Vladimir Ruzdjak Gustav Mahler Spoken Word - Mahler The Complete Symphonies (46 tracks) +Album Reviews

Indeed, they do sound better

B. Guerrero | 05/14/2009

(5 out of 5 stars)

"If you consider sound quality and orchestral execution to be important factors, I still feel that the Gary Bertini complete Mahler cycle on EMI is the best overall one (and it includes a terrific "das Lied von der Erde"). But there's also no argument that Bernstein's first Columbia Mahler cycle still remains an important milestone in the history of recorded classical music. The real question is this: are these DSD remasterings enough of an improvement to warrant dumping whichever earlier version is already in your collection, and making the upgrade to this even newer one. I would say that the answer lies upon just how satisfied, or unsatisfied you are with Sony's earlier efforts. As usual with a project as monumental as this, you take the bad with the good.

The good part is this: the dynamic range is a bigger now, and there's more "air" or space around the instruments themselves. But these new remasterings are also a tad "brighter" sounding; favoring the treble end of the audio spectrum. This is especially true in comparison to the Bernstein Century remasterings, which are generally more "smooth" sounding. For me, the biggest improvement comes with Bernstein's monumental LSO M8 - a recording that has been slighted-over for the last several decades for the more "slick" sounding Solti M8. I greatly prefer the Bernstein. This time, there's much less of the distortion that has always dogged the endings to both parts. But it's also really annoying that Sony has now elected to forgo giving us extra tracks in Part II of M8. They also chose to drop the Janet Baker/Israel Phil. "Kindertotenlieder" that began disc one on the Bernstein Century rendition of this. Instead, Sony has now placed the entire M8 on one disc, sans extra tracks. However, they could have placed the "KTL" before the first movement of M3, which occupies a single disc by itself. If it's already available, why not use it again?

Now that that's out of the way, another "good" feature is the inclusion of the personal recollections of Mahler that were a major selling point for the New York Phil's own Mahler symphony cycle box set (remember that?). Now I no longer have to feel guilty for no longer owning that particular box (I copied some of the better performances). Every good Mahlerian should own these recollections, I suppose. Another "goodie" is the inclusion of the Christa Ludwig/Israel Phil. "Das Lied von der Erde", which has never enjoyed a good mastering job previously. It sounds pretty good here. However, I am bummed that Bernstein's outstanding "Des Knaben Wunderhorn" has not been included in any of the big box sets. It's a wonderful "DKW", with both Christa Ludwig and Walter Berry in excellent voice. It should get included.

In summary, if you're a big fan of Bernstein's pioneering Mahler from the 1960s, you'll want to own these DSM remasterings. Just beware that the more realistic and accurate sound also means that momentary lapses in precision and intonation (tuning) are more noticeable now too. If that idea scares you, you might want to stick to the darker sounding Bernstein Century ones. But if you're also a big admirer of Bernstein's ultra-exciting Mahler 8 from London, get this!

"

OMG, the improved sound quality!!

SwissDave | Switzerland | 08/03/2009

(5 out of 5 stars)

"I won't go into detail about the performances here: Bernstein's earlier Mahler cycle for Columbia Masterworks is legendary, and on the whole, may still be the finest available - all except Symphony No. 5 (and to a lesser extent No. 1 - the middle two movements in particular, plus I could never warm up to tenor René Kollo in this Das Lied von der Erde, even if Christa Ludwig's "Der Abschied" is truly worth hearing, here as much as elsewhere) here belong among my favourite interpretations/recordings ever. What's really shocking to me is how much the sound is improved compared to earlier CD issues (let alone the original LPs) - this happens only rarely, but in this case, the new remasterings (apparently from the original session tapes versus the standard production master) are really fuelling my appreciation for the interpretations and the music themselves (one simply hears so much more of everything, all of a sudden it all sounds so fresh and lively!). It's too bad Bernstein's Columbia Mahler isn't complete (the song cycles are missing, this is strictly Symphonies plus Das Lied von der Erde), but I'm happy to have bought this latest reincarnation (that is, again) - and I'm really convinced it must now be a first choice for Mahler novices, too.

Greetings from Switzerland, David."

Best sound is now quite a lot better

Santa Fe Listener | Santa Fe, NM USA | 12/11/2009

(5 out of 5 stars)

"The lead reviewer's preference for Gary Bertini over Leonard Bernstein is eccentric, to say the least, but I agree on technical grounds that this new issue is the best-sounding version of Bernstein's first Mahler cycle. A note from the engineer responsible for the remastering informs us that he went back to the original multi-channel master tapes. These were mixed on a "state-of-the-art, one--of-a-kind analog soundboard." The resulting mix was then digitally transferred to a single-bit steam for audiophile-grade quality in the CDs. None of this can be fully translated by me into ordinary ideas, but my ear can tell that some glaring sonic blemishes are gone.

I don't hear the brighter highs that the lead reviewer mentions, but the bass is now clean and distinct; there's no digital glare in the higher strings; the orchestra has more room to breathe. This is all to the good. Anyone who loves these performances can rest assured that rebuying them one more time is well worth it.

I am a devotee of Bernstein's Mahler. Indeed, it's my Mahler, the first I ever heard, along with Bruno Walter's. I bought the original 13-LP box set. As much as I loved the performances, the sound wasn't good. Even now, with advanced technological tweaks, the improved sound isn't as rich, dynamic, or complete as what Bernstein got from DG in the digital era when he returned to Mahler a second time. Too often the horns are backwardly placed; the string sound is thin at times. But one thing can be said -- we have come as close as possible, for now, to what the conductor and engineers heard in the control booth during the recording sessions. Good enough, and thanks.

Not all of these 12 CDs are well filled, but it's nice that Sony included the original bonus disc in which musicians who played under Mahler remember him. The last CD contains a performance of Das Lied von der Erde that is defective in Rene Kollo's unappealing singing and the lackluster abilities of the Israel Phil., but at least Bernstein himself and Christa Ludwig, in a signature role, are fine."

These showed the way...

William Dodd | Castle Rock, WA USA | 04/29/2009

(4 out of 5 stars)

"Leonard Bernstein was my hero in those days. He was young, good looking, much like the folks in the White House. I loved his music, and I thought he could no no wrong. In the years that have passed, I've grown to enjoy his compositions more than his conducting, which is often uh.... unusual. Some of these recordings are considered the best available, and I will state without reservation that they've never sounded better than they do in this set. But for me, none would be a first choice. If you love these performances, you will absolutely love the way they sound in this latest remastering. I will enjoy coming to them occasionally. It's for sure that NO ONE else does Mahler quite like Lenny."

Great Sonic Improvement Over Previous Issues

I. Martinez-Ybor | Miami, FL USA | 08/06/2009

(4 out of 5 stars)

"This is the best sound these recordings have received ever. Nonetheless, the lack of depth, air, and a bias for bright, treble sound rob Mahler's orchestra of much color and amplitude, not Bernstein's fault, certainly, but an underlining of a certain pervasive brashness these early recordings could perhaps have done without, or at least to a lesser extent. Funny, I like them better now than I did then.

Of special interest in this set is a series of interviews with retired players who played under Mahler. A treasure.

If you are a Bernstein fan, of course these performances belong in your collection. He staked a claim with Mahler as with no other composer, and he remained loyal to it throughout his career. He was not quite the "pioneer" that some made him out to be, but he got Columbia to record all of the symphonies, and that in itself is worthy of respect and honor.

In general, I don't find "complete symphonies" of anybody with the same conductor satisfying overviews (exceptions that break the rule, Beethoven: Karajan's from the 1960s, Harnoncourt's, and Furtwangler's compilations which include the wartime Eroica from Berlin and the Pastorale from his return to the BPO concert). Conductors as a rule are better at some than at others. Specifically with Mahler, I need to admit that I don't like all the symphonies equally, nor do I find any one conductor doing them equally as well, so overall, I suggest don't get this box but look for individual items. Let's take one symphony at a time:

First: not one of my favourites, I think it's very loud. Bernstein brings out the klezmer aspects which are cute, but perhaps more subdued highlighting would be enough. It's the "Titan," not the "Jewish" symphony. The performance I enjoy, given that I'm not a fan of the work, is Ormandy with the Philadelphia Orch which includes the Blumine movement (excised by Mahler after the premiere), and shows the later Philadelphia sound at its best. Some critics hate inclusion of the Blumine.

Second: The earlier movements of the symphony are insufferable, as well as parts of the last.... just when you hope Mahler is through with gaucheries, along comes another embarrasing little march. Notwithstanding shortcomings, by the time the chorus comes in, it becomes sublime. No one can top Klemperer/Wilhelm Pitz, serious music making at its best. Abbado from Lucerne a close second. Rattle from Birmingham a refreshing third. Bernstein's conception is cogent, emotional and successful in the main. His chorus lacks finesse and awe (is it an amateur group?) so it detracts from some of the most beautiful pages in the score. Jennie Tourel seems to be shouting; Lee Venora is efficient.

Third: Have not heard fabled Horenstein, so regrettably, not part of this survey. Otherwise, Abbado from Vienna (Norman), slower, Abbado from Berlin (Larsson),a bit sprightlier, Essa Pekka Salonen from LA (Larsson), great clarity and passion. This is one of my favourite Mahler symphonies. Bernstein I think is better on DG. The recorded sound, even as cleaned up here, requires amplitude that the later recording achieves but Columbia didn't.

Fourth: Reiner with the CSO and Lisa della Casa, to my knowledge his only Mahler symphony, and a great one it is, lyrical and powerful. This symphony has lovely moments, even if the end is a bit saccharine/silly, nonetheless, it is quite fine. Bernstein on DG is fine, but having a boy soprano (Alan Bergius, whom he also used in live concert with the VPO in New York) just doesn't work and is distracting. The NYPh with Reri Grist (previously a minor player in the original West Side Story and later a Met Sophie) is enjoyable.

Fifth: Another of my favourites and hors de concours go to Karajan. He totally commands the structure of the entire piece and brings it all to bear in the climactic conclusion. ..... a stunning, moving job. Barbarolli is more leisurely but persuasive in a somewhat muted way. Bernstein brings his sense of drama to this sprawling work, very effective in individual parts but does not convey a feeling that one has travelled a musical journey from the first note to the last. The later recording is preferable to the NY Philhamonic.

Sixth: For a budget price incredible buy, there's George Szell with the Cleveland in a live performance who keeps you at the edge of your seat. It's Tragic going on Hysterical, but a thrill to hear. Karajan excels as do Bernstein (both recordings) Solti, and Boulez.

Seventh: I've yet to fully make this symphony work for me. Nonetheless, Abbado with the BPO does as much for it as I have been able to grasp, closely followed by Boulez. Bernstein makes much drama out of the music which to my ears, just makes it sound even more hollow, to paraphrase WS much sound and fury, signifying nothing. To summarize my feelings about this symphony, it sounds like a second rate, ingenious composer trying to write a symphony that will sound as if by Mahler. I've changed my mind about specific pieces of music in the course of my life, but every time I've heard this symphony, even with renowned conductors and orchestras, it reinforces past disdain.

Eighth: Solti and the CSO recorded in Vienna. No one comes close. The Veni Creator movement noisy and musically messy as always and as with everybody. Once we get to Goethe it is sublime. The new Boulez on DG is superb even though I hear the live performance that preceded it was even better. Bernstein's has drama but lacks sweep, I think that may be said of the earlier and later performances.

Ninth: Karajan's live performance with the BPO is powerful verging on sublime. An entirely different approach, with double underlining whenever he can, Bernstein's ONE performance with the BPO is the best ninth he ever recorded. Extraordinarily moving overall, except some accents to which one reacts: Lenny no, it's just a bit too much, nonetheless a great performance. His with the Concertgebouw is also fine. Both are better than the earlier NY performance. The Walter/VPO is a must for historical reasons and it is a good performance, even if orchestral discipline is spotty.

Tenth: Rattle seems to have staked a claim on this reconstructed work and does quite efficient work with it. However, I am very fond of the Ormandy version (the first ever made of the Cooke fleshing out). He conducts it as a feast for Phildelphia Sound..... and succeeds splendidly. It's a joy to hear and endures repeated hearings. Lenny would never conduct the reconstructed version but left two very fine accounts of the first movement adagio.

Das Lied von der Erde: With a deep historical bow to Kirsten Thorborg, Kathleen Ferrier, Patzak, Walter and the VPO, in more modern sound we have three superlative recordings, each with Christa Ludwig, who probably understands this music better than any other solo around, and for the longest time had the richness, intelligence, heft, evennes, and tessitura to do it full justice: Klemperer with Wunderlich, Karajan with Kollo, and, on DVD with Bernstein and also Kollo and the Israel Ph. from the Vienna Kontzerthaus. The DVD is particularly moving. The set being reviewed here includes the audio portion of the dvd. It is a great performance with Christa at her most eloquent and moving. Nan Merriman with Eugen Jochum, and Maureen Forrester with Reiner are also fine options.

Thus, don't settle on one conductor....... there was Mahler before, during and after Bernstein. My reluctance to endorse Bernstein wholeheartedly, though I find much to appreciate there, is that the hyper-emotionalism more often than not is episodic, thereby taking from the musical structure of the pieces as a whole, and these are pieces whose structures are rather diffuse to start with (except the fifth) and, ironically, thereby diminishing their emotional impact. I guess it all becomes too much about Lenny and not about the piece. But this new incarnation of those early New York recordings has made me appreciate his early efforts more and with greater affection."

Search - Vladimir Ruzdjak, Gustav Mahler, Spoken Word :: Mahler: The Complete Symphonies [Box Set]

CD Details

CD Reviews