Customer Reviews

Mahler - The Complete Symphonies / LPO, Tennstedt

5 star:		(6)
4 star:		(10)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

A colleague once said of Klaus Tennstedt that he didn't know any "Little" works. Tennstedt made music with broad strokes and showed an intense belef in the works he lead. His repertoire as Music Director of the London Philharmonic may have been broader but US audiences probably remember him for his passionate performances of the symphonies of Bruckner (I believe his first US performance was a BSO Bruckner 8th in 1974) and especially Mahler.

This set features recordings Tennstedt made over a number of years and some may prefer his later recordings of the 1st (with the Chicago Symphony) and the 5th, both recorded in concert near the end of his all too short career but the LPO performances are themselves well worth listening too. The playing is not perfect. There are sloppy attacks (especially in the 6th and 9th) and despite having had both Bernard Haitink and Georg Solti as previous directors, the LPO does not immediately pop into mind as a Mahler orchestra, like Chicago, Vienna or the Concertgebouw. Still, they play their hearts out for Tennstedt and heart, a real depth of feeling, is what a great Mahler performance is all about.

The peaks of this set are the 3rd (the only performance I have heard that matches the Horenstein) and the 8th, a performance of this odd conflation of quasi-liturgical music with quasi-opera (the almost hour long 2nd movement is a setting of passages from Goethe's Faust)that makes it work and soar like none other. The ghostly 7th, the so-called "Song of the Night", is another high spot with Tennstedt taking the LPO brass for a glorious ride through the manic finale. The 6th will leave you shaken and the 9th and 10th (Adagio only) plumb the emotional depths. Tennstedt, like Mahler, left us too soon and you wonder as you listen if the often frail conductor identified with the composer as he conducted these scores.

The only performance that doesn't really catch fire is the 2nd, "Resurrection", and at this price you can afford to go out and pick up Bruno Walter's NY Philharmonic recording to fill in the gap.

There's no telling how long this will be around at this price, so don't miss it.

Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.

On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.

My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.

The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).

So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).

Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:

#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.

#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).

#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).

#4. Kletzki (EMI) now strikes me as the finest stereo reading. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.

#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.

#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).

#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.

#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.

#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.

#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.

Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).

This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.

If like me, the arrival of this set appeared when your collection of Mahler symphonies was already bursting, then do not be put off! The box is small neat and extremely good value. The sound quality is first class throughout, with most being crystal-clear digital or late analogue. However, it is the performances which stand out. The L.P.O. is not without mistakes, but the beauty and feeling that Tennstedt draws out of the works is unbelievable. The eighth is the best on record. It is highly atmospheric, despite not having the forces that Solti had to work with: the eerie opening of the second half, works to perfection. The point is that the whole essence of Mahler is his ability to portray human emotions through his music and as a result this set MUST be added to your collection. Tennstedt clearly understood, arguably better than any other conductor the emotions that Mahler wanted to create, without pulling phrases around and drawing the music out so that it almost becomes recognisable. You may have a symphony you do not like. For me, seven does not work, but at this price you can buy it and still afford Abbado's excellent Chicago recording as well!

There are quite a few reasons why you should get this set and among them are:

overall sound quality, budget price, a fine conductor considered to be a first rate Mahler interpreter, and a quality orchestra.

I love this box set and I cannot get enough of it. Im supremely happy that this is my first box set of Mahler symphonies. My next stops are the Solti and Bernstein, but when they are so much more expensive im counting my blessings i have this one.

Sure there are some occasional orchestral blunders, but they are hardly noticable when you judge the package as a whole. You wont find better interpretations out there for Symphonies Nos. 1,3,6,7,and 8. The impact of the 1,3,and 6 are umparalleled.

Its hard to think of a version of the 8th any better than Solti's famed 1971? But there is a lot to be said of this one as well. I particularly like the overall slower tempo that Tennstedt takes in the 8th because it adds to a magnificant build it up in the middle of the Part I. There is an overall more bass like quality to the entire piece which enhances its religious and dramatic effect I feel.

Great box set, you wont be disappointed.

I have the distinct feeling that, in time, Tennstedt's Mahler will grow in the affections of others as it has with me. Simply put, there is something very authentic about these accounts. The sense of commitment is unquestionable. Generally, the interpretations are thoughtful and emotionally satisfying. Tennstedt often digs deeply to ferret a wealth of detail, which provides substantial rewards, including a broader, more fulfilling connection with Mahler's musical messages. (Listen to the thoroughly captivating reading given of the first movement of the Fourth Symphony or the soulful account of the final movement of the Ninth.) The conductor's characterization of these messages tends to be vivid, yet mainly free of emotional excess. This is as true of Mahler's uplifting aspects as it is of his anxiety ridden, sardonic and tragic aspects. Where other sets are concerned, I also like Bernstein in his earlier all-New York Philharmonic endeavor and Kubelik with the BRSO on DG. Any of these three compilations merits high marks, and each presents individually moving interpretations. My favorite performances in the Bernstein set are 2-3-4-6-7-9. In the Tennstedt set, I prefer 3-4-5-7-9. With Kubelik, I find his interpretations of all nine mostly fulfilling, and it is his set I would assign top spot to, since he more frequently validates my musical and aesthetic tastes. (Incidentally, after listening to selected excerpts, I'm anxious to hear some of Kubelik's live and complete performances in his Audite set.).... Sonically, Bernstein's recordings are typically fine except the Fifth. Tennstedt's are often clear, detailed and ambient, though sometimes there is a touch of brightness and sharpness. Kubelik's are uniformly good except for occasionally tinny sounding trumpets.... Regarding orchestral execution, I am rarely concerned about what some others allude to as occasional inconsistency in the quality of play demonstrated by the New York Philharmonic's horns. Frankly, there are a few intermittent brass problems with Kubelik's BRSO too. As far as what some cite as the London Philharmonic's tendency toward occasional lapses in concentration, either I don't detect those lapses as much or I tune them out or don't care. Tennstedt's is a very fine set to own. Obviously, it's not perfect, but it augurs for solid quality and satisfaction over the long haul. I have no serious reservations about warmly recommending it.

The first Mahler symphony, conducted by Tennstedt, that I ever heard was the much-maligned Seventh. Listening to it, I couldn't imagine how anybody couldn't enjoy that symphony. With that, Tennstedt's stock as a Mahler interpeter rose significantly with me.

For all those people who think that Bernstein is the last word in Mahler symphonies, I have often thought that it was as much about Bernstein as it was about Mahler. I agree with the earlier review who stated that Bernstein would never let you forget that he was THE GREATEST Mahlerian EVER. OK, one must concede that he was largely responsible for rescuing these works from obscurity, but one never can get away from the Bernstein personality when listening to any of his recordings. With Tennstedt, it is about Mahler first and foremost.

Again, echoing an earlier reviewer, are there individual recordings that are better? Of course; I like Bruno Walter's "Titan" better, Gilbert Kaplan's "Resurrection" better, Horenstein's 3rd symphony better. At the same time, I think that Tennstedt's 4th and 7th symphonies are as good as anything out there. I think his 5th symphony can go toe to toe with Solti's 5th any time.

But from beginning to end, it satisfies and sometimes dazzles. The sound quality is perfectly good, I think. Also, the vocalists all do a wonderful job. For this price, it cannot be beaten, and should be a worthy addition to any collection.

Klaus Tennstedt, who died in 1998, was an artist whose unpredictability and profound insecurity sometimes overshadowed his phenomenal gifts. Notoriously unreliable, Tennstedt became a maverick--the most sought after guest conductor in the world. However, despite his idiosyncracies, Tennstedt was without peer as an interpreter of Beethoven, Bruckner and, in particular, Mahler, as abundantly evidenced on this magnificent set of Mahler symphonies.

Tennstedt's absolute emotional commitment and profound intellectual and psychological insight into Mahler's music is conspicuous in virtually every movement contained on these disks: his identification with Mahler is almost palpable. "I, too, had led a complicated life," Tennstedt once said, describing his attraction to Mahler and his music. Listen to his recordings of the 4th, 6th or simply the fourth movement of the 5th symphony to hear some of the most gripping music making ever recorded. Tennstedt manages to maintain this colossal level of tension and emotion throughout the cycle and it is impossible to listen without being struck by his mastery of each work. To me, Klaus Tennstedt, despite tough competition from Horenstein and Bernstein, is the definitive Mahler conductor.

At this extraordinary price, it would be a crime to pass up on this set of Mahler symphonies. These recordings are the greatest legacies of two extraordinary artists: Klaus Tennstedt and, of course, Gustav Mahler. Worth every penny.

Many music lovers will by now have their own cherished CD versions of Mahler symphonies. Because the CDs won't wear out, and because Mahler tends to inspire fixed loyalties, internet browsers are unlikely to be considering a new purchase. Nevertheless, I offer a few comments in case there are some that are first time collectors or who cannot resist buying something about the size of a bathroom tile that will allow them to hear all Mahler's symphonies at home.

German conductor Klaus Tennstedt recorded these works with the London Philharmonic Orchestra between 1977 and 1986. EMI have compressed the whole project into this tile-size box comprising 11 Cds. Included is the 28 minute adagio movement of the 10th symphony, the only movement Mahler completed. Several of the symphonies are of longer duration than can be accommodated on a single CD, so expect that some overlapping occurs.

It is the freshness and glow of the music that impresses most in Tennstedt's survey, rather than manic intensity or incandescence. Rarely have I been so totally satisfied with a 4th or so disappointed with a 9th as here. Best of all are the performances of the 3rd and the 8th. There is some stunning horn playing in the former, where the Kingsway Hall recording is the best of the series.

Having heard all these works performed at one time or another in Vienna, London and Australia, I are aware that they are immeasurably more effective in a live performance than between a set of headphones. I recommend this set, nevertheless, to those who want inexpensive and frequent access to one conductor's recorded survey of them.

Fans of Bernstein's Mahler may wonder at the title I put on this review; when there are two complete Lenny cycles available, how could anyone else come close? Not to mention a higher technical standard in the playing (and, in the choral symphonies, singing) in the series by Solti and other leading lights? Well, great Mahler interpreter that he was, Bernstein seemed to want to make sure you KNEW at every moment that he was the greatest; as a result, for me at least, his outsized personality gets in the way of the composer's. And as for impeccable playing and singing, they count for little if the performances fail to convey the full meaning of the music.

Tennstedt, who died before his time like other great Mahlerians such as Mitropoulos and Horenstein (and Bernstein), was less of a showman and more of a sincere communicator. What we get in this 11-CD box is one man's deeply felt response to music which obviously reached his innermost being. It's a depth of feeling he was able to impart to his fellow musicians (instrumentalists and vocalists alike) throughout this series. And I like the friction between the London Philharmonic's handsome sound and the nervous tension underlying Tennstedt's performances.

There are some shortcomings here, and some areas where allowances need to be made. Tennstedt momentarily loses focus every now and then, and misses a few details. The players' technical polish is not spotless--there are a few noticeable flubs in almost every performance--and occasionally THEY lose focus too, so their Austro-Germanic "accent" slips and they sound disconcertingly British. The Eighth Symphony, with only a single mixed chorus (plus a boys' chorus), hardly justifies the nickname "Symphony of a Thousand" (which Mahler disliked anyway, although the first performances did feature over 1,000 musicians including Mahler himself), and the team of soloists is uneven although the performance overall is inspired. Sound quality varies from very good to merely passable, depending on the symphony (the Second and Seventh Symphonies fare worst in this regard). And if you prefer a more "objective" approach to this composer, you may find Tennstedt exaggerated. (I myself have problems with the very slow tempo in the "Urlicht" movement of the Second Symphony and the mournful-sounding Adagietto of the Fifth Symphony--which Mahler originally composed as a heartfelt declaration of love for his future wife, not as a dirge!)

These criticisms fade when you consider that among the many complete or nearly-complete Mahler cycles, Tennstedt's may be the best available (rivalled only by the Kubelik and Inbal series, in my opinion--neither of which is available domestically at the moment). Yes, each of the symphonies can be had in other (individual) recordings that are equal or even superior to what we have here, but this boxed set is greater than the sum of its parts. Why? Because there's not a single dud in the box--a claim that's surprisingly hard to match (some complete Mahler cycles consist of almost nothing BUT duds!). Because the music, rather than the interpreter (whose large-scale personality comes through nonetheless), is the main thing--and Tennstedt pulls no punches in presenting it. Because it is authentically Mahlerian in utterance. And because it's got heart--which can't always be said in these days of conductors who perform Mahler for his marquee value.

Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.

Some comments of each recording.

Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.

Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.

Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).

Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).

Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.

Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).

Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).

Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.

Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.

The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.

Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.