory. On an occassion I had the chance of working with Maestro Kubelik and can say he brought passion to every bar and phrase he ever conducted!!!

For me this is Mahler etched in stone...very well played and with alot of edge...not for those who expect refinement and cloying beauty...but instead pure water which flows to the ocean.....the Second is very well done with excellent brass and singing throughout...

The 5th is very cleanly played and without vulgarity...the 9th has a very slavic sound to the winds which I find very appealing.

The 1st and 4th are among the very finest versions ever done with some wonderful singing...the Finale of #4 is incredibly played with excellent lower brass and winds.

The 8th has some wonderful sonorities with excellent singing from Fischer-Dieskau....this is a very volatile performance and bear repeated listening...

The 3rd here is truly epic and the 1st movement is among the finest played ever.

Go for IT YOU Mahlerians!!!!!

Some years ago, I gave high praise to this complete cycle, recorded between 1967 and 1971, in its original CD reissue from 1990. At the time, I noted its naturalness, expressiveness and authenticity even as Kubelik brought out the music's Bohemian lineage more strongly than its grounding in the Austro-Germanic symphonic tradition. Time has only deepened my appreciation of what this series, now in a slimline box, delivers. Kubelik's unvarnished approach to this composer goes lighter on the bombast and may strike some as a little too plain-spoken, yet it always refreshes. Now and again Kubelik's fast tempi result in some scrambled ensemble by the idiomatic-sounding Bavarian Radio Symphony Orchestra, but I'll take that over polished blandness any day of the week. I still rank the Gary Bertini box (which, unlike this set, also includes "Das Lied von der Erde" as well as texts and translations) as perhaps the best "total package" of interpretation, playing and sound quality in a complete Mahler cycle, yet even that does not bring Mahler to life as palpably as this does for me.

I disagree forcefully with the reviewer who wrings his hands over the domestic DG release of Sinopoli vs. Kubelik. There is, simply put, enough complexity and depth in Mahler to admit more than one interpretation, and Kubelik occupies a different range of spectra from Sinopoli, a varied plenitude of voicings and hidden architectures. Guiseppe Sinopoli accomplished more in half a life than most mortals could achieve in three; it seems more like a neophyte listener reading early scathing reviews of G.S. and making up his mind, rather than basing a judgement on real authority.

Kubelik paints large canvases with a broad brush, like Mahler, and those comparative few who record the full cycle have in common an epic sensibility and a Proustian attention span. Blessed as he is with a sense of the orchestra's organic unity, Kubelik strives for a condition of tension and release in constant equipoise with one another. Sensitivity, passion, psychological breadth and depth all emerge from these recordings, done slightly after Bernstein's landmark cycle (which may account for the more recent Sinopoli box's domestic release).

Mahler, much like Shostakovich, aspires "somewhere beyond music," as Zander would say so eloquently; he invites an obsessive, almost hermeneutic scrutiny, and the more one probes, the more one is rewarded. The sprightly pacing of Symphony No. 6; the emphatic tempo changes realized in No. 5; and the briskness we find in "Titan" make for an intense journey. Kubelik and the Symphonieorchester Des Bayerishe Rundfunk belong in the first rank of Mahlerian interpreters.

My advice is to buy both DG sets. Get the Bernstein too, while you're at it.

I was delighted to discover this import title on HMV prior to their partnership with Amazon. Rafael Kubelik's Mahler Cycle has to be considered among the best ever recorded. While I'm still partial to Bernstein's famous first cycle on Columbia (now Sony), Kubelik's accounts are mesmerizing and he outshines Bernstein on many of the Symphonies (in particular 1, 3, 4 & 8). It amazes me that with such a great set, DG has chosen to only make Kubelik's recording of the Mahler 1st available as an individual disc (Sym 4 was available in the "Musikfest" series but is now OOP), and even more incredibly, that they chose to issue Sinopoli's Mahler Cycle domestically instead of Kubelik's! Sometimes, you're just left scratching your head over UNI's release strategies.

First of all, for the Mahler neophyte, it is important to note that if you want the best possible recordings of every symphony, then I do not recommend purchasing a boxed set. Even the best boxed set cannot have every single symphony be of outstanding calibre. You will get a collection of symphonies with some being much better than others. However, there are great advantages to having a boxed set, especially if you are interested in a particular conductor or a particular ensemble, or if you just want a solid reference recording of each symphony.

That being said, you need to know what you are looking for in Mahler. If you are an admirer or devotee of Bernstein, you will absolutely hate this set. It is the complete antithesis of the late romantic rather gothic melodrama which Bernstein offers up. It is part of the trio of Mahler recordings, along with Bernstein's and Haitink's that contributed to the so-called "Mahler boom" of the '60s, and, as such, the recording quality will reflect this. However, the playing is simply divine, and few conductors seems to appreciate the structures of each of Mahler's symphonies, and few give such down to earth, almost Bohemian renditions of Mahler, one which emphasizes the many folk elements that Mahler incorporated into his works, as well as the intricate contrapuntal structures which make a Mahler symphony such an interesting experience. Kubelik is in a class of his own. And Kubelik holds to this conception of Mahler throughout each and every single symphony. I assure you you will hear something you have never heard before each time you give Kubelik a listen.

Perhaps the single greatest strength of this set is the wunderhorn symphonies (symphonies 1-4). I am willing to guarantee you can find better recorded performances, but you will never hear better played. Kubelik and the BRSO shine throughout, and the faster tempi are much appreciated on my part (I have always preferred by Mahler tempi on the fast side). The excellence of this tetrarchy alone is reason enough to give Kubelik your consideration.

As for the 5th, I would have to say it is absolutely superb, but I rather prefer Walter's 5th, especially because his adagietto is around 7 min, while Kubelik's and many others clock in at around 10. This may seem a minor detail, but the adagietto cannot sound mournful or weepy. It destroys the internal coherency of the work, which is an exploration of tragedy and triumph, with the scherzo being the centrifugal force that holds these themes together and blends them seamlessly into one another. But the adagietto should be a much more loving movement. That being said, again, a fantastic symphony as well. Kubelik's adagietto avoids that trap!

The 6th and 8th have some balancing issues. At times, certain instruments may come across as too strong for the texture, and, at others, certain instruments don't come through as strongly as they need to (especially some low brass parts in Mahler's 8th, and be advised, the upper register of the BRSO dominates these recordings. The low brass, especially the trombones do come through when needed, but they don't particularly stick out of the texture very often.) Unlike others, I do NOT have a problem with Kubelik's tempi in the 6th. Far from it, I regard the quicker tempi on the set to be a great strength. The 6th symphony has always struck me as a Greek tragedy more than anything, so thank you Kubelik for not condemning our hero to death from the first beat!! And the faster tempi conform more accurately the classical structure of the symphony.

The 7th and the 9th are also very good. Kubelik does a fantastic job of bringing out every part of the complex texture of these symphonies!! I have heard instrumental colours that I have never heard before out of each of these symphonies (and this holds true for every one, but especially these two). Granted, I would like more low brass in the 7th and I would prefer a little more passionate intensity in the opening movement of the 9th, but the sound is very Bohemian in both, and very much so true to the structure of each symphony. The last movement of the 9th is absolutely beautiful, though it is not the best in the catalog.

In short, the Kubelik set is an outstanding set of Mahler symphonies. The sound is very lean and crisp and the interpretations are very down to earth. I can't recommend this set highly enough. A great value for the money and an important historical "document" of the Mahler boom and a wonderful antidote to the syrupy and very emotional performances of others. However, as a first set for the complete neophyte to Mahler, I must voice some reservations. Be aware that you are getting a very idiosyncratic approach here. Kubelik does things with Mahler I have never heard from another conductor of Mahler. This gives the set its great strength, (such as the first movement of the 3rd symphony, I have never heard such a menacing rendering of nature, which ties in wonderfully to the older idea of nature as a force of destruction, rather than the common view of nature as paradise that was the common conception of nature of the intellectuals of the Romantic era. Pan doesn't just arrive, he kicks down the door!) but it also makes the set rather unorthodox. Be sure you understand what you want out of Mahler, what kind of sound appeals best to you, and, above all, just enjoy this rather fascinating man named Gustav Mahler and the complex and beautiful music which he wrote. Again, the Kubelik set is easily one of the most consistent I have ever heard, and as time goes by, I come to appreciate it more and more.

First off, this is a very good cycle and, at the time of its release, and important one. At a time when there were few choices for Mahler, either Bernsteins emotionally global view or solti insanity, it was refreshing to hear a more straightforward, fleeter, and classically restrained approach-that adhered to the letter of the score much more closely than the aforementioned podium stars. BUt now, with a plethora of Mahler cycles on the market, those virtues are not as singular as they once were and have been surpassed while Bernsteins still represents a rare insight into the subjective world of Mahler and consequently never before has Mahler been so successfully emotionally riveting.
I would recomennd this for enthusiasts so that they can experience this Mahler. I prefer it to Boulez. It has all of Boulez' details yet none of the chilling separatism that is the hallmark of much of his non-modern recordings or interps(with the exception of the sixth.) each of their firsts are wonderful, though Kubeliks is and will probably remain for sometime the standard for such a work-In Kubeliks first,classical refinement meets youthful exuberence. This is Kubelik, and Mahler's Titan, at its best.
As far as the rest goes, the seventh is still one of the reference versions(though no one seems to care about the seventh anyway despite the fact it is one of Mahlers most ingenius scores and one of my three favourite symphonys from his pen-This symphony is a clear example of Boulez shortcomings)
The eighth is also wonderful and i can still recall my first encounter with it on vinyl-perhaps the moment I fell in love with Mahler in the first place.
His fourth is perceptive and cheery, perhaps lacking the ultimate profundity of the final moments-some of the most inspired in all mahler. His fifth is very good. His sixth is a mixed bag and the andante is one of the few failures of the cycle.
Either way, in a time when we have extraordinary cycles for Gielen on Hansler, which is the finest overall cycle ever recorded, and Bernsteins Sony\CBS and DG still haunting the classical section, and Rattles new released cycle, and lets not forget Chailly recent RCO cycle, there seems to be new masterful interpretations every few months almost. Of the past, few remain defintive. I wouldnt want to be without Walter's 1,2,4, or 9. Or Ancerl's 9. Or Karajan 5,6, or 9. Of them all though, Bernstein's appraoch remains as unique and awe-inspiring as it did when it was released and at least on an emotional level, will never be surpassed.
Below is a list of my definitive mahler recordings
1. Kubelik, Walter, Gielen
2. Walter, Rattle
3. Gielen, Chailly, Bernstein63, Rattle
4. Walter, Bernstein, Levi
5. BernsteinDG, Karajan
6. Bernstein, MTT, Wit(Naxos)
7. Gielen, Bernstein, Kubelik
8. Solti, Kubelik, Wit, Nagano, Gielen
9. Gielen, Karajan, Walter, Ancerl
10. Gielen, Rattle

Cycles-(in order)
1. Gielen(Hansler)
2. Bernstein(Both )
honorable mention-Bertini, Rattle, Solti, Chailly, Kubelik, Haitink

I have a particular interest in these recordings. They were not only my introduction to Mahler but to classical music. It happened after I caught some Mahler used as soundtrack on a film - no, not "Death In Venice" but a James Caan film called "The Gambler" which featured the hair raisingly eerie opening of the First. I borrowed a boxed set of the symphonies from a local library and - yes, it was this very set but on vinyl.

After this I started buying more celebrated performances by Barbirolli, Horenstein, Karajan and others - all so much more lush. I adapted to the epic romantic style and the heart on sleeve approach.

When I eventually returned to this set in CD form I was astonished by its sinewy leanness. It may be said that such is the emotive quality of Mahler that his music doesn't need any added emphasis and that seems to be Kubelik's attitude. The swift pacing conveys not only a more comprehensible structure but also a complete lack of self-indulgence. The closest equivalent to this approach may be Boulez whose clinical attitude can create a paradoxical fascinating repellence with respect to these works but Kubelik projects a more human sense of involvement, a warm chamber like intimacy, and a more visceral sense of drama.

I confidently predict that - as with Boulez - you will either love or hate these performances. Wallowing is most emphatically not on the bill. And the speed adopted throughout may appal many who are accustomed to emotive underlining and sensual lingering.

Even those antipathetic to Kubelik's stance may find him attractive in the early works, which are given a more rustic abrasiveness than usual. At the faster speeds, the trumpet fanfares and piccolo arabesques in the finale of no. 2 come across like a gloriously iridescent noise while the whole of no. 4 is like a fleet footed sylvan dance.

But I would argue that the tremendous middle period purely orchestral symphonies (5,6, & 7) and the late works also benefit from streamlining. The finale of the Sixth is particularly impressive for its tight cohesion though many will no doubt think Kubelik sacrifices detail for structure.

Of course, when it comes to any great composer, there is no definitive performance but Kubelik's approach here is remarkable for its consistency of vision. And certainly for anyone coming to classical music for the first time this box seems to me to be an ideal introduction to one of the most fascinatingly idiosyncratic creative minds of all.

Fiz a minha compra para entrega em São Paulo capital e a Amazon foi perfeita como sempre! Em apenas 4 dias recebi a minha compra! Parabens! Recomendo fortemente.
E para aqueles que ainda estão pensando, ouçam antes de tudo, a Sinfonia #4 e verão que não exagerei!