Customer Reviews

Mahler: The Complete Symphonies ~ Bernstein

5 star:		(18)
4 star:		(6)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

I'd like to add to my initial review of this Mahler set, now that I've listened to everything closely several times, and in comparison to other Mahler recordings. This is still not only the best Mahler set in terms of price, but in terms of consistency of the recordings as well and has to be essential for any Mahler lover. A quick run-down:

Symphony 1: A good recording, points the way to Lenny's later DG recording which is the best. The second movement is highly Romantic and Viennese, the opposite of the minuet-trio style that seems more popular now. The third movement is Lenny at his best, and the opening bass solo is one where it is *finally* played the way Mahler intended.

Symphony 2: A very willful performance in the Bernstein manner, teetering at the brink of indulgence, but he pulls it off. Very good.

Symphony 3: This is a famous performance, and in general it is the very finest I have ever heard of this piece. Simply incredible, expressive and concentrated to the nth degree.

Symphony 4: The only misstep. It's okay, but the forward flow, which is so important, comes out as episodic, and Reri Grist is not the right singer for the last movement.

Symphony 5: Very good, like #1 a real precursor to what Lenny would do later with the VPO. This is a good example of what a conductor I know remarked, that it just took time for Lenny to develop that marvelous legato phrasing that still conveyed a forward pulse even if the phrase seems to be slow. He wasn't quite there at this point, but a fine performance nonetheless.

Symphony 6: Another famous recording, one of the very best of this piece.

Syphony 7: Fantastic, even better than Lenny's later one. The only performance I've heard that makes this sound like a real symphony, rather than a episodic pastiche. It's magic the way he pulls it off.

Symphony 8: Famed again, and one of the very best.

Symphony 9: Incredible. There are many great recordings of #9 and this is one of them. Very different than Lenny's later ones and from any other I know - he takes a very savage, dark view of the first movement, not much misterioso flavor, and pulls it off. Which sets the incredibly played, expressive last movement in an even great light.

The New York Philharmonic was a great orchestra at this time with a great sound for Mahler. String playing, especially in the lower strings, is superb, as are the woodwinds, and the low brass are fantastic. On an inferior system the low brass will probably overpower other sections. The only real weakness are the trumpets, which are sour-sounding and seem to lack physical strength, but this is not enough to mar the whole of this set, which is priceless. Enjoy.

You can't call yourself culturally literate in music unless you have digested the Mahler symphony cycle. Mahler has gone from a little performed late-romantic to an almost ubiquitous presence on the concert stage. It is a rare symphony orchestra that doesn't program at least one Mahler symphony a season. While you might argue that other late romantics deserve recognition too, you can't argue that Mahler was probably the most important of 20th century symphonists. His influence can be found in most large orchestral music down to the present day.

The Bernstein cycle was the first complete Mahler cycle recorded and, for my money, it's still the best. Though I might like other conductors a little better in idividual symphonies (Tennstadt in the 5th, Kubelik or Klemperer in the 2nd, Walter in the 9th) this is still the greatest overall cycle on record. Bernstein understands Mahler better than just about any other conductor. Perhaps because Bernstein himself is a Mahlerian mix of high philosophy, vulgarity and popular sentiment. As a result, Mahler's unusual stylistic juxtapositions sound less mannered and more organic in Bernstein. I won't break down the set by symphonies but highlights include a marvelous reading of the 4th that really captures the childlike nature of the work; a heaven storming reading of the last movement of the 2nd; A sonically spectacular 8th symphony, and one of the most moving performances of the final movement of the 9th that I've ever heard. This 25 minute, long unbroken line is very hard to pull off in performance but Bernstein matches Walter for forward momentum.

The extra material on this disc is also wonderful. Particularly revered is the recording of Kindertotenlieder with the marvelous Dame Janet Baker. This is a classic performance.

Over and above the great performances, the price is unbeatable. You will never get a comparable reading of so much Mahler at such a cheap price. Get this CD, now!

Finally, Sony has given us the complete Mahler box of Bernstein's first cycle, recorded through the 1960s mostly with the NY Philharmonic. Historically, this marked a major and important point, since it served to start the surge in Mahler's popularity that continues today.

There are other Mahler boxes out there, including Bernstein's second cycle on DG, Tennstedt, Solti, etc., but none can now beat the combination of fine music-making and price that comes together in this one.

Overall, these earlier recordings are better than his later ones, save for Symphony #5 and perhaps #1. This early cycle contains arguably the finest ever recordings of Symphonies 3, 6, 8 and 9, and, unlike other Mahler sets, there is nothing here that is of questionable quality. Those familiar with Bernstein know his emotional approach to this music, his pushing at the boundaries of expression, but he never reaches the self-indulgent points that are riddled throughout his later cycle. This is the finest combination of expression and concentration in any Mahler cycle.

And there's more; the Kindertotenlieder with Janet Baker, a selection of Ruckert songs, and the live recordings of the first part of Symphony 8 for the opening of Lincoln Center and the Adagietto performed for the funeral of Bobby Kennedy. Glorious moments. Hard-core completists may be disappointed that only the Adagio from Symphony 10 is here, but Bernstein never considered the various completed version valid.

The recorded sound is improved, but not superb. It has greater transparency, range, and richness though, peculiarly, not a lot of depth. But it is still fine. The NY Phil at this time had a nice, dark sound, which at times turns toward the sour, especially in the brass, and the horns don't have the beauty of tone heard on the later cycle, but these are minor points. The music is great. I would urge anyone looking for the complete Mahler symphonies to buy this set - it's not only one of the best-priced, but it is simply the best music.

I own both Bernstein cycles of the Mahler symphonies. I first purchased the digital set, but when this set came out, I had to get it. I know that it was one of the first complete Mahler cycles out and that traditionally the performances are accepted as some of the better interpretations of Mahler. After having listened to the whole cycle, I can say without a hesitation that the price is a bargain on this cycle. Highlights of the cycle for me are the 6th and 7th symphonies. The 6th symphony in particular is incredible. It's such a dark symphony to begin with, but with the conducting of Bernstein (who seems to be over-the-top) you get a much more compellingly ominous result. Definitely the 6th symphony is the highlight for me on this cycle. The sound quality is pretty good on all the symphonies. Sony did a good job cleaning them up and ridding them of excess hiss and crackle. The recording of the 7th symphony was the one that opened my mind and heart to this symphony.

The reason that I don't give this cycle 5 stars is that I'm not particularly impressed with the 1st and 5th symphonies. Perhaps, I am still too much of a digital lover, because my favorites of those are Bernstein's on DG, where the digital recordings reveal the full splendor of Mahler's great works. The 60's analog recordings don't quite have the full range of sound in them on these two symphonies, and that can be a little disappointing. However, one can still get a sense of the excitement of the performance even when the sound is subpar.

Anyone looking for advice on this cycle, I would offer this: Go for the DG digital cycle of Bernstein if you're willing to pay the extra money. If you want the full cycle and you're on a budget, go for this one. I highly doubt that if you love Mahler that you'll regret having invested in this set. It is quite good. Anyone just getting into Mahler, this is probably a good entrance for you too if you're looking to get all the symphonies at once. If you're looking for the best introduction to Mahler though, I'd recommend Bernstein's 1st and 5th symphonies on DG (in digital) as first listening.

Leonard Bernstein brought Gustav Mahler to the public. For that, he is to be lauded or cursed -- based upon what the listener receives from the presentation.
I have a numbered copy of the CBS 1960's release of the Symphonies under Maestro Bernstein. Carefully protected and maintained, the vinyl continues to enthrall a listener with Mahler's powerful heart and Bernstein's grasp of each beat.
In agreement with other viewers, I think the CD compilation is ALMOST five-star.
As regards Bernstein's youthful verve in these recordings -- what can one say? He was more powerful then, but contemplative at the same time. His DG recordings are different because, I think, they played to a German/European audience that preferred Mahler's contemporary, Richard Strauss. Strauss was easy to listen to: Mahler is much more challenging.
One can "tech-up" music only so much. This CD package is well worth the price -- and saves unblemished what my vinyl slowly loses. I highly recommend this CD bundle to anyone who loves Gustav's herculean work and wants to remember Leonard Bernstein when he absolutely was in his prime. A better combination of composer to dirigent cannot be had

For the past two years, I had been listening to the Solti/CSO recordings of the complete Mahler symphonies. And, while I still love them, this Bernstein boxed set is truly exceptional (in many ways better).

First, let me point out the obvius, for under $70, you are getting 12 CDs: a mind-blowing deal in today's world of overpriced recordings.

Secondly, Bernstein's Mahler is legendary. This boxed set of his features him as a younger man conducting, which can be good or bad, depending on how you like your Bernstein. Personally, I prefer his fresher, younger recordings because he plays with much more fire and zest. Regardless of whether you like earlier/later Bernstein, he had incredible things to say about Mahler throughout his entire career.

There are two problems with this set however. First, in general the sound quality is good, but not GREAT. That's too bad, but I don't think it gets in the way of enjoying these moving performances. Second, you may want to invest in some good speakers. These recordings have a massive dynamic range, which is great for Mahler, but can be problematic if a) your speakers [are bad] or b) you don't like music loud. If you don't like music to be loud, I'm unsure why you are listening to Mahler anyways, but do keep this in mind before you buy the set.

I'm not sure why this isn't listed as an Amazon.com essential recording. This is Mahler as he should be played.

You have before you one of the great testimonials of the passion and beauty of Mahler's music. Bernstein really gets inside the music of Mahler in a way very few conductors do..I find in some regards the sound of the NY PHIL not as refined as some but with wondeful expression and faithfully following the letter of the score Bernsten achieves dynamic performances from the NY PHil.

The 5th is given a superbly controlled reading and the finest performance here is the Ninth...superbly played and without affectation!!!

What an incredible bargain! All of Mahler's symphonies in a convenient box in superb performances in excellent sound. Bernstein's may not be my favorite in every symphony, but there's not a bad performance here. Everything is beautifully played by the NYPO, with a lot of enthusiasm -- there's a freshness to these recordings that Bernstein never recaptured in his later recordings (which are much different, though equally great in their way). Some favorites include #3 (a landmark recording at the time) and #4 (passionately played -- some prefer Bernstein's remake on DG, but, come on! The Concertgebouw strings can't play in tune in the slow movement! And that boy alto....) #6,7,9 are all superb. I don't know if any of these performances is the best ever, but they all achieve a level of excellence in playing, sound, verve, and emotion that no other set matches. And it's only $$$! How can you miss? Sony has been a pathetic classical label in recent years, who knows how much longer their classical division will last? Buy it now.

Sony Music's 12-disc set "Mahler: The Complete Symphonies" collects nearly all of the mammoth symphonies by the great Austrian composer Gustav Mahler under the baton of the late, great Leonard Bernstein.
Essentially, the set brings the individual "Bernstein Century" discs together in one place for a price that is way cheaper than the single discs combined. The only things missing from this set are the complete 10th symphony which Bernstein refused to conduct appart from its first movement (which is included here) and "Das Lied von der Erde" which is more of a symphonic song-cycle rather than an actual symphony (still awesome though).
The sheer epic power of these symphonies is unpredicented and uncovers the undeniable fact that Mahler was indeed a true genius. While the complexity and extended length of these symphonies may be overwhelming to some, their imporatance is something that is clearly never overshadowed.
The set also includes an extensive booklet with track details, essays from Bernstein and Tim Page as well as lyrics to all the symphonies that feature choirs and/or soloists.
Hands down, this is an essential addition to anyone's music collection. Maestro Bernstein has indeed brought out the very best in these amazing Mahler symphonies and the performances here are flawless.
Highly, Highly Recommended!!!

Recommended first listens on this set: Symphony Nos. 2, 3, 7, 8 and 9.

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the 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 fear 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. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter 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 Concertgebouw 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's voice 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 ir unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release a second time. 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 ri 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.