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5 of 6 people found the following review helpful:
5.0 out of 5 stars
THE MARCH TO TRIUMPH CAPTURED, August 2, 2000
My ears have had the delight of hearing a version of Mahlers 5th that works. This orchestra was at the top of its game and Maestro Leinsdorf was in a mood to make some magic. Maestro Leinsdorf brings out the tragedy and intensity of the first movement to the forefront meanwhile sustaining a tempo that doesn't drag. You are at the march to the cemetary and the feelings that go along with the experience are intact. The second movement begins with a vicious rage and MAESTRO Leinsdorf never lets the momentum fall flat. The fury and despair of this movement are a perfect marriage in Leinsdorfs hands. The scherzo is performed with spirit and inspiration. You are placed in this world of carnival where the lights gleam and the clowns dance to this infectious melody. A grand time is presented to all. The famous adagietto for strings and harp is not dreamy like Karajans but is extremely romantic with the strings providing a lot of portamento(vibrato/feeling) culminating in a compelling display of emotion. The rondo finale is the joy of victory displayed thru music and the BOSTON ensemble provides all of the glorious fireworks with playing that resembles the methodic roar of a freight train. This interpretation really works and with the Boston orchestra providing the goods...you can't go wrong. Go for it!
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3 of 4 people found the following review helpful:
5.0 out of 5 stars
A Classic Mahler 5th, April 15, 2003
I grew up with this version, it was one of my favorite records when I was in college in the 60's. To me it is the reference Mahler 5th. The sonics were great for the time, and better than many today. I was a local Hi-Fi expert, and when friends would ask me to evaluate their systems, I would bring this record and listen to the opening bars. I can't help but think of the Tuba Mirum sections of the famous requiems when I hear the opening trumpet; if a trumpet were announcing the last judgement it would sound more like this than any requiem's trumpet. The trumpet call is brilliantly played and recorded here, better than any other version I am aware of. It attacks you viscerally, and then you are hit with the whole orchestra emphasizing the theme. One peculiarity of this recording is that he takes a note early in the orchestra an octave lower than any other version I am aware of. I presume he has documentary justification, but don't know it. It may be that I was imbued with it before I heard another version, but I prefer the lower note, it maintains a sense of portentiousness through the first movement with is diminished by the higher note.
The performance of the remaining movements here is fine. The third movement is considered the centerpiece of this symphony by critics, but my own taste is for the first movement, possibly because of the brilliant performance here. If you have no recording of this symphony, this is a fine one at a low price; if you already do I would recommend it just for its unique and spectacular first movement.
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5.0 out of 5 stars
Classic -- a favorite from the lp days, August 14, 2006
This is a classic perfromance -- and recording -- in the best sense of the word. Nothing is exagerated, nor is anything left to chance. The arch form is revealed with stunning clarity, and the central, huge scherzo has the sparkle and verve of Strauss at his best. Mahler and Strauss were mutually respectful colleagues. It was Mahler's opinion above all that Strauss valued before releasing SALOME to the world.
The adagietto does not drag, praise the Lord! In timing it comes close to Bruno Walter's recording, which I find ideal. Beginning with Bernstein, perhaps, and continuing from Barbirolli, the adagietto has become more of an adagio approaching a largo, reeking a sentimentality that is not there. This performance is a refreshing reminder that Mahler's music is not all agony and despair, and there is more to soul-searching than wearing one's heart on one's sleeve.
The Boston Symphony is stunning from beginning to end. Leinsdorf was still new to the orchestra and the critics in Boston, and at this time he seemed to have the magic touch. This recording -- RCA had quit the Dynagroove nonsense, finally -- received glowing reviews and trumped the Bernstein recording with the NY Phil. issued around the same time. It was better recorded, and the '4th side' was more interesting: Music from Berg's WOZZECK.
Sadly, the later Leinsdorf/BSO recording of Mahler 6 was panned. Leinsdorf elected not to take the exposition repeat in the first movement, and he was not forgiven for this -- as Barbirolli and Szell were forgiven, in recordings that came out later. I would like to see that recording re-issued on CD, to join the 1st and 3rd Symphonies, and a new issue of this 5th.
My copy is the Silver Seal edition, with different cover art.
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