Mahler: Symphony No. 5; Das Lied von der Erde

On this CD:

1. Symphony No. 5 in C sharp minor
Composed by Gustav Mahler
Performed by London Philharmonic Orchestra
Conducted by Klaus Tennstedt

2. Das Lied von der Erde, symphony for alto (or baritone), tenor, & orchestra
Composed by Gustav Mahler
Performed by London Philharmonic Orchestra with Agnes Baltsa, Klaus Konig
Conducted by Klaus Tennstedt

Mahler: Symphony No. 5; Das Lied von der Erde, Music, Agnes Baltsa, Gustav Mahler, Klaus Tennstedt, London Philharmonic Orchestra, Klaus Konig, Classical, Classical Composers, Classical Music, Orchestral & Symphonic, Romantic Symphony, Symphonic

Mahler: Symphonies 1-10; Das Lied von der Erde
Average customer rating:

Good -- but not great

Outstanding, yet Affordable Mahler Set

Ignore the name(s): Listen to the Music!

An exceptionally fine bargain

best overall cycle

Mahler: Symphonies 1-10; Das Lied von der Erde

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphonies Nos. 1-9; Adagio

Mahler: Symphony No. 2 in c minor [Hybrid SACD]

Prokofiev: The Complete Symphonies

Beethoven: Piano Sonatas (Complete) [Box Set]

Mahler - The Symphonies plus Das Lied von der Erde Boxset / Leonard Bernstein, Wiener Philharmoniker, London Symphony Orchestra, Israel Philharmonic Orchestra

ASIN: B000BQ7BX2
Release Date: 2006-01-10

Tracks:

I. Langsam, Schleppend, Wie Ein Naturlaut - Im Anfang Sehr Gemachlich - Kolner Rundfunk-Sinfonieorchester
II. Kraftig Bewegt, Doch NIcht Zu Schnell - Kolner Rundfunk-Sinfonieorchester
III. Feirlich Und Gemessen, Ohne Zu Schleppen - Kolner Rundfunk-Sinfonieorchester
IV. Sturmisch Bewegt - Kolner Rundfunk-Sinfonieorchester
I. Allegro Maestoso. Mit Durchaus Ernstem Und Feierlichem Ausdruck - Krisztina Laki

Tracks:

II. Andante Moderato. Sehr Gemachlich - Krisztina Laki
II. In Ruhig Fliessender Bewegung - Krisztina Laki
IV. Urlicht: Sehr Feierlich, Aber Schlicht - Krisztina Laki
V. Im Tempo Des Scherzo. Wild Herausfahrend - Krisztina Laki
Wieder Sehr Breit - Krisztina Laki
Ritardando...Maestoso. Sehr Zuruckhaltend - Krisztina Laki
Wieder Zuruckhaltend - Krisztina Laki
Langsam, Misterioso - Krisztina Laki
Etwas Bewegter - Krisztina Laki
Mit Aufschwung, Aber Nicht Eilen - Krisztina Laki

Tracks:

I. Kraftig. Entschieden - Gwendolyn Killebrew
II. Tempo Di Menuetto - Gwendolyn Killebrew
III. Comodo. Scherzando - Gwendolyn Killebrew
IV. Sehr Langsam - Gwendolyn Killebrew

Tracks:

V. Lustig IM Tempo UNd Keck Im Ausdruck - Gwendolyn Killebrew
VI. Sehr Langsam - Ruhevoll - Empfunden - Gwendolyn Killebrew
I. Bed Achtig. Nicht Eilen - Lucia Popp
II. In Gemachlicher Bewegung. Ohne Hast - Lucia Popp
III. Ruhevoll - Lucia Popp

Tracks:

IV. Sehr Behaglich - Lucia Popp
I. Trauermarsch (Im Gemessenem Schritt - Streng - Wie Ein Kondukt) - Kolner Rundfunk-Sinfonieorchester
II. Sturmisch Bewegt, Mit Grosster Vehemenz - Kolner Rundfunk-Sinfonieorchester
III. Scherzo (Kraftig, Nicht Zu Schnell) - Kolner Rundfunk-Sinfonieorchester
IV. Adagietto (Sehr Langsam) - Kolner Rundfunk-Sinfonieorchester
V. Rondo - Finale (Allegro) - Kolner Rundfunk-Sinfonieorchester

Tracks:

I. Langsam - Allegro - Kolner Rundfunk-Sinfonieorchester
II. Nachtmusik I - Kolner Rundfunk-Sinfonieorchester
III. Scherzo: Schattenhaft - Kolner Rundfunk-Sinfonieorchester
IV. Nachtmusik II. Andante Amoroso - Kolner Rundfunk-Sinfonieorchester
V. Rondo - Finale - Kolner Rundfunk-Sinfonieorchester

Tracks:

I. Allegro Energico, Ma Non Troppo - Kolner Rundfunk-Sinfonieorchester
II. Scherzo. Wuchtig - Kolner Rundfunk-Sinfonieorchester
III. Andante Moderato - Kolner Rundfunk-Sinfonieorchester

Tracks:

IV. Finale: Sostenuto - Allegro Moderato - Kolner Rundfunk-Sinfonieorchester
I. Andante Comodo - Kolner Rundfunk-Sinfonieorchester
II. Im Tempo Eines Gemachlichen Landlers - Etwas Tappisch Und Sehr Derb - Kolner Rundfunk-Sinfonieorchester

Tracks:

III. Rondo Burleske: Allegro Assai. Sehr Trotzig - Kolner Rundfunk-Sinfonieorchester
IV. Adagio: Sehr Langsam Und Noch Zuruckhaltend - Kolner Rundfunk-Sinfonieorchester
I. Adagio - Kolner Rundfunk-Sinfonieorchester

Tracks:

Veni, Creator Spiritus - Maria Venuti
Imple Superna Gratia - Maria Venuti
Infirma Nostri Corporis - Maria Venuti
Accende Lumen Sensibus - Maria Venuti
Veni, Creator Spiritus - Maria Venuti
Gloria Patri Domino - Maria Venuti
Poco Adagio: Waldung, Sie Schwankt Heran - Maria Venuti
Ewiger Wonnebrand - Maria Venuti
Wie Felsenabgrund Mir Zu Fussen - Maria Venuti
Gerettet Ist Das Edle Glied - Maria Venuti
Uns Bleibt Ein Erdenrest - Maria Venuti
Hier Ist Die Aussicht Frei - Maria Venuti
Hochste Herrscherin Der Welt - Maria Venuti
Dir, Der Unberuhrbaren - Maria Venuti
Bei Der Liebe, Die Den Fussen - Maria Venuti
Neige, Neige, Du Ohnegleiche - Maria Venuti
Blicket Suf Zum Retterblick - Maria Venuti
Alles Vergangliche - Maria Venuti

Tracks:

I. Das Trinklied Vom Jammer Der Erde - Marjana Lipovsek
II. Der Einsame Im Herbst - Marjana Lipovsek
III. Von Der Jugend - Marjana Lipovsek
IV. Von Der Schonheit - Marjana Lipovsek
V. Der Trunkene Im Fruhling - Marjana Lipovsek
VI. Der Abschied - Marjana Lipovsek

Customer Reviews:

Good -- but not great.......2007-07-07

Having listened intently to this set two times now, once with scores in hand, once without, I have to give this set less than a 5 star rating. The sound is adequate, compressed at times, muddy at others. The later symphonies fare better than 1 & 2. Conducting is fine: very straightfoward and unfussy. Plays it straight. And maybe that's a problem. The sixth in particular never really scales the heights or depths. Same story with 8. Layout is weird, but economical. My biggest beef is the orchestral execution. There are a LOT of bloopers that should have been fixed. In a live concert you can accept, even expect, some error in music this difficult. But on recordings they become very irritating. I grant that most people would never notice any, but if you have a good ear and really know this music there are some problems. The worst is an abundance of wrong notes in the 4th movement of the 7th, which otherwise is a superb version -- one of the best. Another easy to spot example occurs at the end of the 6th: why did the cellos leave the bass clarinet to fend for itself just a few bars before the end? Why didn't someone fix this?
I'm glad I heard this set, but there are better, albeit more expensive. As a complete set there isn't any that is altogether perfect, but Solti/Decca, Haitink/Philips, Kubelik/DG and deWaart/RCA come closer.

Outstanding, yet Affordable Mahler Set.......2007-06-10

If you are looking for a great Mahler set that doesn't give you the Walletdämmerung syndrome, yet you also want excellent musicians and soloists and a conductor with a most refreshing and philosophically true understanding of Mahler's music, I would recommend that you purchase this box set of Mahler symphonies with Gary Bertini. Although Gary Bertini was not a big name in the recording industry, he was deemed as a highly esteemable conductor in Europe. His Mahler offers a completely different sound from what you would hear from Bernstein, Abbado, Walter, and Klemperer, much closer to what Rafael Kubelik did with his Mahler, but Bertini offers a degree of transparency in his music that you cannot hear in any other conductor. Despite the transparency, his Mahler does not lack passion. If you want to know what I mean, you must listen to his Symphonies no. 1,2,4,5,6,7,8, and 9. These renditions are ranked with the very best Mahlerians in a very competitive field. Bertini is also supported by an ensemble of an extremely high calibre--the WDR or the Kölner Rundfunks Orchester. They play with a finesse and a grace that rivals the very best Mahler orchestras, including the Vienna Philharmonic, the Bavarian Radio Symphony, and the Concertgebouw. In terms of virtuosity and beauty, the orchestra offers some of the most glorious playing and a crystalline sound balance that you would want in a world-class German orchestra.

The soloists are all excellent too. You have Florence Quivar, Paul Frey, Lucia Popp, Julia Varady, Julia Hamari, and Alan Titus, among others. You must simply hear the alto part that Quivar sings in the Resurrection Symphony!

Included in this already sparkling box set is a Das Lied von der Erde with Marjana Lipovsek and Ben Heppner. While I will always love Klemperer, Ludwig, and Wunderlich, I think this Das Lied von der Erde comes close to being one of the very best recordings of the work. Heppner sings with his usual golden tone and security, and sings the tenor's songs with an abandon and an elan that makes his interpretation very attractive. Lipovsek sings the mezzo parts with a tragically imbued tone that improved over her recording with Solti years earlier. You must listen to what she does in the Abschied. I have never heard a more resentful and reflective understanding of this very complex movement other than Christa Ludwig, Janet Baker, and Kathleen Ferrier.

All in all, a Mahler box set that everyone should get along with Haitink, Chailly, and Kubelik.

Ignore the name(s): Listen to the Music!.......2007-05-07

Gary Bertini and the Cologne Radio Symphony? The Mahler symphonies have been recorded in toto by many of the "biggest" names in music Leonard Bernstein (three times), Solti, Kubelik, Haitink and so on with the best known orchestras in the world ---- Vienna Philharmonic, Concertgebouw, New York Philharmonic, Chicago Symphony, Berlin Philharmonic, and so on and so on. I've given away my bias by those I've chosen to list and the sequence I've put them in.
And along comes a little known conductor, now deceased, with an orchestra I would not rank with those above; and by virtue of their sheer musicianship they belong alongside all the above. Mr. Bertini's performances hew closer to Mr. Kubelik and Mr. Haitink in being moderate in both tempo and phrasing. At the same time, Mr. Bertini still beings a far greater feeling of intensity and passion than either. Mr. Bertini's performances have a sweep and a grandeur that places them on the same plane as Mr. Bernstein's performances without entirely going "over the top" as Mr. B. was inclined to do.
No: Bertini's recording of the Sixth Symphony does not take us emotionally to the depth of Mr. Bernstein's last recording (DG digital). Nor has Mr. Solti's magnificent performance of the Eighth been surpassed. But I were asked to choose one cycle to live with for the rest of my life, it would be this one.

An exceptionally fine bargain.......2007-03-26

Gary Bertini's EMI Mahler cycle is more or less contemporary with Tennstedt's Mahler cycle on the same label. But, according to the gossip, the company decided to keep Bertini in the vaults since the former and LPO where more publicly known. In my view, however, Bertini's set is clearly superior. The orchestra - Kölner Rundfunk Sinfonieorchester - is outstanding, far better than LPO, and so are most of Bertini's interpretations as well.

Considering that Bertini and the orchestra are not among the obvious "stars", it is an exceptional sleeper. In fact, Bertini was virtually unknown before this cycle made him famous, post mortem.

The cycle combines both live and studio recordings. The live ones were recorded in Japan where the audience knows how to behave. Excellent stereo sound adds to the pleasure.

But one could note that some of Bertini's tempi are among the slowest on record. The final movement of symphony no. 9 stops at 28:34, which is ten minutes more than Walter's 1939 classic. It's even a few seconds slower than Chailly's very slow account on Decca. The finale of the third is six minutes longer than Tennstedt's on EMI. But the adagietto in the fifth stops at just above 10 minutes, so Bertini is not consistently very slow when Mahler's music may invite sentimental conductors to drag. Unlike such conductors, however, Bertini has the ability to keep tension during a long breath, bringing forth interesting details in contextual balance.

Thus the performances of symphonies 1, 5, 7, 8, 9 and Das Lied von der Erde are outstanding, challenging almost every recording in the current catalogue. The remaining symphonies are also convincingly presented, in perfectly consistent performances.

However, one irritating thing with this set is that the fourth symphony is divided over two discs. That EMI decision was not necessary. The cycle could still fit on 11 CDs with a different editing. The policy for all record companies should be to avoid unnecessary splitting.

At a super-bargain price, this is of course the first choice among boxed sets, especially the contemporary ones. All the recordings in this box have something that attracts repeated listening. This is true of Gielen's outstanding cycle too (Hänssler), but it requires you to pay four times the price. Still, Kubelik (DG) remains my favourite cycle. But Bertini's is better recorded.

Warmly recommended!

best overall cycle.......2006-12-09

There's little that I could add to the testimonials that have already been written here . While none of these performances would be an absolute first choice for me, save Bertini's Mahler 8th (which IS extraordinary), all of them have an amazing consistantcy in style, sound quality, and orchestral execution. The inclusion of a really fine "Das Lied von der Erde", expertly sung by Ben Heppner and Marjana Lipovsek, makes this a clear front runner. While Bertini didn't record a complete Mahler 10th symphony (finished by Deryck Cooke and others), his M10 Adagio is outstanding - giving the feeling of completeness on to itself. In fact, other than Leonard Bernstein, I can think of no other conductor who has been so satisfying in capturing the complete emotional range of Mahler's symphonies; going from the fresh and youthful first symphony (and Bertini is truly fresh and youthful); working on up to the cosmic orgasm that is the 8th symphony (and Bertini is cosmically orgasmic here), and still making the drastic shift to the zen-like, other-worldliness of the so-called farewell trilogy: "DLvdE", 9th symphony, and 10th symphony adagio. He runs the entire gamut, Janet.

Much positive has been written about Gielen's fine Mahler cycle. But his box set doesn't include his recording of the Cooke 10th (Chailly's does!), which is really a very good 10th. It's also more expensive. In addition, getting Gielen's Mahler 6th separately also gives you a really fine performance of Alban Berg's "Three Pieces For Orchestra" - a very natural coupling for that dark work. Better to pick and choose with Gielen, I think. If you want a box, get the Bertini.

The Great War: Classical And Popular Selections From The Time Of World War I (National Public Radio Milestones Of The Millennium)

Average customer rating:

Music and the Great War
How a Century Has Change Our Perception of War
Excellent Recording!
Good music, bad title

The Great War: Classical And Popular Selections From The Time Of World War I (National Public Radio Milestones Of The Millennium)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Great War
Over There - Songs From America's Wars
Words and Music of World War II
The Roaring Twenties
Songs That Got Us Through WWII

ASIN: B00000HXKX
Release Date: 1999-01-12

Tracks:

Military March No. 1 In D Major, Op. 39: Pomp Ad Circumstance
Waltz Fom Der Rosenkavalier Suite
'Von der Schonheit' From Das Lied von der Erde
'De l'aube a midi sur la mer' From La Mer
Symphony No. 1 in D Major, Op. 25 'Classical Symphony': III. Gavotta. Non troppo allegro
L'histoire du soldat Suite - IV. The Royal March
L'histoire du soldat Suite - V. The Little Concert
Le tombeau de Couperin - V. Menuet
Le tombeau de Couperin - VI. Toccata
Sinfonia From Pulcinella Suite
Walzer From Funf Klavierstucke, Op. 23
Interlude From Wozzeck, Act III
Prologue From Music Ffor The Theatre
'Shine On Harvest Moon'
'Alexander's Ragtime Band' - Irving Berlin
'Over There'
'How You Gonna Keep'em Down On The Farm (After They've Seen Paree)?'
'The Man I Love' From Stride Up The Band
'West End Blues'

Amazon.com

The first two-thirds of this disc is a fascinating cram course in concert music around the time of World War I. The programmer has put together some fascinating juxtapositions--for example, Strauss's Rosenkavalier leads almost seamlessly into Mahler's Das Lied von der Erde, and Schoenberg sounds out of context with everybody (including Berg). The selections are all short, and performance quality runs from great to mediocre, but this is still a thought-provoking educational experience, even though Bartók and Ives are conspicuously missing. The popular selections are less interesting, often campy, and although vintage recordings are used, they aren't always the right vintage. And someone missed a point by separating Copland's jazzy "Music for the Theatre" from Louis Armstrong, who could have followed immediately. --Leslie Gerber

Customer Reviews:

Music and the Great War.......2007-05-14

This is a fascinating compendium of popular and classical music from the World War One period. It evokes all the turmoil, anguish, and also humor, of the age, and is a vital CD to own if you have an interest in the Great War and the music it inspired or was inspired by.

How a Century Has Change Our Perception of War.......2005-10-29

War. Tough subject these days - tough subject since the beginning of time. Yet Americans tend to mend wounds and gradually allow the atrocities of yesteryear to fade into coated cases that signal more memories of 'how things used to be' rather than learning from the tragedies with which war has scarred the planet. National Public Radio issued this excellent memoir at the turn of the millennium and one wonders if it now has the same response that greeted it in 1999.

Linda Kobler reconstituted this mix of classical and popular music with a keen sense of history. The CD is twice divided (in both the classical and the popular music) into 'Before the War' 1901 - 1917, 'During the War' 1917 - 1922, and 'After the War' 1922 - 1928. In the first era are the works of Elgar ('Pomp and Circumstance'), Strauss (a waltz from 'Der Rosenkavalier'), Mahler (excerpt from 'Das Lied von der Erde'), and Debussy ('La Mer') joining the songs 'Shine On Harvest Moon' and 'Alexander's Ragtime Band'. The War period is represented by Prokofiev's 'Symphony No. 1', Stravinsky's 'L'histoire du soldat', and Ravel's 'Le tombeau de Couperin' in tandem with 'Over There'. After the war include Stravinsky ('Pulcinella Suite'), Schoenberg (Waltz from 'Five Piano Pieces'), Berg (excerpt from 'Wozzeck') and Copland ('Music from the Theatre') with popular songs 'How you gonna keep 'em down on the farm', 'The Man I Love', and 'West End Blues'.

The excerpts selected for this survey are exceptionally good: orchestras include NY Phil, LA Phil, Philadelphia Orchestra, London Symphony, and the Columbia Symphony under such batons a Ormandy, Bernstein, Salonen, Tilson Thomas, Schippers and Stravinsky; soloists include Glen Gould, Robert Casadesus, Lili Chookaskian, Louis Armstrong, et al. The sonics are very fine and the performances are each from significant full recordings remaining in the catalogue.

The booklet accompanying this concert of memories is written by Linda Kobler who uses each selection as a pivotal point in the atmosphere of the globe that accompanied the Great War: it is very well written and informative. This is one of those recorded collections that goes far beyond an accumulation of bits and pieces and instead gives food for thought about how our political and social actions intertwine with the arts in a prophetic way. Highly Recommended. Grady Harp, October 05

Excellent Recording!.......1999-03-13

(It was called The "Great" War, because nobody knew about WWII at the time and it was the biggest war anyone had ever seen.)

I think this CD may be a bit choppy to "easy" listeners, but for anyone who has a sincere interest in delving into the musical senses of earlier generations it's VERY good! I recommend the entire NPR Milestones of the Millennium series to such aficionados.

Good music, bad title.......1999-02-11

Since when is war great? Life in the trenches waiting for the germans to attack you worrying about whether mustard gas is gonna loft your way isn't exactly like sipping chablis.

Average customer rating:

SImply Untrue
an extra star for all the guest artists
An Homage to a Great Artist
superb vocals

The Very Best of Thomas Hampson
Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Song of America
No Tenors Allowed: Famous Duets for Baritone and Bass
Arias - Haydn, Mozart, Beethoven, Schubert
Christmas with Thomas Hampson
Samuel Ramey - Operatic Arias

ASIN: B0006VYEI2
Release Date: 2005-04-26

Tracks:

La Ran La Lera...Largo Al Factotum
O Sainte Medaille...Avant De Quitter Ces Lieux
Ce Breuvage...Vision Fugitive
C'est Toi...Au Fond Du Temple Saint - Placido Domingo
La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
Ecoute!...Dieu, Tu Semas Dans Nos Ames
C'est Mon Jour Supreme
Tout Est Desert...Son Regard
Ove Son Io?...Vada In Fiamme
Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
Di Provenza Il Mar, Il Suol
E Sogno? O Realta?
Komm!
Der Garten Des Herzens
Lied Des Venezianischen Gondoliers
Le Lazzarone
L'Ultimo Ricordo

Tracks:

Mein Sehnen, Mein Wahnen
Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
Wie Todesahnung...O Du Mein Holder Abendstern
Gruss Op.48 No.1
Im Wunderschonen Monat Mai
Aus Meinen Tranen Spriessen
Die Rose, Die Lilie
Ich Will Meine Seele Tauchen
Ich Grolle Nicht
Gute Nacht
Die Post
Blicke Mir Nicht In Die Lieder
Ich Atmet' Einen Linden Duft
Ich Bin Der Welt Abhanden Gekommen
Von Der Schonheit
O Vaterland, Du Machst Bei Tag
Als Flotter Geist
Komm, Zigany
An Old Song Re-Sung
At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
Jeanie With The Light Brown Hair
Beautiful Dreamer

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

SImply Untrue.......2006-08-16

The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

an extra star for all the guest artists.......2006-05-08

The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

An Homage to a Great Artist.......2005-10-30

EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

superb vocals.......2005-08-07

Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.

Mahler: Das Lied von der Erde / Bruno Walter

Average customer rating:

One the greatest of all time.
The Da Mahler Code
DESERVEDLY A CLASSIC BUT...
My thoughts.....
Not a first choice, but still a must-have

Mahler: Das Lied von der Erde / Bruno Walter
Gustav Mahler , Bruno Walter , Kathleen Ferrier , Julius Patzak , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Kathleen Ferrier - Mahler ~ Kindertotenlieder & Gluck ~ Greene ~ Handel ~ Mendelssohn ~ Purcell / Baillie, Moore, B. Walter
Mahler: Das Lied von der Erde
Mahler: Das Lied von der Erde / Bernstein, Vienna Philharmonic Orchestra
Mahler: Symphony No6; Rückert Lieder
Mahler: Symphony No. 9

ASIN: B00004XQ8E
Release Date: 2000-11-14

Tracks:

Das Lied Von Der Erde: I. Das Trinklied Vom Jammer Der Erde - Julius Patzak
Das Lied Von Der Erde: II. Der Einsame Im Herbst - Kathleen Ferrier
Das Lied Von Der Erde: III. Von Der Jugend - Julius Patzak
Das Lied Von Der Erde: IV. Von Der Schonheit - Kathleen Ferrier
Das Lied Von Der Erde: V. Der Trunkene Im Fruhling - Julius Patzak
Das Lied Von Der Erde: VI. Der Abschied - Kathleen Ferrier
3 Ruckert-Lieder: Ich Bin Der Welt Abhanden Gekommen - Julius Patzak
3 Ruckert-Lieder: Ich Atmet' Einen Linden Duft - Kathleen Ferrier
3 Ruckert-Lieder: Um Mitternacht - Julius Patzak

Customer Reviews:

One the greatest of all time........2006-05-20

There are times when you can't let something pass. I've heard this nonsense about how Bruno Walter "didn't understand Mahler." The fact that Walter knew Mahler well and worked with him gave him far better insight into the composer than those commenting almost a century after the fact. The poetry in this performance is there for those whose who are capable of hearing it. Stating that Ferrier was past her prime seems odd in that she was about 40 when this recording was made and if made in 1951 it would have been two years before her death. She was a true contralto (the voice for which the music was written)with a tonal color that any mezzo-soprano can only approximate. Regarding this not being opera it might do well to remember that Mahler was primarily a conductor of opera. Would this have influenced how he may have wanted this work performed? I think so.

The Da Mahler Code.......2006-01-10

This is probably a minority report, but I could never understand why the Walter/Ferrier recordings of the "Das Lied" are considered to be the best Songs of the Earth. Probably because everyone else says so.

Yes, it's not bad, but certainly not at the top of the list.

The question is why is it so overrated? Our culture loves drama and hates death. Ferrier sang her Farewell in 1951 when she was dying of cancer and she knew it. In the 1947 performance of the same work, she burst into tears in the middle of the Abshied. OK, I understand what's the fuss and drama about, but what does it have to do with the music itself?

The Das Lied is not an opera, a fact that Walter and Ferrier (and also Bernstein amongst others) failed to understand, making this work sound overly dramatic and over-sentimental. It is *poetry*, pure p-o-e-t-r-y, and demands an entirely different approach to the one that many musicians have been taking over the years (yes, forget the misery of Mahler's life, as well. A musician's life is one thing, his output another.)

Bruno Walter himself said that "Kathleen Ferrier's performance in Das Lied remains among the deepest and happiest experiences of my musical life. The lovely timbre of her voice moved me as hardly any other sound has. And she had a soul as well as a voice. That soul knew and resounded the very soul of Mahler's work. I have often thought how much it would have meant to him to hear the profound understanding in her performances."

Contrary to that statement, both Walter and Ferrier did not understand Mahler. (BTW, neither did Bernstein, whose recording of the Das Lied with Fischer-Dieskau is certainly one of the worst Das Lied recordings ever.)

Ferrier probably was someone with a soul indeed, and a great singer, but this work did not suit her. Walter a great conductor, but this Das Lied is a clear case of mystification of the public, something analogous to the Da Vinci code (in this case the Da Mahler Code) and the smile of La Giogonda. There's no mystery. Only preconceived ideas.

I would go for the Boulez/Urmana, Klemperer/Ludwig or Tennstedt/Baltsa recordings, instead. Top of the list (also the Janet Baker and Jochum/Merriman, too.)

DESERVEDLY A CLASSIC BUT..........2006-01-08

Now this recording is out of copyright it is beginning to turn up on several labels (e.g. Naxos). It is, after all, a classic recording. However, it was Decca who recorded it and they therefore are the ones who have access to the originals. So this is probably the best transfer, worth the extra cost over its rivals.

Its status as a classic is well deserved. Walter was a close colleague of the composer, talked through the work with him and conducted the world premiere after Mahler's death. It was a piece he had lived with for more than 40 years by the time this recording was made and his interpretation therefore at least deserves serious respect. Of course, it merits much more than that. Walter loved this music and invested it with all the depth of humanity he brought to everything he conducted. There is appropriate weight and thrust to the opening Trinklied, a logically consistent flow to the meandering melodic lines of the Einsame im Herbst, Schubertian delicacy in Von der Jugend and so on right through to the yearnings and final resigned acceptance of Der Abschied. This, as you might expect from Walter, is a Das Lied viewed from the Mozart, Schubert, Brahms end of the telescope rather than as the forerunner of Schoenberg, Berg, Webern and beyond. To that extent he could be said to smooth out some of the more abrasive orchestration, to soften the impact of the clashing harmonies in the great Funeral March and to try to integrate the often disparate and apparently unrelated contrapuntal melodic lines. For a contrasting point of view, you need to turn to Rattle, Boulez or, interestingly, Horenstein.

One of the chief raisons d'etre for this recording, of course, was the special relationship that had developed between Walter and Kathleen Ferrier. In the unique sound of that voice and in her special artistry, Walter felt he had at last found the perfect vehicle for this piece. And she doesn't disappoint. She gives a near-definitive performance of her three songs and especially of Der Abschied. The last outburst of love and regret for the `liebe Erde' and the ensuing resignation that drifts into an infinity of repeated `ewig...ewigs' over Mahler's achingly unresolved sixths in the harmony, these are heart-rending moments. If there is just the slightest note of reservation in my praise, it is that Ferrier (as her letters show) was rather in awe of Dr. Walter, particularly in this piece which was so much a part of his life. As a result she always seems to be following Walter's lead in this performance, without quite allowing herself the interpretive freedom she shows even in her live New York performance with him. But in her live performance with Barbirolli (on APR) the sympathy - empathy even - between the two close friends leads to greater freedom still, greater risk-taking on both their parts that I find all the more moving, despite the pretty dreadful sound quality.

Julius Patzak is also an integral part of this Vienna performance. The tenor role is a tough one, having to scale the heldentenor heights of the opening movement, the porcelain delicacy of the third and the drunken abandon of the fifth. Patzak doesn't have quite the ideal heft for the Trinklied and occasionally gets submerged in the orchestral swell, but he does bring a wonderfully plangent colouring to his voice in the `Dunkel ist das Leben' refrain. There's a wealth of experience behind the subtle word-painting of Von der Jugend, however, and the Drunkard in Spring is also a perfect blend of singing off the words and the notes.

This recording is deservedly a classic of the gramophone, a great performance which displays roots that reach directly back to the composer himself. However, if you can listen through bad sound quality, I'd urge you to listen to Ferrier's performance with Barbirolli as well.

The three Ruckert Lieder also included on this disc are also wonderfully done - especially Ich bin der Welt anhanden gekommen. Um Mitternacht, too, is mightily imposing. Only Janet Baker (again with Barbirolli) runs them close.

My thoughts............2005-07-13

For a performance more than 50 years old, it sounds really good. Kudos to the engineers; I never knew the early 50s recording can be that good. Kudos too to Bruno Walter, a close friend and great interpreter of Mahler, and the Vienna Philharmonic Orchestra, certainly one of the world's finest orchestras.

Personally, I didn't really like Julius Patzak on the tenor. He sounded to mellow, less dramatic compared to James Kings on a rivalling performance done by Bernstein with the same orchestra (and the same label) 14 years later.

Kathleeen Ferrier, on the other hand, is an absolute winner. There's something really special about her performance that really makes me want to cry, particularily in the "Farewell" movement. She sounded very rich and warm when she was singing in moderate registers, but very sweet and delicate - fragile even as if she know she was going to live no longer - whenever she took the higher notes. By the time she sings "Everywhere the lovely earth blossoms" I was in tears, knowing that this would be one of her glorious moments in her career before dying of cancer. Fischer-Dieskau's performance (with Lenny) was touching in one thing, but Ferrier's performance was an excrutiating experience...

May her performance touch others... for ever... and ever.

Not a first choice, but still a must-have.......2004-08-07

I own nine different recordings of Mahler's Das Lied Von Der Erde, and I would probably rate this somewhere in the middle, with Kubelik, Sanderling, and Klemperer ahead of it, and close to on-par with the Horenstein.

This is an excellent and deservedly legendary performance. Patzak and Ferrier both give extremely artistic performances. There is great charisma and depth to their singing and interpretation of the words and melodies. However, technically, there are far better performances out there (they were both past their prime). Fritz Wunderlich, Peter Schrier, and Waldemar Kmentt as tenor and Janet Baker and Alfreda Hodgson as alto come to mind immediately. Bruno Walter gives a very moving reading of the song cycle, but the Vienna Philharmonic Orchestra does not perform very well. It sounds rather unrehearsed and unrefined (and not in a good "fresh" way).

What you have here is a very moving, very magical performance of Das Lied Von Der Erde that should be heard by everyone. But it saddens me to think that many people would purchase this as their "only" recording of this piece (due to the justifiably positive reviews) and feel they can explore this piece sufficiently with it.

I highly recommend checking out the Kubelik/Baker/Kmentt recording. It is an absolutely essential recording with a brilliant conductor, excellent orchestra and sound, the best alto performance available for this work (Baker!), and an excellent tenor. Klemperer and Sanderling give equally amazing readings with two of the best tenors you will ever hear perform this piece (Schrier and Wunderlich, respectively).

Although I find this recording to be far inferior to the three mentioned above, I truly believe one must own several recordings of this work, and in that respect, this Walter/Ferrier deserves the shelf space.

Mahler: Urlicht - Primal Light / Caine, Bensoussan, et al.

Average customer rating:

jaw-dropping interpretation of Mahler
Mahler revered
Uri Caine's mutiny against Mahler
raw, gritty and fertile freshly tilled earth
The New quintessential performance of Mahler

Mahler: Urlicht - Primal Light / Caine, Bensoussan, et al.
Uri Caine
Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

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ASIN: B000007RYQ
Release Date: 1998-06-23

Tracks:

Sym No.5: Funeral March
The Boy's Magic Horn: The Drummer Boy
Songs Of The Death Of Children: Now Will The Sun Rise As Brightly
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The Song Of The Earth: The Drunkard In Spring
The Boy's Magic Hn: Who Thought Up This Song
The Song Of The Earth: The Farewell

Amazon.com

This auspicious, surprising, release debuted the Winter & Winter imprimatur, which carries on German producer Stefan Winter's longstanding role in blurring musical boundaries, as he did for so many years with the jazz label JMT. Pianist Uri Caine, known mainly for playing in the polystylistic mode of New York's downtown jazz scene, steeped himself in Mahler's music in preparation for the 1995 series of concerts leading up to this CD. Caine's ensemble--14 members strong, at points--recasts portions of Mahler's symphonic cloudbursts into a setting that smacks of klezmer, jazz, and crazy combinations of the scores' lavish bombastics. It's clear that Mahler's works tested the boundaries of so many available sounds at the turn of the century, from cantors to martial brass to Wagnerian bulk. Caine attempts it all, succeeding most somberly in the sections based on the Resurrection Symphony and most clangorously in the First Symphony's third movement, transformed into a serious klezmer bash by Caine, clarinetist Don Byron, and drummer Joey Baron. --Andrew Bartlett

Customer Reviews:

jaw-dropping interpretation of Mahler.......2006-12-03

I am a Mahler fan - and I don't like jazz! So I was rather nervous at listening to this first time around. But I found it simply stunning. The resurrection symphony slow movement, complete with screeching solo violin emulating a searingly distorted electric guitar was, in fact, profoundly moving. And the sheer musicianship of the performers, in the more sensitive sections earned my utmost respect. This album is shocking, unbearable, gripping, lighthearted, exciting, mocking, reverential, tender - everything Mahler was. Fantastic buy!

Mahler revered.......2006-11-16

On his 1997 release Urlicht / Primal Light, Uri Caine took some of Gustav Mahler's most famous compositions, and, well, jazzed them up, with some of the most prominent musicians on the downtown New York scene, including Dave Douglas and Joey Baron.

What still surprises me about this beautiful album is just how faithful Caine is to Mahler. Unlike his later Goldberg Variations, this isn't Mahler deconstructed, it's Mahler revered, in a small group jazz (and at times, thanks to Don Byron , klezmer) setting. It makes perfect sense -- if some of the greatest jazz performances have come from mediocre show tunes, why not use symphonies and lieder as a starting point for improvisation?

Uri Caine's mutiny against Mahler.......2006-09-30

I've been a big Mahler fan since Bernstein's first recording (4th Symphony) as well as a knowledgeable follower of jazz. These pieces are grotesque caricatures of Mahler melodies and while I have not heard Caine's other depredations, after listening to this one I think I'll pass. If this is something released after a jam session that somehow was rescued from the cutting room floor, my apologies. But Mahler's melodies do not belong in a setting like this and who is Caine to try to improve on Mahler's orchestrations? Save your money.

raw, gritty and fertile freshly tilled earth.......2005-12-13

it's not pure as in so many anally treated works of Mahler. admittedly i am not interested in listening to see if the sonority of the instruments is perfect to some pompous standard, and it's not but there is another dedication here and an unmeasurable energy. i love the youthfulness of this work.

The New quintessential performance of Mahler.......2005-07-06

This is the story i was told when buying this record, it's been many years so this is as close as i could remember it:

"There is an annual competition where orchestras from all over the world come together to perform Mahler pieces. It's been going many many years... then along came Uri Caine. His orchestra included Cantors (jewish religious singers) and a cacophony of other messy instruments and ideas to perform with. They won to competition to the horror of stuffy stuck-up Mahler purists the world over.. How could this horrible mess win over all ther other very traditional (very similar and boring) performances!? Uri Caine's orchestra has continued to win every year since. Why? Because Uri's interpretation gives a fuller understanding of Gustav Mahlers background, his roots, he brings so much life to the music."

So then i actually listened to the music myself and it was breathtaking, funny, it told stories, it had personality, it was bursting at the seams with new ideas.

I listen to all kinds of music, but rarely jazz and rarely classical. I was not familiar with Uri Caine or Gustav Mahler, but after hearing that story, then listening for myself i had to have this cd. And while often my purchases are terrible mistakes, this one was a resounding success. This cd is my most treasured.

Average customer rating:

FRITZ AND MAHLER IN HEAVEN!!
Vocal Perfection

Mahler: Das Lied von der Erde

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music
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ASIN: B000002RNN
Release Date: 1990-10-25

Tracks:

Das Trinklied von Jammer der Erde
Der Einsame im Herbst
Von der Jugend
Von der Schonheit
Der Trunkene im Fruhling
Der Abschied

Amazon.com

Otto Klemperer's 1967 reading of Mahler's Das Lied von der Erde has in Fritz Wunderlich the greatest tenor who has ever recorded the music, and in Christa Ludwig a mezzo scarcely less impressive. The sonics on this recording are absolutely glorious, and the conductor's measured direction imparts a striking sense of grandeur to the account. --Ted Libbey

Customer Reviews:

FRITZ AND MAHLER IN HEAVEN!!.......2007-02-12

Out of some ten or fifteen versions I own of Das Lied, Fritz Wunderlich is may favorite tenor and brings Mahler's drunken ape in the moonlight to life with great heart and the least hurtful and harsh scrape on the opening song. Most tenors make this opening Drinker's song punishing to the listener. But Fritz has lift, joy and starlight. Christa Ludwig's farewell has its own glory. If you can even sing the Abend you can't miss at creating an angelic and heartbreaking lament. It's music you can't kill whoever sings it--the orchestra will carry you, for God's sake.

Vocal Perfection.......2002-01-05

This is a truly outstanding record that should be in any Mahler-lover's collection. Even if you already own Bruno Walter's recording, I recommend purchasing this one as well, since it features Wunderlich ascendant, at the apex of his career shortly before his unfortunate death. One of the all-time great vocal recordings.

Average customer rating:

No Words/Translations Included in Mine
Excellently Economical Collection, including the Deutche Kitch
A grab bag of good and not so good
The Four Mahler Song Cycles in One Generous and Fine Album
Songs of Pleasure, Loneliness, Sadness, and Loss ...

Gustav Mahler: Orchestral Songs

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041EH
Release Date: 1996-04-09

Tracks:

The Song of The Earth: 1. Das Trinklied vom Jammer der Erde
The Song of The Earth: 2. Der Eisame im Herbst
The Song of The Earth: 3. Von der Jugend
The Song of The Earth: 4. Von der Schonheit
The Song of The Earth: 5. Der Trunkene im Fruhling
The Song of The Earth: 6. Der Abschied
Kindertotenlieder: 1. Nun Will die Sonn' so Hell Aufgehn
Kindertotenlieder: 2. Nun seh'ich wohl, Warum so Dunkle Flammen
Kindertotenlieder: 3. Wenn dein Mutterlin

Tracks:

Kindertotenlieder: 4. Oft denk' ich, sie sind nur ausgegangen
Kindertotenlieder: 5. In diesem Wetter
Songs of a Wayfarer: 1. Wenn mein Schatz Hochzeit macht
Songs of a Wayfarer: 2. Ging heut' Morgen ubers Feld
Songs of a Wayfarer: 3. Ich hab' ein gluhend Messer
Songs of a Wayfarer: 4. Die zwei blauen Augen von meinem Schatz
Des Knaben Wunderhorn: 1. Der Schildwache Nachtlied
Des Knaben Wunderhorn: 2. Verlone Muh'
Des Knaben Wunderhorn: 3. Trost im Ungluck
Des Knaben Wunderhorn: 4. Wer hat dies Liedlein erdsacht?
Des Knaben Wunderhorn: 5. Das irdische Leben
Des Knaben Wunderhorn: 6. Revelge
Des Knaben Wunderhorn: 7. Des Antonius von Padua Fischpredigt
Des Knaben Wunderhorn: 8. Rheinlegendchen
Des Knaben Wunderhorn: 9. Lied des Verfolgten im Turm
Des Knaben Wunderhorn: 10. Wo die schonen Trompeten blasen
Des Knaben Wunderhorn: 11. Lob des hohen Verstands
Des Knaben Wunderhorn: 12. Der Tambourg' sell

Customer Reviews:

No Words/Translations Included in Mine.......2007-05-28

A major tip on this set - it does not have the printed words and translations included. Major dissapointment. Unless you have a book, like Deryck Cooke's (which I have fortunately), with the words in it, you are out of luck. First time listeners beware.

Also, I am not fond of Janet Baker's voice, and have never understood the hype over her. She always sounds like she has cotton in her mouth.

A better alternative for Das Lied Von Der Erde, with words included and beautifully recorded sound is Eiji Oue with the Minnesota Orchestra. Michelle DeYoung's voice is beautiful and clear too. Check it out - worth the extra money: Das Lied von der Erde.

Excellently Economical Collection, including the Deutche Kitch.......2007-01-02

I bought this omnibus of Mahler's 'Das Lied von Der Erde', 'Kindertotenlieder', 'Lieder eines fahrenden Gesellen', and 'Des Knaben Wunderhorn' AFTER I bought the Phillips 432 279-2 of just 'Das Lied von Der Erde', which is the identical performance as the one on the less expensive and fuller two CD set. This 'Das Lied...' is every bit as good as when I reviewed alone, and it is by far the most interesting collection on the two CDs. I was never a big fan of 'Kindertotenlieder', given its subject, but I love listening to 'Des Knaben Wunderhorn' as it is by far the most gloriously simple borrowing of traditional German popular folk music of the 19th century into a classical interpretation. one can literally hear the oompah bands doing the works from which this was adapted. I love it to pieces.

A grab bag of good and not so good.......2005-09-27

For a long time British critics have hailed Haitink's Das Lied, even though James King blares through the tenor part without regard for the words and the marvelous Janet Baker was caught about seven years past her prime. As for the Kindertotenlieder, Prey's version is good, certainly, and it's appealing to hear this cycle, which is for male voice, despite the fact that so many of the classic performances on CD (Ferrier, Ludwig, and Baker in particular)have been by women. But Prey is not a revelaiton by any means--if only Thomas quasthoff would record tis cycle.

The major disappointment, however, is the Knaben Wunderhorn cycle with Norman and Shirley-Quirk. She is in glorious voice but sounds too stiad and self-involved, and he simply has no proper German style--one keeps thinking that an English gentleman is trying not very hard to impersonate the tragic, bumptious soldiers that are the chief characters in the male songs. Overall, even at a bargain price I would look elsewhere for all these pieces.

The Four Mahler Song Cycles in One Generous and Fine Album.......2005-09-17

Any time there is a chance to hear the favored orchestra for Mahler - the Royal Concertgebouw Orchestra Amsterdam - involved in performances of any of Mahler's four song cycles, it is a reason for rejoicing. Somehow the sound of this orchestra and Mahler were meant to be one. Add to this bit of good fortune the fine conducting of Bernard Haitink and a group of first class soloists and Voila! - an album of 2 CDs, modestly priced, and a must for every collector of Mahler's music.

'Das Lied von der Erde', that would-be 9th symphony of the paranoid superstitious Mahler, is one of his most powerful symphony of songs. Here it is given a warm and introspective performance by Dame Janet Baker (just try to find a more poignant 'Der Abschied') and James King in his prime. This is followed by a soulful 'Kindertotenlieder' this time rendered by a male voice - Hermann Prey - giving these five melancholic songs a special Mahlerian significance, paying homage to the Mahler's inspiration for composing them. Prey then segues into the youthful 'Lieder eines fahrenden Gesellen': again one song in particular is glowingly memorable with Prey's interpretation - 'Die zwei blauen augen von meinem Schatz'.

'Lieder aus Des Knaben Wunderhorn' served Mahler well in providing melodies and songs for his first four symphonies and hearing the cycle sung with the grace and fun and dignity by Jessye Norman and John Shirley-Quirk plumbs the depths of Mahler's ongoing inspiration. Haitink offers the support and orchestral playing that fits these soloists like a glove. In all, these are fine performances of these cycles, the binding thread being the same orchestra and conductor. Yes, we all have our favorite recordings of each of these works, but on the whole this album is difficult to match. Highly Recommended. Grady Harp, September 05

Songs of Pleasure, Loneliness, Sadness, and Loss ..........2004-02-03

"Already the wine beckons in the golden goblet..."
"Autumn mists float blue over the lake..."
"In the middle of the little pool/Stands a
pavillion of green..."
"Young maidens pick flowers..."
"If life were only a dream, Why then trouble
and care?"
"The sun departs behind the mountains..."
These are English translations of the German
text to 6 Chinese poems that were translated into
German by Hans Bethege in -Die chinesische Flote-
[The Chinese Flute], a collection of free
translations of Chinese poetry. The 6 poems,
sung in German, with orchestral accompaniment
by the composer Gustav Mahler, form the wondrous
content of the song cycle, "Das Lied von der
Erde" [The Song of the Earth]. The titles of
the 6 songs in English are: (1) "The Drinking Song
of Earth's Sorrow", sung by tenor James King;
(2) "Autumn Sorrow", sung by mezzo-soprano Janet
Baker; (3) "Youth", sung by James King; (4) "Beauty",
sung by Janet Baker; (5)"Wine in Spring", sung by
James King; (6) "The Farewell", sung by Janet Baker.
The orchestra for all of the song cycles on this double
CD is the Royal Concertgebouw Orchestra, and the
conductor is Bernard Haitink.
The 2nd song group is "Kindertotenlieder" (Songs
on the Death of Children). There are 5 songs in
the group based on poems by Friedrich Ruckert.
The songs are sung by Hermann Prey, baritone.
According to the liner notes by Michael Kennedy,
these poems "struck a poignant chord with Mahler,
who had seen several of his brothers die in childhood.
For each poem Mahler finds the exact musical response,
with extraordinarily graphic and telling orchestration,
refined, subtle, amost bare."
The 3rd song group is "Lieder eines fahrenden
Gesellen" (Songs of a Wayfarer). The music is
set "to the texts of four poems he [Mahler] wrote
himself. *** They were inspired by an unhappy love
affair ... for the wanderer in these poems...sees
his world collapse during the beauty of spring."
The singer is Hermann Prey, baritone.
The 4th song group is titled "Lieder aus Des
Knaben Wunderhorn" and contains texts gained
from an "anthology of German folk poetry published
in two volumes between 1805 and 1808." There are
12 of the 14 "Wunderhorn" settings which Mahler
composed on the 2nd disc in this set. The songs
cover "soldiers, and soldiers' ghosts, their
sweethearts and their fate" *** "a harrowing tale
of a starving child", "a parable of a song contest
between a cuckoo and a nightingale judged by a
donkey", and St. Anthony preaching to the fishes,
who all listen but never change their ways."
These songs are sung by Jessye Norman, soprano
and James Shirley-Quirk, bass.
This is an excellent collection of all of these
song cycles on one source, with exceptional
artists, and inspired playing and conducting.
-- Robert Kilgore.

Average customer rating:

Among the greatest

Walter Conducts Das Lied von der Erde

Manufacturer: Dutton Labs UK
ProductGroup: Music
Binding: Audio CD

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Release Date: 2002-05-14

Customer Reviews:

Among the greatest.......2004-01-12

Although this historic version from Walter and the Vienna Philharmonic does not surpass the "definitive" Klemperer/Wunderlich (a classic on EMI), it has a profusion of musical gifts to offer. True, if you're not acquainted with older mono recordings, the sound can leave you wanting for more. Nevertheless, for such a vintage live performance, after all, it sounds reasonably good. It was sort of an admirable technical deed for its time. As the other reviewer says in some interesting comments, Dutton's remasterings are truly amazing. That's a fact.

Bruno Walter was a "Mahlerist"--long before most other modern conductors, whether they were specializing or not in Mahler. He knew more than many the deep meanings of the works devised by such a fascinating composer. An almost inherent comprehension and some unique skills for the music and the chant of Mahler worked in Walter's advantage, as is reflected through this treasured recording and many others. I still marginally prefer this one to his Ferrier recording on Decca (however great it is). Of course, Ferrier's emotionally inflected singing is of a special breed--even the splendid voice of Maureen Forrester is no match to the former. In any case, singers Thorborg and Kullman are virtually peerless in their own rights, making Mahler's `Das Lied' vitalized all along. They put a breath of life to an admittedly somber work. The orchestra's dark and profound tone, almost autumnal, fits poignantly with the Mahlerian idiom of that unique masterpiece. This is a `Das Lied' you won't forget, i guarantee you. My first encounter with the work was an RCA Victrola LP by Reiner and the Chicago Symphony (also with Forrester), still a favorite of mine.

Thanks to some fine voices--combined with superb orchestral playing and broad emotional power--the very first account by Walter captures a great moment in Mahler's discography (and this despite minor caveats regarding the inevitable trade off in terms of sound, contrast and clarity). The tasteful `Ruckert Lieder' and the Adagietto of Symphony No.5 round off a most amazing journey in the earthly world of Gustav Mahler.

Average customer rating:

A decent rendition. Very nice Janet Baker.
A frustrating miss

Gustav Mahler: Das Lied Von Der Erde

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00000E4TS
Release Date: 1991-12-05

Customer Reviews:

A decent rendition. Very nice Janet Baker........2006-12-23

I'm always puzzled by 'Das Lied von Der Erde', as it is a German oratorio based on Chinese poetry, which sounds so much more like a Wagnerean treatment of Norse legends than it does like classical Chinese music. Part of my puzzlement over the great reputation of this work is that the first recordings I heard of the piece, back in the days of vinyl, were muddy, often sounding as if they were recorded through the cardboard tube for paper towels.

This recording has no such problems, as it sounds as crisp as any other work from the turn of the 20th century. I'm sure this is not the absolute best 'Lied' but I like it, and it's better than others.

A frustrating miss.......2005-09-24

Janet Baker was as famous for her Das Lied role as Ferrier a generatoin before her, and for years I waited with bated breath for someone to record her. When the time finally came it was too late--she sounds mature and tired, overtaxed by this very difficult part. James King is burlier than he was on Bernswtein's recording for Decca, a faded hero without much sensitivity to the poetry. And Haitink oddly misfires with his conducting, missing the poignancy and depth of emotion Mahler worte into the score.

Luckily, at this late date a live performance of Das Lied with Janet Baker in excellent voice has surfaced under Kubelik's direction--that's the reocrding to get if you want this marvelous mezzo in her prime (1872 as opposed to 1979, I believe).

A Celebration of Defining Moments in Recording History

Average customer rating:

Interesting, and so cheap!
Not that great

A Celebration of Defining Moments in Recording History

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Great Artists of the Century: 25 Launch Releases
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Dutilleux: Cello Concerto, Lutoslawski: Cello Concerto
Great Recordings Of The Century - Rimsky-Korsakov: Scheherazade; Borodin: Polovtsian Dances / Beecham, Royal Philharmonic Orchestra

ASIN: B0002VEQIY
Release Date: 2004-09-07

Tracks:

Sinfonietta - Simon Rattle
El Combat Del Somni - Victoria De Los Angeles
Piano Concerto - Sviatoslav Richter
Don Giovanni - Carlo Maria Giulini
Eroica - Otto Klemperer
Gymnopedies - Aldo Ciccolini
Don Carlo - Placido Domingo
24 Caprices - Itzhak Perlman
Liederkreis Op.39 - Dietrich Fischer-Dieskau
Cello Concerto - Sir John Barbirolli
Alborada Del Gracioso - Dinu Lipatti
'Peter Grimes' - Andre Previn
Das Lied Von Der Erde - Otto Klemperer
Violin Concerto No.1 - David Oistrakh
Boris Godunov - Boris Christoff
Piano Concerto No.22 - Annie Fischer
La Boheme - Jussi Bjorling
Symphony No.2 'Resurection' - Otto Klemperer

Tracks:

Bachianas Brasileiras - Heitor Villa-Lobos
Die Zauberflote - Herbert Von Karajan
Preludes II - Walter Gieseking
Symphonie Fantastique - Sir Thomas Beecham
Il Trovatore - Maria Callas
String Quartet - Alban Berg Quartett
Wesendonck-Lieder - Elisabeth Schwarzkopf
Horn Concerto No.3 - Dennis Brain
Fidelio - Otto Klemperer
Piano Concerto In G - Arturo Benedetti Michelangeli
Kindertotenlieder - Bruno Walter
Dialogues Des Carmelites - Pierre Dervaux
Violin Concerto - Yehudi Menuhin
Salome - Herbert Von Karajan
Tout Un Monde Lointain... - Mstislav Rostropovich
Il Barbiere Di Siviglia - Vittorio Gui
Fantasia On 'Greensleeves' - Sir John Barbirolli
Die Lustige Witwe - Nicolai Gedda
Symphony No.9 'Choral' - Wilhelm Furtwangler

Customer Reviews:

Interesting, and so cheap!.......2005-03-17

In response to the reviewer below, yes, some of the recordings do not have the best sound quality. But that's not what this is about, it's about great recordings of the century.
There are two discs, each with about 18 tracks, averaging about 4 minutes each, of excerpts and individual movements of the some of the most famous of the 150 "GROCs."

In the booklet it has a few interesting (sometimes not that interesting) facts about each of the 150 performances.

If you don't mind excerpts of pieces or isolated movements, this would be a worthwhile purchase, especially for the bizarrely reasonable price.

Not that great.......2004-11-19

If this is supposed to be an album of "the greatest" -- I wasn't too impressed. The quality didn't seem that good and the selections, well, not all that popular to my mind.

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Music Review

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