Mahler - The Complete Symphonies / LPO, Tennstedt

Mahler - The Complete Symphonies / LPO, Tennstedt

Mahler - The Complete Symphonies / LPO, Tennstedt
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CD Details

Performer: Gustav Mahler
Performer: Klaus Tennstedt
Performer: Felicity Lott
Orchestra: Lucia Popp
Edition: Music CD
Format: Box set
CD Release Date: 1998-11-03
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Symphony No. 1 In D Major: 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich
  2. Symphony No. 1 In D Major: II: Kraftig bewegt, doch nicht zu schnell
  3. Symphony No. 1 In D Major: III: Feierlich und gemessen, ohne zu schleppen
  4. Symphony No. 1 In D Major: IV: Sturmisch bewegt
  5. Symphony No. 2 In C Minor 'Resurection': I: Adagio maestoso
Music CD 2
  1. Symphony No. 2 In C Minor 'Resurrection': II: Andante moderato
  2. Symphony No. 2 In C Minor 'Resurrection': III: In ruhig fliessender Bewegung
  3. Symphony No. 2 In C Minor 'Resurrection': IV: Urlicht (Sehr feierlich aber schlicht)
  4. Symphony No. 2 In C Minor 'Resurrection': V: Im Tempo des Scherzos (Wild herausfahrend) - Langsam - Allegro energico - Langsam
Music CD 3
  1. Symphony No. 3 In D Minor: Erste Aabteilung: I: Kraftig. Entschieden
  2. Symphony No. 3 In D Minor: Zweite Abteilung: II: Tempo di Menuetto. Sehr massig
  3. Symphony No. 3 In D Minor: Zweite Abteilung: III: Comodo. Scherzando. Ohne Hast
  4. Symphony No. 3 In D Minor: Zweite Abteilung: IV: Sehr Langsam. Misterioso. Durchaus ppp
  5. Symphony No. 3 In D Minor: Zweite Abteilung: V: Lustig im Tempo und keck im Ausdruck
Music CD 4
  1. Symphony No. 3 In D Minor: Qweite Abteilung: VI: Langsam. Ruhevoll. Empfunden.
  2. Symphony No. 4 In G Major: I: Bedachtig. Nicht eilen
  3. Symphony No. 4 In G Major: II: In gemachlicher Bewegung. Ohne Hast
  4. Symphony No. 4 In G Major: III: Ruhevoll
  5. Symphony No. 4 In G Major: IV: Sehr behaglich
Music CD 5
  1. Symphony No. 5 In C Sharp Minor: I: Trauermarsch
  2. Symphony No. 5 In C Sharp Minor: II: Sturmisch bewegt, mit grosster Vehemenz
  3. Symphony No. 5 In C Sharp Minor: III: Scherzo: Schattenhaft
  4. Symphony No. 5 In C Sharp Minor: IV: Adagietto: Sehr langsam
  5. Symphony No. 5 In C Sharp Minor: V: Rondo-Finale: Allegro
Music CD 6
  1. Symphony No. 7 In E Minor: I: Langsam - Allegro
  2. Symphony No. 7 In E Minor: II: Nachtmusik I: Allegro moderato
  3. Symphony No. 7 In E Minor: III: Scherzo: Schattenhaft
  4. Symphony No. 7 In E Minor: IV: Nachtmusik II: Andante amoroso
Music CD 7
  1. Symphony No. 7 In E Minor: V: Rondo - Finale: Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico)
  2. Symphony No. 6 In A Minor: I: Allegro energico, ma non troppo. Heftig aber markig
  3. Symphony No. 6 In A Minor: II: Scherzo Wuchtig
  4. Symphony No. 6 In A Minor: III: Andante moderato
Music CD 8
  1. Symphony No. 6 In A Minor: IV: Finale: Allegro moderato
  2. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Veni, creator spiritus
  3. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Imple superna gratia
  4. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Infirma nostri corporis
  5. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Accende lumen sensibus
  6. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Veni, creator spiritus
  7. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Gloria, Patri Domino
Music CD 9
  1. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Waldung sie schwankt heran
  2. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Ewiger Wonnerbrand
  3. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Wie Felsenabgrund mir zu Fussen
  4. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Gerettet ist das edle Glied
  5. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Uns bleibt ein Erdenrest
  6. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hier ist die Aussicht frei
  7. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hochste Herrscherin der Welt
  8. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Ausserst langsam. Adagissimo: Dir, der Unberuhrbaren
  9. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Bei der Liebe, die den Fussen
  10. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Neige, neige, du Ohnegleiche
  11. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Blicket auf zum Retterblick
  12. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Alles Vergangliche
Music CD 10
  1. Symphony No. 9 In D Minor: I: Andante comodo
  2. Symphony No. 9 In D Minor: II: Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb
  3. Symphony No. 9 In D Minor: III: Rondo-Burleske: Allegro assai. Sehr trotiz
Music CD 11
  1. Symphony No. 9 In D Minor: IV: Adagio: Sehr langsam und noch zuruckhaltend
  2. Symphony No. 10 In F Sharp Minor: I: Adagio

Music reviews of Mahler - The Complete Symphonies / LPO, Tennstedt

Music Review: Tennstedt's Mahler Cycle: A Best Buy
Rating: 4 Stars

Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.

On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.

My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.

The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).

So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).

Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:

#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.

#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).

#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).

#4. Kletzki (EMI) now strikes me as the finest stereo reading. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.

#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.

#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).

#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.

#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.

#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.

#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.

Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).

This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.





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Description of Mahler - The Complete Symphonies / LPO, Tennstedt

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Hot on the heels of DG's new reissue of the Bernstein's complete Mahler symphonies and song cycles, EMI has repackaged Klaus Tennstedt's recordings of all 10 symphonies. Although he remade symphonies 5 through 7, these are his first versions, essentially the same performances that used to be available in three separate boxes at mid price. Now at budget price, and at virtually a third of the cost of DG's Bernstein set, Tennstedt's Mahler is one hell of a bargain. The performances aren't as consistent as Bernstein's. The London Philharmonic was never a great Mahler orchestra, and minor errors are fairly common, especially in the Sixth Symphony, which was the conductor's own favorite among all his recordings despite the lapses in the brass section. It's a performance of frightening intensity, and it's easy to understand his affection for it. All of Tennstedt's Mahler features such spontaneity, emotional honesty, and real human warmth that reservations about execution and sound largely fall by the wayside. Hearing it again is a deeply moving experience. --David Hurwitz

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