Mahler Titan

Francois-Xavier Roth and Les Siècles present a fascinating new interpretation of Mahler's Symphony No.1. It features the first period instrument recording of the 1893-94 version, using a performing edition prepared by musicologists Anna Stoll Knecht and Benjamin Garzia, working in collaboration with Universal Edition. Initially presented as a symphonic poem entitled Titan, the work was met with severe criticism as it developed. This fascinating reconstruction using the composer's Hamburg and Weimar manuscripts testifies to the genius of one of the greatest symphonists of the modern era.

These performances are truly great and surprisingly well recorded too. Walter has masterful way to create maximum drama and profundity in the 2nd symphony without making much fuss, letting the music flow naturally and speak for itself. The final apotheosis is very powerful and awe-inspiring without resorting to Bersteinesque exaggeration. The first symphony is equally impressive, beautifully crafted and lavishing in orchestral colour. Definitely a must-buy for anyone after fine performances of the two symphonies.

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.

This Sony-made 30CD classical music collection covers almost all classical music, from the early Baroque period represented by Bach to the schools of classical music by Haydn, Mozart, Beethoven and Brahms represent romantic, national and even modern musical schools led by Schubert, Schumann, Mendelssohn, Dvorak, Tchaikovsky, Chopin, etc. representative, everything wonderful and vivid.

"Barbirolli's famous 1969 version on any count is one of the greatest, most warmly affecting performances ever committed to disc, expansive, yet concentrated in feeling: the Adagietto is very moving… A classic version." The Penguin Guide to Classical Music about the 5th Symphony

György Solti has come in for his share of hard knocks as a Mahler interpreter, and no one will pretend that he has the same sort of intuitive empathy for this music that Leonard Bernstein has. But he does have the Chicago Symphony Orchestra–no mean advantage–and many of these performances have come up sounding rather well. London also has been smart to include his first (and better) performance of the Fifth, and he generally does quite well by Symphonies Nos. 2, 6, 7, 8, and 9 as well.

For the third installment in Adam Fischer's Mahler cycle on CAvi-music, he leads the Düsseldorf Symphony in a straightforward and polished presentation of the Symphony No. 1 in D major, assembled from several concert recordings in February 2017. This 2018 release offers a nearly flawless version of one of Mahler's most popular symphonies, and Fischer prudently avoids any anachronistic associations with the symphony's earlier form as a symphonic poem.

This disc marks the beginning of a new Mahler cycle with these forces in SACD sound. If you collect SACDs, you’ll be impressed with the engineering in the surround-sound format, which is very natural, coherent, and has plenty of room ambience without excessive rear-channel emphasis. “Natural” also describes Zinman’s performances. The first movement has a great sense of flow, and he doesn’t drag out the introduction as relentlessly as some others have. He catches the rustic character of the scherzo to perfection, though I do wish he’d exaggerated the Jewish music in the funeral march a bit more. The music could take a bit more schmaltz, and a bit more spookiness in the march itself despite the careful observance of Mahler’s dynamics.