Mahler Mahler

This unbelievably exciting record is actually a Mahler world premiere! Das klagende Lied was Mahler's first great work–he was only 18 when he wrote it–but he later removed its first part and extensively revised the remaining two. The original versions of the second two parts, then, have never been performed until their release in 1997 as part of the new critical edition. The music is, as might be expected, less polished than the revision, but it's also wilder and even more powerful in many respects. Hopefully it will gain new attention for this neglected but totally characteristic work. This performance is nothing short of spectacular, and makes the best possible case for Mahler's original thoughts.

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

Transcriptions of chamber works to orchestral works have been interesting asides for composers for a long time - whether the transcription are alterations of a composer's own songs or chamber works to full orchestral size or those of other composers for which the transcriber had a particular affinity. Stokowski's transcriptions of Bach's works are probably the most familiar to audiences. The two transcriptions on this recording are the creations Gustav Mahler and his election to transcribe the quartets of Beethoven and Schubert is not surprising: Mahler 'transcribed' many of his own songs into movements or portions of movements for his own symphonies. Listening to Mahler's transcriptions of these two well known quartets - Franz Schubert's String Quartet in D Minor 'Death and the Maiden' and Ludwig van Beethoven's String Quartet in F Minor 'Serioso' - provides insight into both the orginal compositions and the orchestration concepts of Gustav Mahler. The themes of these two works would naturally appeal to Mahler's somber nature. Mahler naturally extends the tonal sound of each of these transcriptions by using the full string orchestra and in both works it is readily apparent that his compositional techniques within string sections are ever present.

Rafael Kubelik's highly chromatic, poetic Mahler recordings have been staples in Duetsche Grammophon's catalogue since their inception. Tempos overall tend to be quicker than the norm (Symphony No. 8 for instance fits conveniently on one CD), yet never at the expense of glossing over the composers renowned wealth of inner details. Many Mahler aficionados still regard Kubelik's readings here of the Symphonies No. 1 and No. 7 as reference recordings. Distinguished soloists include Dietrich Fischer-Dieskau, Edith Mathis, Norma Proctor, Franz Crass, and Julia Hamari. The Bavarian Radio Symphony Orchestra as well as the various outstanding choirs employed throughout the cycle couldn't be more in sync with Kubelik's inspired visionary interpretations.

It seems that Gary Bertini, like Gustav Mahler, is destined to be better remembered after his death than he was known during his life. When he passed away in 2005, he was little known outside Israel, Japan and continental Europe and nowhere near as widely recognised as the glamour conductors who appear on the пїЅmajorпїЅ labels. His recordings were few and hard to find. A year after his passing, Capriccio has launched a Gary Bertini Edition (see, for example, review) featuring live recordings drawn from the archives of the KпїЅlner Rundfunk-Sinfonie-Orchester, and EMI has re-released his Mahler cycle.