Customer Reviews

Mahler: Symphony No. 4

5 star:		(7)
4 star:		(1)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

I've already listened to both the Sony recording and the DG recording of Bernstein conducting Mahler's fourth, which is considered to be the most charming and the brightest of the symphonies.

The Amsterdam Concertgebow Orchestra played with such delicacy, especially in the second movement, where the strings played their lushes melodies Bernstein could have really enjoyed singing. Also the tempo was slightly calmer and slower, "without haste", compared to the Sony recording with the New York Phil.

As for using a boy soprano, as Mahler intended to signify innocence and childlike quality, I find it favorable for Helmut Wittek to sing the "descripton of heaven", even though I still prefer Reri Grist's more moving and sweet voice as recorded in the previous one.

Each has their pros and cons, but it's just a minor thing. Overall, either is highly recommended.

I have listened to the Szell and the Abaddo performances of this symphony. I remember as a child being turned off by this performance.
Now I am grown up! When I heard the boy soprano Wittek do the last movement, I had to stop my car on the side of the street and listen without moving. I was totally turned on by this performance. It is true that in other recordings the soprano (usually female) generally has a more operatic voice then this young boy. However, this performance is daring and took my breath away.
The other movements (1-3) are equally brilliant. Bernstein makes this work into an absolute masterpiece.
The Szell performance is also phenomenal. I would recommend getting both performances. The Szell is a wonderful performance, and this Bernstein performance is an emotional experience.
I can understand why some people might find it hard to hear this performance with the boy singing the fourth movement. However, I think that an open mind will help these people realize what a brilliant idea it was to use this soprano. The whole experience was overwhelming for me.

This is a pretty bright and spirited performance...I like it overall...but no matter who's version you prefer, buy it, run out and buy it if only for the last movement's boy soprano. It is hands down one of the most bone-chilling, hair-standing-on-end, tear-jerking, ethereal sounds you will ever fill your soul with. Ignore the person who wrote that Wittek was "struggling with intonation"--nitpicking at a very talented youngster is besides the point and does not do justice to the heart of the matter. We should be so lucky to hear a boy soprano--let alone an unnervingly musically mature one--as they are almost entirely an extinct art form. I have trouble hearing this one performed by mature singers now as I have been ruined by the sweetness, innocence, soul, and musicality of this performace. It's a breath of fresh air.

For Mahlers most simple and light hearted symphony Bernstein thorws out all the excessive interpretation he is notorious for and plays this as the beautiful music that it is. Throughout the first movement he condusts the Concergebouw Orchestra in relaxed style which is refreshing compared with the intense treatment he gives the other Mahler symphonies. Instead of layers upon layers of interpretation we hear the true music and discover its simple yet powerful beauty. He doesn't quite sustain this through the rest of the symphony; occasionally he'll force the music a little, but he never goes to extremes or push the music to its limits as he attempts in his other Mahler recordings. For the most part he stays comfortably in the middle and lets the music shine through. Especially interesting is the use of a boy soprano in the final movement. The innocence of it makes this a truly beautiful experience.

Mahler's 4th is not really a "Mahlerian" symphony. Full of joy and hope... Lenny, being the greatest Mahlerian of all times see through the notes and delivers one of the best accounts available. The interpretation of Helmut Wittek in the Sehr behaglich is indeed unconvensional but it underlines the emotion the symphony induces... A great interpratation along with these of Rattle for EMI, Szell for Sony and Boulez for DG.

Despite great playing from the Concertgebouw orchestra,
this is an anecdotical recording just good as a curiosity.
It was never intended from the composer to be sung by a boy
soprano, so the result is a bit of bizarre. For a really
great 4th by Lenny, just go for the earlier SONY recording
with NYPO.

I think Bernsteins DG cycle is a clear first choice for Mahlers symphonies, however I stayed away from this one thinking I had the ultimate recording of the 4th with Szells 1965 analog version on Sony Essential Classics. After a month of owning this disc it's becoming my favorite version of Mahlers 4th. The New York Phil sounds superb and the male soprano seems like such a natural choice-as Mahler intended. Mr Bernstein, to me brings more to conducting Copland and Mahler than anyone else and given the pristine digital recording, this version with Szells are both must have.

This is a fine and individual account by a fine interpreter of Mahler with an orchestra which truly makes this symphony its own. Especially noteworthy is the slow movement, ponderous perhaps yet heartfelt.

But what for me makes this an outstanding recording is the employment of a boy soloist in place of the more usual female soprano. Helmut Wittek, at the time a soloist with the renowned Tolzer Knabenchor, absolutely shines in the final movement. He sings with a confidence and clarity which alone justifies his role (interestingly Mahler himself considered using a boy soprano but decided against it perhaps feeling it might limit the opportunities for the symphony's performance). Here Bernstein puts Mahler's idea into action with telling results. Wittek's appealing voice, which comes across quite prominently in the recording, has an almost haunting transparency of tone - a revelation.

As a footnote, it is reassuring to know that Helmut Wittek, having successfully completed his PhD at the Institute of Sound Recording in 2008, is now working in the sound recording industry.

Well certainly this is a good recording of a marvelous piece. Bernstein uses slow tempos as usual which in many cases is nice because he underlines details otherwise missed. He surely knows how to make an atmosphere in the second movement although his soloist doesnt help a lot. But the big drawback for he was the use of a boy soprano in the last movement which complete spoils the dreamy mood. The boy clearly can not keep up with the task and sings bad compared with other versions featuring woman sopranos. My first choice for this symphony would be Kubelik, with a fantastic violin solo and the best finale i've ever heard. It can be found seperately here Mahler: Symphony No. 4; Lieder eines fahrenden Gesellen or included in his complete circle Mahler 10 Symphonies (Box set)

Bernstein's reading here is the most uncompromising: nuanced, intense, provocative, and neurotic. The beauty of this one lies in what it captures and how perfectly it captures it. Here Bernstein has never been so remarkable. It is almost unsettling to see what he could get any orchestra to do. Totally stubborn or not, the sheer grounds he breaks here define the limits of romanticism. The sound is gorgeous - typically Viennese. Compare with his other issue with Sony: Quite a difference in musical quality.