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23 of 25 people found the following review helpful:
5.0 out of 5 stars
Shamefully underrated, August 4, 2000
The late, great Robert Shaw was not thought of as a "Mahlerian", certainly not in the context of such Mahlerians as Bernstein, Karajan, Solti or Walter. Had Shaw lived longer, it is sheer speculation as to whether he might have done another Mahler symphony besides the one at issue here. (One can speculate on what might have been, for example, had Shaw done the Mahler "Resurrection" Symphony. We'll simply never know. But it would have fit his "profile" of identifying and definitively recording virtually the whole catalog of works for chorus and orchestra.)
Put simply, this recording of Mahler's 8th Symphony may be one of the most underrated recordings by a conductor who had consistently been underrated by "critics" and "reviewers." And that is a shame, because the recording evokes only superlatives from this particular Mahlerite.
Every Mahler symphony is full of bunkers that would give Tiger Woods pause, rocks upon which many ships have foundered. The 8th Symphony is no exception. Here are some that apply to this monumental work: Does the opening "Veni, Creator Spiritus" have the appropriate impetuosity at the outset? In both movements, have the soloists been chosen on the basis of whether or not their respective tessituras lay comfortably in range, or have they been selected for their marquee value? Are the choruses appropriately held in check throughout both movements so that they have enough in reserve to effectively bring off the endings of these movements? Does everyone (including the boy choir) sing in tune? Is the Scene from Faust (the second movement) appropriately paced so that it has the requisite sense of inevitibility, even inexhorability? Does the orchestral counterpoint in this second movement come off well, or is it buried in a mass of soloist and choral singing? And, finally, does the organ fit in well, with appropriate balance and fundamental underpinnings, or is it simply dubbed in after the fact?
Robert Shaw's performance here comfortably misses everyone of these "bunkers." It is gaged perfectly in dynamics and tempi. The soloists acquit themselves admirably. The choruses, as are all choruses trained and drilled by Shaw, are impeccable in their intonation, diction and reserve power to spare. (Even the Atlanta Boy Choir, one which is not routinely compared to the Vienna Boy Choir employed in the Solti performance on London/Decca, outsings the Vienna boys in this performance.) At the end of "Veni, Creator Spiritus" the combined forces are able to figuratively lift the roof off the Woodruff Hall recording venue in Atlanta. And then do it again at the conclusion of the Faust Scene. The final coda, for orchestra and organ alone, has the requisite volume in reserve so that, after the end of the chorus work, the coda does not come through as some sort of afterthought. The organ is ideally balanced with all the other forces, and supports it perfectly.
It is a tribute to this remarkable conductor that, whenever an "Event for Posterity" such as this performance represents, was underway, every last instrumentalist and vocalist gave his or her all, invariably exceeding all reasonable expectations for what some critics refer to as "a regional orchestra." Chalk it up to the universal affection and respect that all of Shaw's musicians had for him over his career in Atlanta.
This is the Mahler 8th that I always return to. A remarkable recording of a remarkable testament to an equally remarkable musician. And a sonic blockbuster, not soon to be equalled.
Bob Zeidler
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
Top Choice, February 6, 2003
By A Customer
Shaw's 1991 account with the Atlanta Symphony is the new touchstone recording of this splendidly massive and massively splendid work. That honor has long belonged to Solti's recording with Chicago Symphony. The Solti version has much going for it, including the conductor's Mahlerian expertise, first-rate soloists, and the digitally remastered CD now available. But with its nonetheless aged sonics and compromised choral diction, its overall comprehensibility and emotional impact on the listener diminish in comparison to the Shaw recording. The latter benefits from impeccable sound engineering and, most importantly, Shaw's unrivalled choral craftsmanship. Here the orchestra and vocalists are more alive, the chorus more dynamic and articulate, the conductor's interpretation equally grand. The only significant drawback of the Shaw recording, as far as this reviewer is concerned, is the quality of the vocal soloists, which, though on the whole are very good, don't quite compare to Solti's. This does very little, though, to detract from the overall impressiveness of this recording. A memorable achievement.
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6 of 7 people found the following review helpful:
5.0 out of 5 stars
Shaw Makes the Universe Sing!, September 11, 1998
By A Customer
Robert Shaw's recording of Mahler's 8th is phenominal! From the powerful opening measures, to the uplifting finale, Shaw and the performers hold the listener's attention with unparalled clarity. The enormous choral forces and orchestra are extremely well balanced, and the soloist's stamina and sound are outstanding. This recording should be a definite buy for any classical enthusiast, as Shaw makes the Universe vibrate with Mahler's masterwork.
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