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Mahler Music
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Artist: Leonard Bernstein
Title: Gustav Mahler: The Complete Symphonies
Year Of Release: 2009
Label: Sony Classical
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 13:36:36
Total Size: 4,13 Gb
WebSite: Album Preview

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 1. March 2009, 19:12 Mahler / Symphony No.9 - Boulez Used drive: HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0.

Tracklist:

After time away spent conducting at the Metropolitan Opera in New York, Gustav Mahler (Robert Powell) is returning to Austria by train with his wife, Alma (Georgina Hale). Over the course of the. Superb authoritative edition of massive, complex 'Symphony of a Thousand.' Powerful synthesis of motet, dramatic cantata, oratorio, song cycle and symphony, scored for an ensemble of orchestra, eight solo voices, a double chorus, a boys' choir, and organ. Unabridged republication of the edition published by Izdatel'stvo 'Muzyka,' Moscow, 1976.

CD1 - Symphony no 1 in D major 'Titan', Symphony no 10 in F sharp
Symphony no 1 in D major 'Titan'
1. Langsam. Schleppend.
2. Kraftig, begt, doch nicht zu schnell
3. Feierlich und gemessen, ohne zu schleppen
4. Sturmishc bewegt - Energishc
5. Symphony no 10 in F sharp minor/major: 1st movement, Adagio
New York Philharmonic

CD2 - Gustav Mahler Remembered, Symphony no 2 in C minor 'Resurrection' Part I
Gustav Mahler Remembered
1. Part 1: Reminiscences be Mahler 's Associates and by Musicians who Played under His Baton
2. Part 2: Includes Personal Recollections of Anna Mahler
William Malloch, speaker
Symphony no 2 in C minor 'Resurrection'
5. Allegro maestoso

CD3 - Symphony no 2 in C minor 'Resurrection' Part II
Symphony no 2 in C minor 'Resurrection'
1. Andante moderato
2. In ruhig flissender Bewegung
3. Urlicht, Sehr feierlice, aber schlivht
4. Im tempo des Scherzos. Wild herasufahrend
Lee Venora, soprano
Jennie Tourel, mezzo-soprano
The Collegiate Chorale
New York Philharmonic
CD4 - Symphony no 3 in D minor Part I
Symphony no 3 in D minor
1. Kraftig
CD5 - Symphony no 3 in D minor Part II
Symphony no 3 in D minor
1. Tempo di menuetto
2. Comodo. Scherzando
3. Sehr langsam; misterioso.
4. Lustig im Tempo und Ausdruck
5. Langsam
Martha Lipton, mezzo-soprano
New York Philharmonic
Schola Cantorum New York
New York Philharmonic Chorus
CD6 - Symphony no 4 in G major

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Symphony no 4 in G major
1. Bedaechtig, nicht eilen
2. In gemaechlicher Bewegung, ohne Hast
3. Ruhevoll
4. Sehr behaglich
Reri Grist, soprano
New York Philharmonic
CD7 - Symphony no 5 in C sharp minor
Symphony no 5 in C sharp minor

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1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
2. Sturmisch bewegt. Mit grosster Vehemenz
3. Scherzo. Kraftig, nicht zu schnell
4. Adagietto. Sehr langsam
5. Rondo-Finale. Allegro - Allegro giocoso. Frisch
New York Philharmonic
CD8 - Symphony no 6 in A minor 'Tragic'
Symphony no 6 in A minor 'Tragic'
1. Allegro energico, ma non troppo
2. Scherzo. Wuchtig
3. Andante moderato
4. Finale. Allegro moderato - Allegro energico
New York Philharmonic
CD9 - Symphony no 7 in E minor
Symphony no 7 in E minor
1. langsam (Adagio)

2. Nachtmusik I. Allegro moderato
3. Scherzo. Schattenhaft
4. Nachtmusik II. Andante amoroso
5. Rondo - Finale. Tempo I (Allegro ordinario)
Raymond Sabinsky, mandolin
New York Philharmonic
CD10 - Symphony no 8 in E flat major 'Symphony of A Thousand'
Symphony no 8 in E flat major 'Symphony of A Thousand'
1. Teil. Hymnus: Veni, creator spiritus
2. Teil. Schulssszene aus Faust
Donald McIntyre (Bass)
Vladimir Ruzdjak (Baritone)
Norma Procter (Mezzo Soprano)
Anna Reynolds (Mezzo Soprano)
Dame Gwyneth Jones (Soprano)
Erna Spoorenberg (Soprano)
Gwenyth Annear (Mezzo Soprano)
John Mitchinson (Tenor)
London Symphony Orchestra
London Symphony Chorus
CD11 - Symphony no 9 in D major
Symphony no 9 in D major
1. Andante comodo
2. Im Tempo eines gemaechlichen Laendlers
3. Rondo. Burleske
4. Adagio. Seh langsam
New York Philharmonic
CD12 - Das Lied von der Erde
Das Lied von der Erde
1. Das Trinklied vom Jammer der Erde
2. Der Einsame im Herbst
3. Von der Jugend
4. Von der Schцnheit
5. Der Trunkene im Fruhling
6. Der Abscheid
Christa Ludwig, mezzo-soprano
René Kollo, tenor
Israel Philharmonic Orchestra
Performers:

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Jennie Tourel, Lee Venora, Martha Lipton, Reri Grist, Donald McIntyre, Vladimir Ruzdjak, Norma Procter, Anna Reynolds, Dame Gwyneth Jones, Erna Spoorenberg, Gwenyth Annear, John Mitchinson, Christa Ludwig, René Kollo
New York Philharmonic
Schola Cantorum New York
New York Philharmonic Chorus
London Symphony Orchestra
London Symphony Chorus
Israel Philharmonic Orchestra
Conductor: Leonard Bernstein

Critical opinions of Leonard Bernstein's intensely personal readings of Gustav Mahler's symphonies have run the gamut from adulatory to dismissive, and time has not yet brought a consensus on these historic performances with the New York Philharmonic, originally released on Columbia and presented in this 2009 box set from Sony. Few can deny Bernstein's lasting importance in promoting Mahler's cause, for in the 1960s and early '70s there was only a handful of conductors of comparable magnitude who specialized in this music, and his work in this first-ever complete cycle and in his later Deutsche Grammophon recordings certainly caught the attention of the world. Whatever one may think of Bernstein's dubious choices of dynamics and tempos or his excessive self-identification with the composer (the leading reasons why some listeners avoid these renditions in favor of recordings made by more faithful and self-effacing conductors), he certainly threw himself wholeheartedly into the effort, provoked enough interest in the symphonies to create a full-blown revival, and left a challenging and often exciting record of what Mahler meant to him and the rising generation of musicians in that period.
Exploring this set is certainly educational, not merely for knowing how the quirky but charismatic Bernstein interpreted the nine symphonies, Das Lied von der Erde, and the Adagio from the unfinished Tenth Symphony, but also for hearing the reminiscences of associates and musicians who performed under Mahler and shared their thoughts in a 1967 recording, which is included on disc 2. That bonus adds great value for anyone curious about Mahler's behavior and impact on his contemporaries, but by no means makes owning this set compulsory. For that matter, having all of Bernstein's Mahler recordings in one box may not be the best option for collectors who prefer to have different conductors handling these works; the listener who likes the way Bernstein treats the Fourth, say, or finds his take on the Seventh intriguing can still buy these recordings separately. This package is recommended for the serious Mahler collector or Bernstein aficionado, though its appeal as an affordable gift for any music lover is worth noting.

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'If you are looking for a modern recording in excellent sound that can compete with any interpretation from any era, I’d like to draw your attention to Nezet-Seguin’s stunningly impressive account with the Bayerischen Rundfunks. There have been an influx of Mahler recordings, especially in this symphony, as of late and this is the cream of the crop. Nezet-Seguin has a great Mahler orchestra at his disposal who owned this piece under Kubelik. Every movement is rendered with as much character and attention to detail that you could hope for. In time, this may become my favorite recording of this piece. It is a tired expression but never have I heard this symphony sound so fresh. This is a young man’s music, full of original ideas, beautiful melodies and bold choices, especially how it starts, and Nezet-Seguin nails it. The beginning has as much mystery and atmosphere with the greatest recordings. Has there every been as sweet of an opening to when the cellos first play the melody in the first movement? None that I can think of. The scherzo is on the measured side but strongly justified, this is a dance after all and as much as I appreciate the energy to quicker tempos that the likes of Boulez and Fischer bring, you can’t really dance to it. It is stately but not stale. The lower strings really dig into their lines, a side by side comparison with other recordings will leave all others wanting. The horn solo, which is so key for me in this movement, really cuts through in the way that it should and in a way that Kubelik never seemed to be able to with this orchestra. Listen to how expressive the strings are in the more peaceful interludes, Nezet-Seguin never wastes an opportunity to beautifully mold these phrases yet it never comes across as mannered. He clearly has very strong ideas as to how this music should sound and couldn’t ask to collaborate with an orchestra better suited to meet his vision. The third movement’s bass solo is perfectly played and balanced, often shy and close to inaudible in other recordings that undermines its impact and weirdness. Nezet-Seguin utilizes natural and expertly judged rubato to give shape to the music that took me by surprise after hearing this work so many times. The entire performance has sections that really speak to each other, the strings, woodwinds, brass, percussion, none is short changed and all are communicating in a chamber like dialogue that you just don’t hear anywhere else. Of other recent recordings, Nott is just as well recorded and his orchestra plays well though his stiff tempo choices are the achilles heal. Nezet-Seguin shapes each phrase anew, drawing attention to detail to the orchestration that is one of the many highlights that make this recording preferable to other contenders new and old. Only Kubelik and Fischer are spookier in the third movement but it is still one of the very best performances. You can really sense how closely the musicians are listening to each other, a real credit to the orchestra so familiar with this work and Nezet-Seguin who elevates them to their very best. Never have I heard such transparent instrumentation in the band interludes where each player carries on the line from their peers and adds their own color to the music. If there is one drawback to this recording it would be in the standout power of the brass, especially lower brass, in the finale. Only here does one miss what the Concertgebouw and Chicago orchestras have to offer at the climaxes. You won't find the hair raising drama Bernstein brings, the power of the Chicago brass in full flex under Boulez, or the effortless weight that the Concertgebouw’s bring. What we do get is plenty of excitement and Nezet-Seguin navigates this last and longest movement with plenty of energy and sustained tension. If one section doesn’t clearly surpass all others it is because each is well balanced and distinct. The loud climaxes are big and satisfying and like so many other moments in this recording, the quieter moments are perhaps even more memorable. This is an exceptionally special recording indeed and one that hopefully marks Nezet-Seguin as a mature Mahler conductor capable of true greatness. His other recordings in Montreal and Rotterdam feature orchestras not quite up to par with this sound world. Clearly that is not the case in Bavaria, arguably one of the absolute best in the world in this music, who really delivered for their guest conductor in a magical collaboration. If this is your first recording of the piece, buy with confidence knowing you can’t do any better. For seasoned collectors of Mahler’s work, be sure to add this to your collection, it is one for the ages.