Customer Reviews

Mahler: Complete Symphonies & Orchestral Songs

5 star:		(10)
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3 star:		(4)
2 star:		(2)
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I must say that reviewing these recordings is a frustrating experience for me. I got to know Mahler through Bernstein's Mahler (both his old and new cycles). It is through Bernstein that I fell in love with Mahler. However, I must say that as time passes, the more reservations I have about Bernstein's Mahler recordings. He distorts the music too often, exaggerating the dynamics, adding tempo changes not marked in the score, sometimes even going against Mahler's own marked balances that practically amount to re-orchestration. Mahler was so specific about everything in his scores -- I wonder what he would've felt if he heard Bernstein conduct them? Time and time again when I listen to these recordings with a score I often ask myself why Bernstein had to do this or that when Mahler's way would be perfectly fine? Don't get me wrong -- I think Bernstein's intensity is absolutely stunning. It suits the Third and Sixth symphonies the best, not to mention his gorgeous recording of the Kintertotenlieder and Ruckertlieder with Thomas Hampson. Elsewhere I'm less certain. Why interpret the first movement of the Second as a funeral march when it is marked Allegro maestoso? Why the many unmarked tempo changes in the Fifth's finale? There are lots of exaggerated tempi -- too slow throughout the entire First and Second, as well as such places as the scherzo of the Fifth, absolutely incoherent tempi shifts in the finale of the Ninth, and so forth. Bernstein's approach helps the Third and Sixth a lot, but elsewhere I am less certain. What we need today is a Mahler conductor who will observe every detail of the score yet interpret them with as much passion and fire as Bernstein did. No one at the moment, fits the bill IMHO -- though Kubelik's underrated DG cycle is quite an achievement, pointing the way to how it could be done (and at a very good price too), and Rattle at his best could combines the best of accuracy and passion (though he's rather inconsistent). Too often Mahler becomes sentimental under Bernstein, while true, unforced yet sincere sentiment (yes, there IS a difference) is forgotten.

Most buyers aren't in the market for a complete Mahler cycle from one conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of the Sixties cycle on Sony and this later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good--in fact, there's no need to comment on the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (Mahler champions as prominent as Bruno Wlater never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

These recordings by Bernstein are truly seminal in the Mahler discography. The live recordings capture Bernstein's unparalleled energy and insight into Mahler's music, and even the analogue recording of the Eighth possesses a certain opulence of sound. The recordings capture the shimmer of Vienna's Musikverein Hall, and project a certain raw emotion fitting to the Mahler canon. While there exist several other wonderful sets of the Symphonies in various stages of completion (Walter, von Karajan, Kubelik, and the excellent Tennstedt recordings) this last set of Bernstein's stands above all the rest. The inclusion of the songs and Das Lied von der Erde make this an even more attractive option, as nearly all of Mahler's published music is included. It is significant, however, that the 10th in its various reconstructions is not included, only the Adagio first movement. For this, we have the Rattle recording and the more recent Slatkin recording of the Mazzelli version. This aside, if one were to purchase a complete set of Mahler, this is surely the one, for its depth of insight, lustrous sound, and sheer emotional power are unequaled on record.

I ordered this CD set from Amazon.com in early January of 2001. I wanted to listen though the set a few times before I jumped into writing a review. I wanted to give each performance time to settle in my mind and give each one more than one listening. Going through the complete Mahler symphonies and orchestral songs is quite an investment of time. One is looking at close to 18 hours of music. Word to the wise: Don't go through the complete cycle in one sitting!!

With that said, I must say this is an incredible compilation of recordings. All recorded digitally (with a minor exception), DG has remastered these recordings and they are impeccable as far as sound goes. I wanted to begin with the sound quality so that any sound-wary listeners would instantly know that they are of impeccable quality.

The performances overall are incredible. On a scale of 1 - 10, the following are my reviews of the symphonies:

Symphony No. 1 --- 10 Stars (a more fiery performance would be hard to find)

Symphony No. 2 --- 9 Stars (a fantastic performance by the orchestra, chorus, and soloist; however, some tempo choices were a bit disturbing)

Symphony No. 3 --- 10 Stars (the definitive Mahler 3, huge dynamics, incredibly built climaxes, and a spirited finale)

Symphony No. 4 --- 9 Stars Symphony No. 5 --- 10 Stars (this was one Lenny owned) Symphony No. 6 --- 9 Stars (Sir John Barbirolli's EMI recording is the tops on this symphony, but Bernstein's is very close)

Symphony No. 7 --- 9 Stars (one of the more difficult Mahler symphonies to understand and follow, but a great performance with well judged tempi)

Symphony No. 8 --- 9 Stars (George Solti's Decca recording is hard to beat and therefore, 10 Stars is saved for that recording)

Symphony No. 9 --- 10 Stars (Such an incredible symphony that really is the pinnacle and defining symphony of Mahler. Here Bernstein almost has you feeling that Mahler is conducting the symphony himself)

Symphony No. 10 --- 9 Stars (great performance, but the symphony is not one of my faves)

The orchestral songs are great as well. With a great cast of incredible singers, Mahler's song cycles are also well represented in this box set. Although this box set is quite an investment, it is well worth it to Mahler and Bernstein fans. They are great insights into one of the 20th century's greatest composers. Not only are they that, but the performances will move you if you listen --- guaranteed.

Dubbed by some critics as Mahler's alter-ego, Leonard Bernstein has provided us with some of the richest, most lush interpretations of Mahler's symphonies and songs. Compared to Solti's set of complete symphonies with the Chicago Symphony (on London records), which is powerful, dynamic, and lovely in its own right, Bernstein's set reaches new heights of both beauty and despair. Fans of Mahler must not miss this experience.

I like Bernstein's Mahler very much, but find the freshness of the original Sony set much more palatable. Other than a few places in #5, the ensemble is fantastic (...the NY Phil of that time was a phenomenon of an orchestra and that Sony set reflects that). If there were no Sony set, this would probably be a 4 or 5 star set, because it does boast many first rate performances, including a 1 and 5 that are superior to the Sony set. But the Sony set offers better performances (to a greater or lesser degree) for the rest, including what perhap the finest 3 and 7 anywhere. The sound on the Sony set is fine throughout, not modern sound but very clear and lifelike (and better than the New York recordings in the DG set - 2, 3, and 7).

So buy the Sony set, #5 from this set, and the newly remastered Das Lied with Fischer-Dieskau and Bernstein on Decca, and you will have all the best of Lenny's Bernstein... rather than spending considerably more for less with this set.

I feel slightly uncomfortable rating a Mahler symphony cycle, because there is simply no "perfect" Mahler cycle. Every conductor has his/her glorious moments and not-so-glorious moments in their Mahler cycles. That being said, however, Bernstein's cycles are some of the best out there.

First of all, the sound quality of this (last set) of Bernstein Mahler cycles is wonderful, which is to be expected, since DG has a great reputation for their sound.

The issue I'd like to address the most, however, is Bernstein's "self-indulgence", which has led to some negative reviews for this set. Many will notice that Bernstein's constantly changes his tempo, even when the score does not indicate such changes. I would most certainly disagree with such practices had this been a performance of Haydn or Mozart, but Mahler? One should not forget that Mahler was one of the last great Romanticists, flourishing at the end of the 19th/beginning of the 20th century. It was common practice at that time to fluctuate tempi, exaggerate dynamics, and even re-orchestrate scores (Mahler himself re-orchestrated other composers' works). So perhaps the "self-indulgence" displayed here is a more accurate depiction of Mahler's style than "straight" interpretations, such as those from Solti. Don't forget that some of the greatest conductors in history were famous for their freedom of tempi (including Furtwangler, Mravinsky, and Mengelberg - who was Mahler's student!).

Although Bernstein's tempi are too slow at times, he has a clear grasp of Mahler, and in this set, we hear Mahler's symphonies reflected through one of the greatest musical communicators of all time. So please give this (and Bernstein's earlier Sony cycle) a chance!

It is important not to give Leonard Bernstein all the credits in the pioneer & promotions of Mahler's symphonies & songs. We should not be vapid. No offense to Leonard Bernstein's achievements intended. However, besides Bruno Walter, a lifelong advocate in enhancing the appreciation of Mahler's works & achievements, we have witness other conductors who were instrumental in bringing Mahler from the ugliness of obscurity: namely, Jascha Horestein, Maurice Abravanel, Sir John Barorolli, Klaus Tennstedt, Otto Klemperer, Vaclav Neumann, Sir George Solti, Raphael Kubelik, Bernard Haitink, Claudio Abbado, Kyrill Kondrashin, Lorin Maazel.

Leonard Bernstein, I believe, was unique for the most part in that he recorded Mahler's symphonies & songs in more than one occassion. Furthermore, Maestro Bernstein went public in discussing the importance of Mahler to Vienna & to the world of music. Bernstein did that through his televized conversations & lectures & through literature. Efforts such as these, add something more special to his performances of Mahler & ultimately into recordings (does this remain you somewhat of Eugene Jochum with Bruckner, Kyrill Kondrashin with Tchaikovsky, or Evgeny Svetlanov with Glazunov?). For some reason, there was a kinship between Bernstein & Mahler that was not somehow dublicated (with, perhaps, some exceptions to Tennstedt, Abravanel, Neumann, & Barborolli).

The set is full of compact discs having highly emotional, convicted, passionate & highly energetic performances, typical of Leonard Bernstein in his days. I would not dismiss the recordings of the above-mentioned conductors, for they also highly contributed into the enlargement of the appreciation of Mahler & his works. The overlooked Abravanel with his Utah Symphony, for example, performed with passion & commitment, while Lorin Maazel became the first conductor to record all of Mahler's symphonies with the Vienna Philharmonic. Vaclav Neumann achieved critical acclaim for his recordings with the Czech Philharmonic & recorded Mahler's Seventh symphony one month before his death on September of 1995.

This set is recommendable to the upmost, although engaging in explorations is not necessarily a bad thing.

Although I am a fan of Bernstein's Mahler, I would not recommend this set, especially at its price point. Why do I say this? First, during the last few years of his career (and also, his life), the period in which these recordings were made and where he became increasingly beset by health problems, is riddled by performances in which Bernstein's ability to take great romantic pieces, in this case, the Mahler symphonies, to their emotional and dramatic extremes has degenerated into a heavy handed, enervating self indulgence, marked by dragging tempos and mannered, pompous distentions of phrasing. Secondly, because for the price of two hundred dollars for the set and on DVD (or twenty nine dollars per disc if purchased separately), there are available from the Leonard Bernstein zShop at the amazon.com site live accounts from the early and middle 1970s by Bernstein conducting the Vienna Philharmonic (with the exception of the second symphony being with the London Symphony) of all of the symphonies (but not any of the song cycles). Those performances retain the energy, vigor and intensity of his groundbreaking 1960s cycle, but with added nuance and depth of expression, together with more beautiful and sensitive orchestral playing, and also, a warmer, more full bodied sound (all are in stereo) than one gets from the often dry sounding 1960s studio recordings. Two hundred is expensive, granted, but it is not that much more than the Mahler symphony sets at full price, and, moreover, you get to see as well as hear Bernstein conduct, which is a treat in itself (the videos are in quite decent color). Unfortunately, these recordings have not been issued domestically. The only drawback is that the notes for these recordings, which are imports from Japan, are only in Japanese. Nevertheless, I would strongly recommend that set, for the performances contained therein represent Bernstein at his apogee in this music.

I think "Santa Fe Listener" is largely spot on about Bernstein's last interpretations of Mahler. The sound is FAR better than the sony 1960's recordings for the most part, and except for 4 and 8, the interpretations are at least equal, and in some cases (1, 6, 9), superior. There are now tons of Mahler complete symphony sets, most of which are mannered to the point of blandness, see Zinman, Bertini, Boulez, and none that match the sheer excitement of Bernstein conducting Mahler with world class orchestras. I think BOTH Bernstein sets are indispensible.
If you have room and budget for more, Michael Gielen, and for sheer quality of sound and playing, Chailly are well worth a listen. For the tamer approach to Mahler, the Kubelik recordings from the 60-s-70's have probably not been surpassed.