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Mahler: Symphony No. 1 in D; Symphony No. 2 in C minor 'Resurrection' (I - V)
Mahler, Lpo, Tennstedt
Mahler: Symphony No. 1 in D; Symphony No. 2 in C minor 'Resurrection' (I - V)
Genre: Classical
  •  Track Listings (5) - Disc #1
  •  Track Listings (4) - Disc #2


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CD Details

All Artists: Mahler, Lpo, Tennstedt
Title: Mahler: Symphony No. 1 in D; Symphony No. 2 in C minor 'Resurrection' (I - V)
Members Wishing: 0
Total Copies: 0
Label: EMI Classics
Release Date: 2/13/2001
Album Type: Original recording remastered
Genre: Classical
Style: Symphonies
Number of Discs: 2
SwapaCD Credits: 2
UPCs: 724357418225, 724357418256

CD Reviews

Fine examples of Tennstedt's spontaneous, impassioned Mahler
Santa Fe Listener | Santa Fe, NM USA | 03/21/2006
(5 out of 5 stars)

"Buyers can get Klaus Tennstedt's Mahler from the 1970s and early 80s in several repackagings, but since this format is the cheapest right now, I'll review his cycle in its two-fer version. As a conductor Tennstedt was erratic; as a person he was prone to self-doubt. But such was his charisma on the podium that he took London by storm, and many of his now overlooked CDs are worth a serious listen.

That certainly holds true for this Mahler Sym. #1 and #2 from 1977 and 1981. One has to note two disadvantages right off the bat. The London Phil. plays well, often passionately, for Tennstedt, rising to spectacular heights of expression in Sym. #2, but their polish isn't up to the great European and American orchestras in this repertoire--if anything, their roughness accords better with the conductor's spontaneous, sometimes volatile temperament. Second, EMI's recorded sound, though clear, can be shar-edged at times (Sym. #2 has by far the better sonics), and in the First I had a hard time finding one volume level that captured the loudest tutties and the very, very soft entrance of the violins in mvt. 1 or the double bass solo in mvt. 3.

Having said that, the rest is very good news. Tennstedt, like Mahler himself, is a spontaneous musician who allows his impulses to run free in this music--and it's the perfect vehicle for such immediacy. The opening movements of both symphonies subject the lsitener to extremes of emotion, particularly #2, which hasn't sounded this apocalyptic even under Bernstein. Not a bar is prefabricated or routine. This also means, however, that when Tennstedt doesn't feel the spirit, music can go by without much event, as in the second and third movements of the First Sym.

Fortunately, those moments are rare. Mahler is meant to be imaginative and impassioned, which qualifies Tennstedt as a master in his music. In sum, this first installment is one of the best things on the market, recommended without reservation in a very crowded field."