Das Lied von der Erde, for alto (or baritone), tenor & orchestra: No 1, Das Trinkleid von Jammer der Erde
Das Lied von der Erde, for alto (or baritone), tenor & orchestra: No 2, Der Einsame im Herbst
Das Lied von der Erde, for alto (or baritone), tenor & orchestra: No 3, Von der Jungend
Das Lied von der Erde, for alto (or baritone), tenor & orchestra: No 4, Von der Schönheit
Das Lied von der Erde, for alto (or baritone), tenor & orchestra: No 5, Der Trunkene im Frühling
Das Lied von der Erde, for alto (or baritone), tenor & orchestra: No 6, Der Abschied
Bruno Walter recorded Das Lied three times, and the most famous recording is his second one, recorded in the 1950s for London and featuring Kathleen Ferrier and Julius Patzak. That record has enormous sentimental value ... more »for the British, because they can't get enough of Ferrier, who died tragically of cancer in 1953 at the age of 41. But the fact is, she sounds terrible on the recording, and Patzak was well past his prime, too. Also, the postwar Vienna Philharmonic was no match for the New York Philharmonic in performing this music; the New York orchestra has an even more authentic Mahlerian pedigree than do the Viennese. This final stereo performance, then-- Walter's last thoughts on the piece that he premiered 50 years earlier--is the one to own. --David Hurwitz« less
Bruno Walter recorded Das Lied three times, and the most famous recording is his second one, recorded in the 1950s for London and featuring Kathleen Ferrier and Julius Patzak. That record has enormous sentimental value for the British, because they can't get enough of Ferrier, who died tragically of cancer in 1953 at the age of 41. But the fact is, she sounds terrible on the recording, and Patzak was well past his prime, too. Also, the postwar Vienna Philharmonic was no match for the New York Philharmonic in performing this music; the New York orchestra has an even more authentic Mahlerian pedigree than do the Viennese. This final stereo performance, then-- Walter's last thoughts on the piece that he premiered 50 years earlier--is the one to own. --David Hurwitz
CD Reviews
This Recording, Mildred Miller, and an On-Line Libretto
Dr. David P. Burke | Monterey, CA USA | 12/08/1999
(5 out of 5 stars)
"Bruno Walter's close personal and professional relationship to Gustav Mahler in the final years of the composer's life adds interest to any Walter performance of a Mahler work, and especially of Das Lied von der Erde with which Walter is so closely identified. David Hurwitz's is right, in his review for Amazon.com, that this, Walter's final recording of Das Lied, is the one to own, chiefly because of the superior performances by the vocal soloists. However, instead of just panning the performance by Kathleen Ferrier in the earlier Vienna Philharmonic recording, Hurwitz might given credit by name to the artist who surpassed her, Mildred Miller. Her performance on this recording, made in the maturity of Miller's career, is notable not only for the richness and beauty of her voice, but for her sensitivity to the text of the German translations of the classical Chinese poems of the Tang Dynasty that comprise Das Lied's libretto. Unfortunately, no libretto is included with this recording. You can enhance your enjoyment of this fine performance by downloading one, in German and English, from www.recmusic.org/lieder/v/various/erde.html."
Don't forget Ernst Haefliger
Peter Goldstein | Huntingdon, PA United States | 12/15/1999
(5 out of 5 stars)
"I love this recording, too, but not so much for Mildred Miller (like the other reviewer) as for Ernst Haefliger, my favorite tenor. The opening song is incredibly difficult, as the singer has to make himself heard against a soaring orchestra. Just listen to Haefliger convey the passion and desperation. And then there's the wonderful song of the Drunkard in Spring, where he shows his delicacy and humor. Great, great singer, and a wonderful recording all around."
A great Mahlerian saddled with a mediocre mezzo
Santa Fe Listener | Santa Fe, NM USA | 02/16/2007
(4 out of 5 stars)
"David Hurwitz delivers one of his typical comic performances by trashing Walter's legendary Das Lied (mono, Decca) with Julius Parzak and Kathleen Ferrier, one of the classics of recorded sound, while preferring this dodgy stereo remake. Certainly there are great things here. Walter wasn't always vigorous in old age, but in the opening tenor song he is full of vigor and insight, and the NY Phil. plays with total conviction. In addition, the Swiss tenor Ernst Haefliger, never a thrill to hear, does quite a good job, giving us a surprisingly full tone and confident phrasing--a far cry from the strained yelling so often heard. The stereo sound from 1958 is clear and warm, too, especially in the new "Great Performances" remastering.
What starts off so well doesn't stay that way, however. The conducting never flags, but Walter made an unfortunate choice in the now-forgotten Mildred Miller. The mezzo, alto, or baritone who sings Mahler's great half-hour final song, Der Abschied, must rise to heights of expression, passion, and musicianship. Ferrier, Christa Ludwig, and Janet Baker do just that, while Miller is merely good, assuming you like her somewhat quavery light voice. For those of us who cherish Walter's Mahler, this CD remains a must-listen, even though more than half the work is sung by an artist of medium caliber.
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The Best Das Lied von der Erde
Jonathan Stern | New York, New York USA | 06/08/2000
(5 out of 5 stars)
"The soloists are fine - Miller is aptly sensitive even if she is not as well-endowed vocally as Dame Janet Baker. The New York Philhamonic has never - repeat, NEVER - sounded better. And Walter, he conducts this work as if it would be the last thing he would ever conduct (and, indeed, it was one of his last recordings). You'll never hear a more emotive version - rich, achingly sad, searching, singing. This performance alone proves that Walter truly was one of the great Mahler conductors, lest anyone thought otherwise. Don't forget the Kleenex!"
Magnificent Mahler
mackjay | Cambridge, MA | 06/22/2009
(5 out of 5 stars)
"Here is a recording many of us take for granted. Bruno Walter had the nearly life-long association with Mahler and was seen as first-hand expert of sorts. Walter's more famous recording with the Vienna Philharmonic, Julius Patzak and the great Kathleen Ferrier has long been regarded as his greatest. Personally, I find Ferrier's voice very worn sounding on that recording. She and Patzak have many wonderfully expressive moments, but I don't find I enjoy the recording on a vocal level. As for the conducting, Walter really was, in my opinion, unsurpassed in this work, and we can be grateful that he recorded it again in stereo. I don't detect a lessening of energy or drama in 1960, and the superior stereo recording has tremendous dynamic range and amazing detail (mandolin, celesta and growling trombones in Der Abschied!). No one will likely say that Mildred Miller was one of the great singers, but she is far more than merely adequate and she has a gift for the world-weary sensibility of this music. Ernst Haefliger is widely seen as a good match for DAS LIED and indeed he does shine here, fully meeting the rigorous demands of the first song, while possessing the lyricism needed for songs 3 and 5. I was led to re-hear this performance after reading Lewis Smoley's comments on it in his 1986 Mahler discography. Smoley's opinions only rarely coincide with my own (for example, he trashes the Klemperer studio recording of Mahler 9, a recording I consider among the greatest of that work). As for DAS LIED, Smoley has a lot say about all recordings up until 1986, and he considers this one to be the best. I don't like choosing only one recording as the best of any work, but I agree that this one is among the top contenders."
Track Listings (6) - Disc #1