The first releases from the Munich Philharmonic’s own recording label feature sensational performances of works by two composers with whom the orchestra is closely associated: Gustav Mahler’s Symphony No. 2 and Anton Bruckner’s Symphony No. 4.
The recording of Mahler’s Second Symphony was made during the opening concerts of Valery Gergiev’s first season as Music Director of the Munich Philharmonic. Since first coming to prominence after winning the Karajan Conducting Competition at the age of 24, Gergiev has established himself as one of the world’s great conductors and communicators on the value and role of music in today’s society.
Karajan's way with Mahler is smoother, less anguished or conflicted than many critics like, but he isn't glib or glossy–this is excellent, insightful conducting. I can't imagine why DG doesn't have more faith in this recording or why critics haven't discovered it. It's not as though Karajan is a hidden talent. After collecting Das Lieds from Rattle, Bernstein, Horenstein, Tennstedt, Kubelik, Giulini, Salonen, Sinopoli and Walter–the list goes on–I sitll rank this version almost as high as the Klemperer. Certainly no one has done it better since. - from Amazon.com
The surprising thing about these three discs is that the performances get better the further we depart from the shores of Romanticism and tonality. Not what you'd expect from von K and the Berliners. Pelleas benefits from wonderfully lush orchestral playing from the Berlin Philharmonic, but it feels more like very colourful scene painting rather than real drama. To get to the Romantic heart of this piece, try Barbirolli: for its expressionist, forward looking (via Verklarte Nacht to Erwartung) side, go to Boulez.
Gustav Mahler represents one of the keenest losses to early classical recordings. Despite his present fame as the last of the great German symphonic composers, during his lifetime Mahler was better known as a profoundly influential conductor. His obsessive intensity on the podium fueled headstrong, expressive performances of huge individuality. Mahler was the last and perhaps most extraordinary of all the authentic late-romantic conductors, who never hesitated to mold or even rewrite music to their own taste. Mahler records would provide an enormously valuable key toward reconstructing and understanding the lost performing style of his era. And yet, Mahler died in his prime in 1911, at age 51, without having recorded.
So what's this? Nothing less than Mahler himself at the keyboard–and in digital stereo!
Made after his official resignation from the Berlin Phil and six months before his death, this last recording is likely - at least in part - reflective of Karajan's mental tossing and turning before he died. We could gather that he felt quite wronged, and wanted to express forgiveness then to bid the world a farewell.
Bernstein leads the Wiener Philharmoniker and the Royal Concertgebouw Orchestra through Mahler's Symphonies Nos. 8-10 and Das Lied von der Erde . Special highlight: the breathtaking vocals on Symphony of a Thousand !
A veritable who's who of pieces & composers, the CDs Karajan Forever will hopefully live forever. Herbert VonKarajan was the conductor of the Berlin Philharmonic from 1955 until his demise in 1989. His vision & helmsmanship of this magnificent orchestra have literally changed the way a whole generation heard music.