Mahler: The Complete Symphonies [Box Set]

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Editorial Reviews

All Music Guide - James Leonard
If, in the 20 years spent recording Mahler's 10 symphonies plus his symphonic song cycle "Das Lied von der Erde" and symphonic oratorio "Das Klagende Lied," Simon Rattle was at first determined to deliver performances contradicting accepted standards and at the end equally determined to deliver performances conforming to accepted standards, he succeeded admirably. Rattle's 1984 "Das klagende Lied" was one of the first of the complete three movement versions, and the first to treat the sprawling early work as if it were a soaring mature work. His 1985 "Second" featured an opening Funeral March and a concluding "Apocalypse" taken in large part at nearly the same tempo, ...
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Editorial Reviews

All Music Guide - James Leonard
If, in the 20 years spent recording Mahler's 10 symphonies plus his symphonic song cycle "Das Lied von der Erde" and symphonic oratorio "Das Klagende Lied," Simon Rattle was at first determined to deliver performances contradicting accepted standards and at the end equally determined to deliver performances conforming to accepted standards, he succeeded admirably. Rattle's 1984 "Das klagende Lied" was one of the first of the complete three movement versions, and the first to treat the sprawling early work as if it were a soaring mature work. His 1985 "Second" featured an opening Funeral March and a concluding "Apocalypse" taken in large part at nearly the same tempo, thereby ignoring a performance tradition of taut Marches and expansive Apocalyses stretching back through Klemperer and Walter. And his 1989 "Sixth" reversed the order of the inner movements from Scherzo-Andante to Andante-Scherzo, thereby flaunting the traditional order in the work's standard printed editions. While his 1991 "First" was only somewhat more impetuous than many and his 1993 "Seventh" only slightly more reserved than most, Rattle's 1995 "Das Lied von der Erde" differed from nearly every other recording because he used not the accepted version for tenor and alto but the alternative version for tenor and baritone. Likewise, his 1997 "Third" was relatively straightforward, but his 1997 "Fourth" reversed the opening movement's tempos and thus contravened every other recording ever made of the piece. But Rattle's approach to Mahler changed when he succeeded Claudio Abbado as music director of the Berliner Philharmoniker. With only one exception, Rattle had heretofore led his City of Birmingham Symphony Orchestra, a doughty Midlands ensemble dedicated to giving Rattle its best but still a provincial band compared with the super-virtuoso orchestra of the German capital, and his 1999 recording of the complete "Tenth" and 2002 recording of the "Fifth" were not only superlatively played, they were well within the established Austro-German performing tradition. Even the "Tenth," the least recorded of Mahler's symphonies, received a performance so interpretively conservative it made the work sound like an integral part of the Mahler canon. The only exception to the earlier "only in Birmingham" rule was Rattle's 1993 recording of the "Ninth" with the Wiener Philharmoniker, and like the later Berlin performances, it, too, was more refined in its playing and more central in its interpretation. Returning to Birmingham for the "Symphony of a Thousand Eighth" in 2004, Rattle and his players -- plus, of course, his hundreds of singers -- turned in a performance of exceptional excitement and if unexceptional traditionalism. Perhaps the work's enormous scale and gargantuan ambition preclude interpretive freedom. Even Leonard Bernstein and Kent Nagano, two notably freedom-loving Mahler conductors, recorded relatively direct performances of the "Eighth." Or perhaps Rattle had mellowed over the course of two decades and felt less need to prove his individuality. But whatever the cause, while Rattle's "Eighth," like any great "Eighth," is tremendously thrilling, it is also, like any great "Eighth," no less interpretively conventional than the industry standard recordings by Solti and Tennstedt. Though definitely not for everyone, Rattle's recordings will surely challenge any seasoned Mahler fan's understanding of the music.
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Product Details

  • Release Date: 10/2/2007
  • Label: Warner Classics
  • EAN: 5099950072125
  • Catalog Number: 00721
  • Sales rank: 265,050

Tracks

Disc 1
  1. 1 Symphony No. 1 in D major ("Titan"): Blumine - Gustav Mahler & City of Birmingham Symphony Orchestra (7:29)
  2. 2 Symphony No. 1 in D major ("Titan") - Gustav Mahler & City of Birmingham Symphony Orchestra (57:17)
  3. 3 Symphony No. 3 in D minor - Friedrich Nietzsche & Gustav Mahler (96:39)
  4. 4 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Der Schildwache Nachtlied - Gustav Mahler & City of Birmingham Symphony Orchestra (5:50)
  5. 5 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Verlor'ne Müh' - Gustav Mahler & City of Birmingham Symphony Orchestra (2:30)
  6. 6 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Wer hat dies Liedlein erdacht? - Gustav Mahler & City of Birmingham Symphony Orchestra (1:58)
  7. 7 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Wo die schönen Trompeten blasen - Gustav Mahler & City of Birmingham Symphony Orchestra (6:58)
  8. 8 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Revelge - Gustav Mahler & City of Birmingham Symphony Orchestra (6:30)
  9. 9 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Der Tambourg'sell - Gustav Mahler & City of Birmingham Symphony Orchestra (5:27)
  10. 10 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Des Antonius von Padua Fischpredigt - Gustav Mahler & City of Birmingham Symphony Orchestra (3:46)
  11. 11 Des Knaben Wunderhorn, song cycle (12) for voice & piano (or orchestra): Ablösung im Sommer - Gustav Mahler & City of Birmingham Symphony Orchestra (1:43)
  12. 12 Symphony No. 4 in G major - Gustav Mahler & City of Birmingham Symphony Orchestra (59:20)
  13. 13 Symphony No. 5 in C sharp minor - Gustav Mahler & Berlin Philharmonic Orchestra (69:04)
  14. 14 Symphony No. 7 in E minor ("Song of the Night") - Gustav Mahler & City of Birmingham Symphony Orchestra (77:10)
  15. 15 Symphony No. 8 in E flat major ("Symphony of a Thousand") - Gustav Mahler & Juliane Banse (77:25)
  16. 16 Symphony No. 10 in F sharp major (realization by Deryck Cooke) - Gustav Mahler & Berlin Philharmonic Orchestra (77:23)
  17. 17 Symphony No. 6 in A minor ("Tragic") - Gustav Mahler & City of Birmingham Symphony Orchestra (86:27)
  18. 18 Symphony No. 2 in C minor ("Resurrection") - Gustav Mahler & Gustav Mahler (86:00)
  19. 19 Symphony No. 9 in D major - Gustav Mahler & Vienna Philharmonic Orchestra (81:07)
  20. 20 Das klagende Lied, cantata for soloists, chorus & orchestra - Gustav Mahler & City of Birmingham Symphony Orchestra Chorus (65:19)
  21. 21 Das Lied von der Erde, for alto (or baritone), tenor & orchestra: 6. Der Abschied (Extract) - Gustav Mahler & City of Birmingham Symphony Orchestra (3:27)
  22. 22 Das Lied von der Erde, for alto (or baritone), tenor & orchestra - Gustav Mahler & Gustav Mahler (63:29)
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Album Credits

Performance Credits
Simon Rattle Primary Artist
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Customer Reviews

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