General Survey of Gustav Mahler on Disc
These discographies are essentially intended to be used by beginners looking for a brief overview of the most important releases and historical availability of major recordings of music by the featured composers/artists. The recommendations might also be useful to those looking for a simple and practical guide to enriching their existing collections or who are looking for a quick and convenient place to begin.
Complete Cycles and Sets, Symphonies: Nos. 1, 2 , 3, 4, 5, 6, 7, 8, 9, 10, Das Lied von der Erde, Des Knaben Wunderhorn, Lieder, Das Klagende Lied.
More than anyone else, perhaps, Gustav Mahler has benefited from the advent of the compact disc in 1982. Largely ignored in the 50 years after his death (if we ignore a few recordings, some of them of dubious quality, by conductors such as Bruno Walter, Otto Klemperer, Charles Adler, and Jascha Horenstein), his music was reborn in the 60s—a fact attested to by the issue of no less than five complete symphony cycles in this and the ensuing decade: Bernstein (Sony, formerly CBS), Kubelik (DG); Haitink (Philips); Solti (Decca), and Abravanel (Vanguard, currently being reissued by Artemis). By the 80s, a new generation of conductors had taken an interest in Mahler, and it was then that the “Mahler boom” began, often in conjunction with purported advances in digital recording technology (recall for example the recording of the Fourth Symphony in Frankfurt under Eliahu Inbal using a single pair of microphones).
Four conductors led the first Mahler cycles either entirely or partially in digital sound: Klaus Tennstedt (EMI); Lorin Maazel (Sony); Vaclav Neumann (Supraphon); and Eliahu Inbal (Denon). Then came the explosion. DG alone over the course of about 15 years released three cycles: Bernstein, Abbado, and Sinopoli, while certain others of a more ephemeral nature appeared (meaning with little fanfare or comment in an increasingly glutted market): De Waart (RCA), Segerstam (Chandos), Bertini (EMI), Svetlanov (Saison russe), Tabakov (Capriccio), and Ozawa (Philips). To these we must add some gems from the past (Klemperer, Barbirolli, Neumann, Ancerl, Giulini, Mehta), selective re-recordings (Haitink, Solti, Abbado), and the “almost complete” cycles (Kondrashin, Levine, Rattle, Levi, Gielen, Dohnanyi, Chailly) and of course the plethora of new releases on labels large and small. What to choose from this cornucopia?
Complete Cycles. If you want an single boxed set, the obvious choice is Bernstein, more consistent in his first cycle for Sony (save for the Fifth), but more imposing in the remakes for DG. A fine alternative, perhaps the most solidly “nourishing” to my way of thinking is Kubelik (DG), always underestimated in general but which contains some wonderful surprises--the Seventh for example, and a First which has always served as a reference edition. The Haitink box is also a safe bargain (and his Second Symphony is spectacular), and Inbal’s set, reissued on Brilliant Classics at a super cheap price, has lost some of its technical allure but still represents an excellent confluence of quality and value. If you are a “specialist” try to find the small box published by Philips Holland of Haitink’s Kerstematinee concerts (given annually on December 25th). This isn’t complete (it lacks the Sixth and Eighth), but it’s remarkable. Equally for the “happy few” is the complete cycle published by the New York Philharmonic (available online at www.newyorkphilharmonic.org) with, in numerical order of the symphonies, performances by Barbirolli, Mehta, Boulez, Solti, Tennstedt, Mitropoulos, Kubelik, Stokowski, and Barbirolli again.
Individual Works.
If you want to proceed step by step, here are some pointers.
Symphony No. 1: Ancerl (Supraphon), Walter mono or stereo (Sony). I have a great weakness for Solti’s first recording, absolutely splendid (Decca Legends). Excellent recording by Bernstein on DG also. Wish list: North German Radio (NDR) plans to release Kondrashin’s last concert (he died minutes after its conclusion) with the NDR Symphony Orchestra, Hamburg. The new Gielen on Haenssler Classics issued in cooperation with SWR (South German Radio) is also sensational.
Symphony No. 2: Zubin Mehta (Decca) is an unquestionable first choice, and with excellent recorded sound and vital playing from the Vienna Philharmonic, what more could you want? Excellent alternatives: Gielen (Haenssler), and Haitink’s first recording (Concertgebouw).
Symphony No. 3: Bernstein (DG) absolutely dominates the crowd. But there are three worthwhile alternative visions of this sprawling work: Boulez (DG); Gielen (Haenssler); and Kubelik either on DG or in concert (Audite), all similarly captivating.
Symphony No. 4: A delicate issue in this oft-recorded symphony. The essentials, at least for my sensibilities, go to two older conductors, van Beinum (Decca, to be reissued) and Walter (Sony), who really capture the spirit of the first movement to the fullest extent. There are also a good number of comparatively unknown releases worthy of consideration, like Abravanel (Vanguard), Solti’s first version (Decca), the first Haitink (Philips), Kondrashin (Melodiya), and Neumann (Supraphon). Among modern versions I was very impressed by the single high spot in the “almost complete” cycle from Levi-Atlanta (Telarc).
Symphony No. 5: Neumann’s first recording in Leipzig (Berlin Classics, Brilliant) is phenomenal. Solti’s first recording equally so, if you don’t mind an Adagietto a bit too languorous. Among the moderns, two discs stand out: Chailly (Decca) at the unheralded and ephemeral Gatti (RCA). Kubelik and Haitink offer equally sure musical values (though not Haitink’s Berlin recording) in this work. Berstein DG appears today too heavily mannered.
Symphony No. 6: Barbirolli’s powerful version (EMI) is a solid reference (scherzo third, though, and no exposition repeat in the first movement if you care about such things). Haitink always shined in this work (this time Berlin is better), as opposed to Kubelik. Complimentary versions worth knowing: the very expressionistic Bernstein (DG) and the recording by Thomas Sanderling in Saint Petersburg (RS).
Symphonie No. 7: Kubelik DG if you want only one version. But also there are two fabulous live concerts: Kubelik (Audite) and Kondrashin (Tahra). Alongside these, Bernstein (Sony and DG) and the various recordings by Haitink take the palm.
Symphony No. 8: Gielen (Haenssler) is your best bet. Other possilities: Chailly (Decca) and Solti (Decca).
Symphony No. 9: Vast choice, but Klemperer (EMI) is remarkable despite some bad playing. With him, Ancerl (Supraphon), Karajan II (DG), Giulini (DG), Boulez (DG), and the real sleeper, Pesek (Virgin).
Symphonie No. 10: Rattle-Berlin (EMI) and Sanderling (Berlin Classics). For the Adagio only, a number of choices--Bernstein (Sony), for example.
Das Lied von der Erde. A very clear trio stands at the summet: Klemperer (EMI), Haitink (Philips) and Kubelik’s live concert (Audite).
Des Knaben Wunderhorn. An obvious pair of greats: Chailly (Decca) and Bernstein (Sony).
Lieder. You absolutely must get to know the Fischer-Dieskau CD on EMI’s “Great Recordings” series (especially the Kindertotenlieder with Kempe and Berlin), and equally the EMI recordings of Christa Ludwig.
Das Klagende Lied. Tilson Thomas (RCA).
Christophe Huss
(with David Hurwitz for the English edition and concerning certain — very few actually — violent disagreements with his esteemed colleague particularly concerning the Ninth Symphony)
