Mahler: The Complete Symphonies ~ Bernstein

Dame Janet Baker, Jennie Tourel - Mahler: The Complete Symphonies ~ Bernstein

Mahler: The Complete Symphonies ~ Bernstein
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Music CD Cover

Artist: Dame Janet Baker, Jennie Tourel
Composer: Gustav Mahler
Conductor: Leonard Bernstein
Orchestra: Donald McIntyre
Performer: Anna Reynolds
Performer: Gwenyth Annear
Performer: Norma Procter
Performer: Vladimir Ruzdjak
Performer: James Chambers
Edition: Music CD
Format: Box set, Original recording remastered
CD Release Date: 2001-01-30
Music Label: Sony
Soundtracks:
Music CD 1
  1. Symphony No. 1 in D major ('Titan')
  2. Symphony No. 1 in D major ('Titan')
  3. Symphony No. 1 in D major ('Titan')
  4. Symphony No. 1 in D major ('Titan')
  5. Symphony No. 1 in D major ('Titan')
  6. Symphony No. 1 in D major ('Titan')
  7. Symphony No. 1 in D major ('Titan')
  8. Symphony No. 1 in D major ('Titan')
  9. Symphony No. 1 in D major ('Titan')
  10. Symphony No. 1 in D major ('Titan')
  11. Symphony No. 1 in D major ('Titan')
  12. Symphony No. 1 in D major ('Titan')
  13. Symphony No. 1 in D major ('Titan')
  14. Symphony No. 1 in D major ('Titan')
  15. Symphony No. 1 in D major ('Titan')
  16. Symphony No. 1 in D major ('Titan')
  17. Symphony No. 10 in F sharp minor (incomplete): Adagio
  18. Symphony No. 10 in F sharp minor (incomplete): Adagio
  19. Symphony No. 10 in F sharp minor (incomplete): Adagio
  20. Symphony No. 10 in F sharp minor (incomplete): Adagio
  21. Symphony No. 10 in F sharp minor (incomplete): Adagio
  22. Symphony No. 10 in F sharp minor (incomplete): Adagio
Music CD 2
  1. Symphony No. 2 in C minor ('Resurrection')
  2. Symphony No. 2 in C minor ('Resurrection')
  3. Symphony No. 2 in C minor ('Resurrection')
  4. Symphony No. 2 in C minor ('Resurrection')
  5. Symphony No. 2 in C minor ('Resurrection')
  6. Symphony No. 2 in C minor ('Resurrection')
  7. Symphony No. 2 in C minor ('Resurrection')
  8. Symphony No. 2 in C minor ('Resurrection')
  9. Symphony No. 2 in C minor ('Resurrection')
  10. Symphony No. 2 in C minor ('Resurrection')
  11. Symphony No. 2 in C minor ('Resurrection')
Music CD 3
  1. Symphony No. 2 in C minor ('Resurrection')
  2. Symphony No. 2 in C minor ('Resurrection')
  3. Symphony No. 2 in C minor ('Resurrection')
  4. Symphony No. 2 in C minor ('Resurrection')
  5. Symphony No. 2 in C minor ('Resurrection')
  6. Symphony No. 2 in C minor ('Resurrection')
  7. Symphony No. 2 in C minor ('Resurrection')
  8. Symphony No. 2 in C minor ('Resurrection')
  9. Symphony No. 2 in C minor ('Resurrection')
  10. Symphony No. 2 in C minor ('Resurrection')
  11. Symphony No. 2 in C minor ('Resurrection')
  12. Symphony No. 2 in C minor ('Resurrection')
  13. Adagietto, for orchestra (from the Symphony No. 5)
  14. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  15. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  16. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  17. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  18. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  19. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  20. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
  21. Symphony No. 8 in E flat major ('Symphony of a Thousand'): Part 1
Music CD 4
  1. Symphony No. 3 in D minor
  2. Symphony No. 3 in D minor
  3. Symphony No. 3 in D minor
  4. Symphony No. 3 in D minor
  5. Symphony No. 3 in D minor
  6. Symphony No. 3 in D minor
  7. Symphony No. 3 in D minor
  8. Symphony No. 3 in D minor
  9. Symphony No. 3 in D minor
  10. Symphony No. 3 in D minor
  11. Symphony No. 3 in D minor
  12. Symphony No. 3 in D minor
  13. Symphony No. 3 in D minor
  14. Symphony No. 3 in D minor
  15. Symphony No. 3 in D minor
  16. Symphony No. 3 in D minor
  17. Symphony No. 3 in D minor
  18. Symphony No. 3 in D minor
Music CD 5
  1. Symphony No. 3 in D minor
  2. Symphony No. 3 in D minor
  3. Symphony No. 3 in D minor
  4. Symphony No. 3 in D minor
  5. Symphony No. 3 in D minor
  6. Symphony No. 3 in D minor
  7. Ich atmet' einen linden Duft, song for voice & piano (or orchestra) in D major (Rückert Lieder No. 2)
  8. Ich bin der Welt abhanden gekommen, song for voice & piano (or orchestra) (Rückert Lieder No. 3)
  9. Um Mitternacht, song for voice & piano (or orchestra) in B minor (Rückert Lieder No. 4)
  10. Das irdische Leben, song for voice & piano (or orchestra) in B flat minor (Des Knaben Wunderhorn No. 5)
  11. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 1, 'Nun will die Sonn' so hell aufgehn'
  12. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 2, 'Nun seh' ich wohl, warum so dunkle Flammen'
  13. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 3, 'Wenn dein Mutterlein tritt zur Tur herein'
  14. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 4, 'Oft denk' ich, sie sind nur ausgegangen!'
  15. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 5, 'In diesem Wetter, in diesem Braus'
Music CD 6
  1. Symphony No. 4 in G major
  2. Symphony No. 4 in G major
  3. Symphony No. 4 in G major
  4. Symphony No. 4 in G major
  5. Symphony No. 4 in G major
  6. Symphony No. 4 in G major
  7. Symphony No. 4 in G major
  8. Symphony No. 4 in G major
  9. Symphony No. 4 in G major
  10. Symphony No. 4 in G major
  11. Symphony No. 4 in G major
  12. Symphony No. 4 in G major
  13. Symphony No. 4 in G major
  14. Symphony No. 4 in G major
Music CD 7
  1. Symphony No. 5 in C sharp minor: Part One, Movement I: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
  2. Symphony No. 5 in C sharp minor: Movement II: Stürmisch bewegt. Mit größter Vehemenz
  3. Symphony No. 5 in C sharp minor: Part Two, Movement III: Scherzo. Kräftig, nicht zu schnell
  4. Symphony No. 5 in C sharp minor: Part Three, Movement IV: Adagietto. Sehr langsam
  5. Symphony No. 5 in C sharp minor: Movement V: Rondo - Finale. Allegro
Music CD 8
  1. Symphony No. 6 in A minor ('Tragic'): Allegro energico, ma non troppo. Scherzo
  2. Symphony No. 6 in A minor ('Tragic'): Scherzo
  3. Symphony No. 6 in A minor ('Tragic'): Andante moderato
  4. Symphony No. 6 in A minor ('Tragic'): Finale. Allegro moderato
Music CD 9
  1. Symphony No. 7 in E minor ('Song of the Night')
  2. Symphony No. 7 in E minor ('Song of the Night')
  3. Symphony No. 7 in E minor ('Song of the Night')
  4. Symphony No. 7 in E minor ('Song of the Night')
  5. Symphony No. 7 in E minor ('Song of the Night')
  6. Symphony No. 7 in E minor ('Song of the Night')
  7. Symphony No. 7 in E minor ('Song of the Night')
  8. Symphony No. 7 in E minor ('Song of the Night')
  9. Symphony No. 7 in E minor ('Song of the Night')
  10. Symphony No. 7 in E minor ('Song of the Night')
  11. Symphony No. 7 in E minor ('Song of the Night')
  12. Symphony No. 7 in E minor ('Song of the Night')
  13. Symphony No. 7 in E minor ('Song of the Night')
  14. Symphony No. 7 in E minor ('Song of the Night')
  15. Symphony No. 7 in E minor ('Song of the Night')
  16. Symphony No. 7 in E minor ('Song of the Night')
  17. Symphony No. 7 in E minor ('Song of the Night')
  18. Symphony No. 7 in E minor ('Song of the Night')
  19. Symphony No. 7 in E minor ('Song of the Night')
Music CD 10
  1. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 1, "Nun will die Sonn' so hell aufgehn"
  2. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 2, "Nun seh' ich wohl, warum so dunkle Flammen"
  3. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 3, "Wenn dein Mutterlein tritt zur Tur herein"
  4. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 4, "Oft denk' ich, sie sind nur ausgegangen!"
  5. Kindertotenlieder, song cycle for voice & piano (or orchestra): No. 5, 'In diesem Wetter, in diesem Braus'
  6. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  7. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  8. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  9. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  10. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  11. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  12. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  13. Symphony No. 8 in E flat major ('Symphony of a Thousand')
Music CD 11
  1. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  2. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  3. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  4. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  5. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  6. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  7. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  8. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  9. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  10. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  11. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  12. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  13. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  14. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  15. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  16. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  17. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  18. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  19. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  20. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  21. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  22. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  23. Symphony No. 8 in E flat major ('Symphony of a Thousand')
  24. Symphony No. 8 in E flat major ('Symphony of a Thousand')
Music CD 12
  1. Symphony No. 9 in D major
  2. Symphony No. 9 in D major
  3. Symphony No. 9 in D major
  4. Symphony No. 9 in D major
  5. Symphony No. 9 in D major
  6. Symphony No. 9 in D major
  7. Symphony No. 9 in D major
  8. Symphony No. 9 in D major
  9. Symphony No. 9 in D major
  10. Symphony No. 9 in D major
  11. Symphony No. 9 in D major
  12. Symphony No. 9 in D major
  13. Symphony No. 9 in D major
  14. Symphony No. 9 in D major
  15. Symphony No. 9 in D major
  16. Symphony No. 9 in D major
  17. Symphony No. 9 in D major
  18. Symphony No. 9 in D major
  19. Symphony No. 9 in D major
  20. Symphony No. 9 in D major
  21. Symphony No. 9 in D major
  22. Symphony No. 9 in D major
  23. Symphony No. 9 in D major
  24. Symphony No. 9 in D major
  25. Symphony No. 9 in D major
  26. Symphony No. 9 in D major
  27. Symphony No. 9 in D major
  28. Symphony No. 9 in D major

Free Music Notes for Mahler: The Complete Symphonies ~ Bernstein

Free Music Review: Comparing the two Bernstein Mahler cycles
Hit: 5 Stars

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebouw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy's voice is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call ir unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release a second time. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ri sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.
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