Gustav Schmidt

I became sceptical when I noted that such a young singer had chosen to record at once these two late sets by Brahms and Wolf. They ought to be the province of baritones and basses (preferably the latter) of mature years, who have garnered the vocal and emotional experience to make the most of two of the profoundest compositions in all the field of Lieder. My scepticism was all too readily confirmed in listening to Schmidt tackle each.

The Klingler Quartet was regarded as the best string quartet of its times and as the rightful heir to the legendary Joachim Quartet. Karl Klingler, the musician who gave his name to the quartet, had studied with Brahms' friend Joseph Joachim and had joined his teacher's quartet as a young violist. MDG's sleuths have now found two remarkable historical documents in the archives of the Bavarian Radio that show us Klingler as a composer and as an interpreter: his Violin Concerto with Ulf Hoelscher and the Berlin Philharmonic under Volker Schmidt-Gertenbach and the Viola Sonata performed by the composer himself along with Michael Raucheisen at the piano.

A finely balanced recording places the voices in ideal relationship with the orchestra which itself is given a well-aired, clean sound (although the Amsterdam sound of 13 years ago for Bernstein is no less truthful). It supports a performance that is predictably – given the BPO/Abbado partnership – shipshape in execution, nothing in Mahler’s highly original scoring overlooked. As is customary with this conductor’s Mahler, the approach tends to be objective and disciplined. In that respect it is at the opposite pole to the concept of Bernstein who, in my favourite version among many available, is more yielding and, to my ears, more idiomatically Mahlerian in mood and in subtlety of rubato, those little lingerings that mean so much in interpreting the composer – yet Bernstein is no slower as a whole.

It is all too easy to take Gustav Mahler's symphonies and orchestral songs for granted in the 21st century's first decade. More than ever before, concert performances and recordings of these works abound, and at a level of proficiency that reveals the remarkable extent to which musicians worldwide have assimilated the composer's idiom. Given the music's primacy in today's central orchestral repertoire, we forget how the great Mahler advocates of the past had to champion his music in the face of adversity. "Who can bear those monstrous symphonies, those over-blown, out-of-date horrors," asked one leading music critic when the New York Philharmonic launched a Mahler Festival to celebrate the composer's 1960 centenary.

The Decca / Deutsche Grammophon catalogue of Mahler recordings is unsurpassable. Our major contribution to the celebrations this year will be the first-ever Mahler Complete Edition, a combined effort of Decca and Deutsche Grammophon recordings as an 18-CD supe-rbudget box, with the ten symphonies, Das Lied von der Erde, Das klagende Lied, the song cycles, the Knaben Wunderhorn songs and early works - in benchmark recordings by a great assembly of Mahler conductors, singers and orchestras. Each Symphony gets a different conductor, and the list is awesome: Abbado (no. 6), Bernstein (no. 5), Boulez (no. 4), Chailly (no. 10), Giulini (Das Lied), Haitink (no. 3), Karajan (no. 9), Kubelik (no. 1), Mehta (no. 2), Sinopoli (no. 7), Solti (no. 8).