Repertoire: The BEST and WORST Mahler First Symphony
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- เผยแพร่เมื่อ 26 ก.ย. 2024
- Out of dozens and dozens of Mahler Firsts, I've chosen the best and, for a change of pace, some of the worst. It's impossible to cover the entire discography in a single talk, but here is a selection of performances that gives you the chance to get an excellent sense of which conductors serve the music most enjoyably and effectively.
I was always very fond of Abbado’s Berlin Mahler 1. It was his inaugural concert as chief conductor and it really got under my skin.
I agree wholeheartedly. It was the first I listened to and will always hold a special place to me.
My first taste of Mahler when I was young was hearing that mysteriously magical opening of Mahler's First on the Solti/LSO London LP.
I have that recording too. Really like it.
My first Mahler was the Mahler 1st, the Bruno Walter stereo recording which I still love though his earlier NYP recording has a stronger grip overall esp the finale.
“Space, the final frontier……”
Utterly stunning performance.
Maybe I wasn't quite as young as you, pete, but I know that feeling! That is why the Solti/LSO version is amongst my top ten symphonic recordings still after 40-50 years. I know that Solti is not the first person you might think of for Mahler's naive first symphony (which I have seen described as "Trembling on the brink of the 20th Century!", but it has never been displaced in my heart, and never will be! 🙂
Listened to countless versions and Ozawa gets the ending of the last movement right with a perfectly built, suspenseful, explosive, and thrilling climax. a truly great 1st.
My favourite that touches my heart is Carlo Maria Giulini with the fabulous Chicago Symphony. What an eye opener.
Again, you mention Muti and Mahler. I am so, sooo happy you mentioned this. It's really a marvel. Exited to check out the ones I haven't already heard. Thanks for giving us such much (needed!!) knowledge of classical music.
Yes, Muti is fantastic
Yes! Kondrashin! I have felt alone sometimes when rallying this performance. I love it. Somber, ironic, gentle, heroic, all when needed, with the right nuances and changes in mood. The second climax of the last movement has the - for me - best synced kettle drums-trumpet fanfares ever. Most performances I listened to muddle this bit. I am surprised you did not bash Roth / Les Siecles , they had some good reviews which I cannot understand. And no mention of Horenstein? Not my favourite at all, but he has such a good press... I enjoy his second movement with his excessive portamento / glissando. Thank you once again for your videos! It is such a joy to have your sensible and descriptive opinions within so much crappy high end artistic musings!
David - I was at that Bernstein Mahler 1 concert when the cellos got lost. I remember him turning to directly face them, giving them each beat. I also remember when it was over the cellist sitting next to the Principle being in tears over it and Bernstein going in to give him a hug. It was indeed an amazing moment.
A favorite Mahler 1 of mine is Abbado and the CSO - always liked that one.
Bad sound though.
i agree with a good deal of your picks on the Mahler 1. I don't recall you mentioning Tennstedt/CSO. I really like the Boulez but for me KT takes it for that symphony. The performance is on the spacious side but he keeps my attention with his phasing and the brass do the rest. I liked Tennstedt's first one with LPO that was analog, and it was a much quicker performance interestingly enough.
Wow! I was about to write a post in a Facebook group I started (now very small but growing - Classical Music Recordings and Audio Discussion Group) about the Mahler 1st symphony which was the first Mahler I ever heard years ago probably early in my college days. And the recording that I had planned to mention in that post was the first recording of the 1st that I had ever owned and has always been my favorite - and it is the LP record with Bavarian Radio Symphony Orchestra/Kubelik conducting that apparently is also your favorite! I searched your channel to see what you had to say about Mahler 1 and was surprised to hear this recording was also your favorite. I feel the same way about the performance - and unfortunately, the recording quality too. But it's still the most exciting I've heard.
Your timing is impeccable. I literally decided yesterday to try out Mahler's symphonies, beginning with #1, for the first time.
Yeah, the timing is really terrifying.
Just finished all 9 (well 8) symphonies yesterday, except for the first since I've heard it a month ago and didn't quite like it then, but was certain to go back to it someday.
This video was exactly what I needed therefore.
Great video, I agree absolutely with beauty of Kubelík funeral march. It is such a tasty perfmorance. I have to listen to Honeck's version, he seems to be one of the best recent conductors.
Dear David, I have just discovered your channel with this video and I am completely hooked up to your reviews. Thanks a lot.
Glad you like them! Welcome aboard!
Muti! The Philly sounds knock me out! And so well recorded!
I fell in love with Mahler many many years ago when I bought - for case (!) - the 1. with DOHNANYI and CLEVELAND (Decca). Never heard before music like this, especially the 3. Movement. I never heard something about Dohnanyis version in all this years. Also after I bought the beautiful Bertini and Chailly boxes, I love still the Dohnanyi that introduced me to Mahlers musical world.
And thanks for your passionate and corrages reviews.
As often, great recommendations. I find also very usueful when you highlight the differences or the interpetative school of conducting a work. Berstein CGB sold me on this symphony and on Mahler period. but the addition of Gielen, Kubelik and Ivan Fischer were so welcome. In particular, I was surprised at the way Fischer build-up the tension and how this can make the work sound so "different". That is exactly what I like having recordings that each brings something different. I have been getting more of your books but Mahler is still eluding me at anywhere even close to a reasonnable price.
ps: Fischer is becoming my favorite for the clarity of the themes and a really wonderful 3rd movement
Wonderful. I still cherish the Kubelik's interpretation: I've rarely heard a non-Jewish conductor catch so well the klezmer spirit in the third movement. But he also has a perfectly idiomatic perception of Mahler's Bohemian culture. Thanks for the beautiful and enlightening talk.
Great picks, as always. For one that inserts "Blumine" into the second movement position, I like the Jurowski/L.P.O. one.
After watching this video I was ready to say something about the omission of Klaus Tennstedt, especially the live CSO recording with Bud Herseth and Dale Clevenger, but then I listened to the BRSO/Kubelik recording and I can't argue against it, especially the Klezmer music in the 3rd movement. I've bought a lot of recordings based on your recommendations over the years, and there was only one time I disagreed with your reviews. Thanks for posting videos this year on youtube!
Tennstedt's Mahler 1 with the CSO is desert island material...
Herseth's tone reaches an otherworldly level in the finale. It's probably too overpowering for a lot of non-trumpet-players, but I'm not one of those, so I find it perfect. :)
@@darinnu yes. But the video. Tennstedt needs to be watched.
Thank you so much for drawing my attention to what is quickly becoming my new favourite recording of Mahler I. In addition to the section you so rightly highlighted, I would point to the last 70 to 50 seconds of the final movement: The string section seems electrified, rushing forward like a locomotive - I’ve never heard it like this and, as you anticipated, Dave, I will now demand that every subsequent live performance will adopt it. Thank you so much again!
Dave I really love your videos
Thank you!
Thanks for a great survey. No issues or disagreements with your selections. The Kubelk/BRSO DG recording is notable for, as you say, the way Kubelik nails the Klesmer episode but also for the unsurpassed transparency throughout the performance. Kubelik placed first violins and second violins antiphonally, and this affords great clarity, particularly at the and of the finale where clearly executed rapid violin figures accompany the final grand statement of the theme in the brass. Fabulous.
When I first heard Boulez I was very pleasantly surprised by the energy and impact of the performance and the lack of fussiness.
Ozawa/DG, Bernstein/DG, Gielen/SWR, Muti/EMI, Solti/Decca(LSO), and Chailly/Decca are also favorites and are all beautifully played . I believe I hear tympani augmenting the bass drum for the last two notes of Bernstein's performance (correct me if I'm wrong here). Have not heard Ozawa's Phillips remake.
Now we look forward to your ideal Mahler cycle.
Just a note on the Honeck/Pittsburgh recording. I was at one of the concerts from which this recording was mixed. For Mahler and earlier composers, Honeck likes to arrange the strings "antiphonally," with the first and second violins opposite one another. He positions the basses behind and to the right of the first violins. This was the arrangement during these performances, but in my recording the basses are clearly coming out of the right speaker. Same with the Beethoven, which, although I wasn't there, I have to believe had the same arrangements. I wonder if they moved the basses in the mix?
Someone gave me their copy of Leinsdorf/Boston when I was sixteen and its was in horrible shape. But it is the perfect piece to listen to at that age, and I loved every pop and click. In my vinyl days, Ozawa/Boston was my favorite, but without the Blumine.
Erich Leinsdorf recorded the Mahler 1 with the Boston Symphony on RCA, and it is a superb performance.
No, it's merely average.
Thank you for this. I believe I have listened to Mahler 1 more than his other works, and greatly enjoy some of the ones you refer to. I do really like Leinsdorf/Boston, mainly because of the way the trumpets play the ascending, triple tongued arpeggio at the end. I'm guesing it was Ghitalla/Voison doing that. Some many good recordings of it available.
Roger VOISIN was the spelling.
@@orinobrien6955 oops!! forgive
Dear Dave: I swear to God that I was thinking of you doing a review of Mahler 1 this morning and you did it! Kismet! One question I have: what do you think of the Ancerl with the Czech Philarmonic?
Same question for me, I love Ancerl’1st, what David says for Kubelik funeral March can be shared also for Ancerl.
Pretty crazy here as well...
Just finished the Mahler cycle yesterday, except for what Symphony of course....the 1st.
This is good fun, yet I agree that Dave forgot Ancerl and the great sound of the Czech Phil.
Thanks for bringing clarity and sanity to a confused situation. 🤔 Love your comments about Haitink.
About 25 years ago, I heard Ashkenazy conduct M1 in Cleveland. He played Blumine as the concert opener in the first half, then come some concerto or other, then the standard version of M1 in the second half. I thought this worked really well.
A wonderful story about 21 mins in about Bernstein and NYPO getting lost in a live performance
As much as I love the Kubelik DG version (indeed there are many glories in that cycle, particularly in the 'Wunderhorn' symphonies in my humble opinion) I really struggle with the recorded sound (the acoustic is cramped and the sound generally lacks bloom). That said some swear by the new blu-ray remastering, but I haven't heard it so couldn't comment. That's why I'm glad the Bertini got mentioned (amazing performance and sound for a live recording), and the Bernstein Concertgebouw. I'd also, whilst he may be annoying in his pronouncements, include Haitink's live 1977 Christmas concert version (the best captured Concertgebouw sound for Haitink's Mahler).
Bloom? What is "bloom?"
@@DavesClassicalGuide For me the sound lacks bass and is a bit clinical. The word 'bloom' is often used in audiophile circles (I think coined by J Gordon Holt an audio engineer and founder of Stereophile magazine) to describe a sound quality of 'expansive richness and warmth'.
I do have the BluRay version and it is a world of difference from the CD I've loved for years. If you have the equipment I would say go for it! But you do have to listen to it on a BluRay player. It will not play on a CD player! The box also includes the standard CDs which I assume are the same mastering in the box without the BlueRay disc. See my comments above if you'd like.
Some may prefer Kubelik's concert performance on Audite to the studio one. I recall that the sound on the Audite is better.
I agree, and I think Kubelik is better live than in the studio.
I agree! In general the Audite recordings have more tension, at least to my ears.
Much appreciated video, David. I love the Kubelik for all the same reasons. His cycle is kind of my home base for most of these symphonies. However, I think Bernstein's Concertgebouw recording is an even better performance. His third movement Klezmer music is even more idiomatic. Listen to them side-by-side and you'll see what I mean. There are versions of the funeral march that are more sarcastic, but Bernstein's seems like the death of all youth and innocence. It's shattering. Plus Lenny brings a manic intensity to the entire work that I don't find in any other version. I'm not saying Bernstein's reading is the only way to play this music, but he's my favorite. The closing moments of the finale are almost hysterical like the music doesn't believe its own happy ending. One of my favorite Mahler recordings ever - and probably my favorite version by Bernstein.
I come here to praise your praise of Ozawa’s 1st including Blumine with Boston. As you said, vehemently anti-Blumine people can just hit the skip button and the performance is similarly lively with nary a dead spot in sight. The strings are particularly luminous.
Mehta with Israel is a great call; I’m not going to claim it’s the best Mahler 1st, but it’s probably my favorite. Mehta and the band make the piece sound effortless without being lightweight, like something springing organically from the atmosphere. Gielen is a close second since he drank just enough happy juice to impart the requisite joy. I’ll have to listen to Kondrashin’s 1st next since I’ve fallen completely in love with his 7th.
Excellent as ever. Many thanks
Iván Fischer's is indeed great, maybe my favourite. Mariss Jansons as well, for very similar reasons. My two clear favourite conductors for the first four Mahler symphonies.
Definitely agree about Kubelik. One of my personal favorites is Mackerras with the Liverpool. Probably not easily available, but it has an exhilarating final movement that builds to a fantastic finish.
It is terrific, and if it were easy to find I would have mentioned it, so thank you for bringing it up. His Mahler 5 is first-rate too.
@@DavesClassicalGuide Thanks for the nod to Mackerras' Mahler 5, which I could only find in the "Icon" compilation. At only a little over £10 for a download, what a bargain that turned out to be. So many treasures in that set!
@@ftumschk You said it!
Very interesting, I learned something (about versions) that I may have once learned in college, but forgot. Thank you.
The 2nd Haitink Mahler 1 is the first Mahler I ever heard. I loved the cover art of the 70's Phillips Mahler cycle, too! Hearing that piece changed my life, so I have a personal connection to it. I must say that really I love the Berlin/Haitink. I agree that Haitink can be a bore sometimes (especially in the "Klezmer" section), but the brass playing on that CD is fabulous. And the finale really works.
Haitink's second recording is nearly impossible to find, but I keep trying.
@@morrigambist In the latest "Decca" remaster of the cycle there's a blu-ray audio disc that contains all the symphonies plus the second recording from the 70's. Again it's only on the blu-ray disc and not on an individual disc. I don't know how much the box is selling for now but there you go. I have the single CD of that performance as well as his remakes of the 4th and 7th with the Concertgebouw. IMHO all 3 were improvements, especially the 1st (with exposition repeat no less). Now I haven't checked out the blu-ray disc yet as I unwrapped the box just to admire the original LP jacket covers that Mr. Burt mentioned above. The only cover that doesn't have one of those beautiful paintings is the 1st from the 60's. Decca/Philips missed an opportunity a few years back when they put out a mini Haitink box and stuck the Mahler's 1st from the 60's there.
Philips abandoned the Berlin cycle after completing the first 7 symphonies! Don't know why but it was probably cost related. Haitink never seems to care for the 8th anyway. Around the same time he did a live recording of the 9th with a youth orchestra. Not quite the Concertgebouw or the BPO.
@@DC-fx7uq I appreciate the info, but I already have the original set, and the upgrade price is too steep.
@@morrigambist You're very welcome! One performance is probably not worth the price of the new box unless it's one of your holy grails.
Mr. Hurwitz, thank you for all of your Mahler symphony videos! Your book is what helped me originally understand Mahler’s symphonies. I too prefer Kubelík’s DG studio over the Audite. Glad you mentioned the Bertini too! My top choice is the Gielen, followed by the Kubelík DG.
I believe Dave that we may be in complete agreement in that if you want two fantastic Mahler Firsts, they have to be the very first I ever heard, Walter with the Columbia Symphony and Kubelik's. My God there are so many good versions of this work, but those two are the ones I will come back to over and over again until I draw my last breath. Thank you!
To some degree, I don't like the Mahler 1 unless. The Blumine movement is included. Without Blumine,it just sounds incomplete. I like the Levi/Atlanta SO. Have you heard that performance.
Yes.
Interesting choice. Used to dislike Kubelik, except for his Mahler 1. And thought it great. Right behind Muti, which was my favorite. And always thought Solti LSO the cat's meow. But when we were young....ah. In fact, now I love Kubelik's 6th.
Now I find it a bit strange choice. I did for a while prefer the ancient Decca VPO. But it perhaps unlistenable due to sound. Then there is the famous live Kubelik which I found much better.
But as time went on, I agree with Dave that there many good ones that can be interchangeable. Just what you like. Not sure I have a favorite anymore. But... Despite the manipulative and heavy hand of Bernstein's whole Sony cycle, there is something about it that just rings true. The one is a tough one though. Still. Perhaps because I have listened to Mahler's own piano roles way to often and see a direct correlation in style between him and Bernstein, which no one else shares. But would not be without the Bernstein/Sony, even for Mahler 1.
My favorite is probably Bruno Walter NYPO very early. Someone mentioned it. Maybe Dave. And there are even better ones by Walter Bootlegged, but hard to find and hard to listen to.
Right now listening to Osawa. How would have thought. And trying to get thru Chailly. Great, great sound, but with his highly controlled hand and demeanor, which reminds me of being in court. We shall see.
My first LP recording of this (aged about 15) was Israel Philharmonic dir Paul Kletzki, recorded 1955 apparently. It was on the UK super-budget label Music for Pleasure. The first movement at least has been "upped" onto TH-cam and sounds to me the most atmospheric of all - but maybe that's just nostalgia. I see it's around on historical CD sets and - amazingly - secondhand on vinyl.
It's nostalgia. Dreadful (and cut).
If I had to be arm-twisted into picking a fav. I think I would have to say Solti and the London Symphony Orchestra. Then that leaves out another fav. Bernstein and the Concertgebouw.....
I was just wondering about what the Chicago recording of choice would be and then you mentioned the Boulez! So, we have Guilini, Abbado, Solti, Tennstedt and Boulez...and I would never have guessed the prize would go to the latter, lol! Okay, update: I started watching the Tennstedt video and it was so fussy I couldn't watch the rest.
I was at the tennstedt/cso performance but not the one on video . It was spectacular a d far from being fussy, he just stood and listened much of the time.
I've only really taken to classical music slowly over the last fifteen years or so, apart from Holst The Planets which I have love since school, I'm now 60.
I've been a lover of progressive music for most of my life. Getting more and more into classical, can't afford multiple copies of things though, so the collection is growing very slowly, as I only want the best versions.
I have one burning question for anyone.
Is it me or after listening to Mahler 1st Symphony, does it remind anybody else of Pink Floyd's Shine on you Crazy Diamond? The start anyway. It gives me the same sort of feeling.
So I wonder if Floyd listened to it before doing their piece.
Anybody else hear that? Or is it just me 🤷♂️🤔
Loving these videos, they are helping me find my way through the wood 👍
I have favorite recordings of Mahler Symphonies 2-9 that I will hold until the grave, but I have never been able to find one of the first Symphony that I really love, so I'm excited to try out Kubelik!
Kubelik on DG is outstanding. You won't be sorry.
Great review, thanks David. I read somewhere that Solti listened quite a lot to Bruno Walter's recording before making his first one with the LSO.
If Solti listened to Bruno Walters 1st before recording it, he didn't incorporate any of it. They are miles apart.
Thanks for the suggestions! I heard a lot of but not all of them. My first version of the Mahler 1st was with Leinsdorf and the BSO, which by now has been surpassed. Of the Gielen Mahler cycle, I thought the 1st wasn't one of the best in the set, but it's still very good. The Walter recordings are superb. Thanks for mentioning Levine's Mahler! The box is fantastic; he was a very underrated Mahler conductor. It's too bad he never got around to recording the 2nd or the 8th. As far as the Bertini box is concerned, it has the best overall performances you can find.
@DJ Quinn I found the Levine Mahler 2nd with the VPO on Orfeo. It's exceptional. Ludwig's singing in "Urlicht" is divine.
My first was also Leinsdorf and BSO and it is still a very big favorite, very intelligent but still very exciting
Mr Hurwitz, I am a high-schooler looking to grow my collection of recordings and I was wondering if you could make a video on the best "starter set" of recordings.
Thank you for your suggestion. I will think about it, but in the meantime if you would consider checking my playlists you will see one called "talks for beginners." Here is the link: th-cam.com/play/PLAjIX596BriFTMLOifUSYWnUF1dtekdjz.html
The problem with your request is that there is no one list for everyone. I depends what you like, and that determines next steps, at least in part. There is no one best way
@@DavesClassicalGuide Thanks, I stumbled across your channel recently and I have a feeling that my collection is about to get a whole lot larger
Thanks, Mr. Hurwitz for these videos. I've just discovered your channel, and I'm enjoying it a great deal. I would like to know your opinion of the *Adam* Fischer recording with Dusseldorf? To me, he gets a lot of joy out of the first movement, and plenty of dread in the opening to the finale. In any case, I will certainly be checking out your recommendations! (The Gibson recording of the Sibelius #3 that you recommended is mind-blowing!)
I love the versions with the deleted "Blumine"...
I have Kubelik and Boulez, loved them both very much, but my first love was Eliahu Inbal with the Frankfurt Radio Symphony., but surprinsingly I don't see it mentioned anywhere.
I compared around 9 recordngs in Spring and Kubelik came also out as a surprisingly clear favorite. For me the next best in characterization (especially of the Klezmer passages in the 3rd mvmt.) is Walter/stereo, but the sound is not as good. Admittedly, I was slightly disappointed by two other old favorites in great sound, Bernstein/Concertgebouw and Gielen because I found them overall a bit "tame"
What is your opinion of Horenstein's M1 with LDO? What of his other Mahler Symphonies? Thank you!
See reviews at ClassicsToday.com. I have also discussed them here.
@@DavesClassicalGuide thank you
Oh no ... I really like Maazel's first (on the CBS label), and Thomas', too (CBS/Sony?). Both were my first purchases of Mahler's First (plus I remain nostalgic for those initial '80s DDD recordings). Don't have Muti's rendition, but will look for it. Do you like Maazel's DG cycle? I find enjoyable. Glad you included Solti.
There is no Maazel DG cycle.
There are two Maazel cycles, the earliest with the VPO on Sony and a remake with the Philharmia on Signum. Both have their moments...
@@jeroendejong6680 There's a third: from the NY Philharmonic as downloads. The VPO was his best.
My biggest question for Mahler 1 remains: Why 7 horns and not 8 horns? It's such an odd choice
Kubelik's first Mahler 1 is definitely the best. However, I also enjoy the live RCO Mariss Janson's version as it has distinctive middle movements, to my ears. There are so many performances of Mahler where the middle movements are just so bland or played through, it's not funny. My very first version was on Royal Classics, nla and featured VPO and Paul Kletzki which I thought was marvelous on first hearing.
I agree with you on Kubelik/BRSO
You have great taste in Mahler 1. I remember when I heard the Haitink/BPO, oh such a torture, neverending dullness, the same his Mahler 5 in this cycle.
Thanks for the insights. I saw Ormandy conduct the Cleveland Orchestra (with Blumine) just after Szell's passing. It was terrific! I agree on Kubelik, Gielen, Muti and Chailly. Tennstedt is quite good, IMO. Levine, Maazel, Boulez miss the boat for me. Chailly is one of the few conductors who gets the transition into the coda correct. (Mahler set it up via the triplets in the basses). He may the only conductor who observes the "poco rit." designation at bar 628 in the finale.
Boulez was often far more vital and spontaneous live than in those DG Mahler recordings. I remember a 3rd and 6th live at Carnegie that were both fantastic. The 6th with the LSO coupled with the Berg Three Pieces op. 6, can't remember who played the 3rd.
As you say, there are so many great Mahler 1sts! On LP I favored Walter’s stereo recording and Solti’s LSO. On cassette I have Kubelik, maybe my favorite of all-though I wish he had taken the first movement repeat. On CD it’s Bernstein/Concertgebouw for me, though he drags out the finale longer than I like. I also have a BBC Music CD with Manfred Honeck and the BBCSO which I really like, too. Does he also accelerate into the Landler’s main theme on his Pittsburgh recording? Most recently I added Lintu on Ondine with the Finnish RSO that includes Blumine and has terrific sound, though his interpretation is rather on the cool side-a northern Mahler 1st! What’s your opinion on that recording?
I think you describe it well.
Hi Dave...that was a wonderful video, so very fresh sounding. And here is my contribution...I think the Rattle CBSO Mahler 1 takes for me the cake for worst Mahler 1. Deliberate and calculated but not really doing anything. The first movement is really dreary, the scherzo lacks any life as well and the other two movements...all I can say I was glad when it all ended.
Yes, Rattle's Mahler 1 is horrible. I heard him do it on a radio 3 broadcast many moons ago and he took the triumphant ending of the finale so fast that it sounded like a speeded up record or the chase music from an old Benny Hill show. The only value it had was comedic.
Brainiac Fingers Comedic, yes. This effect is palpable also in his Mahler 8.
I agree. I think he's an overrated Mahler conductor. All the music critics reckoned his Mahler 2 with the CBSO very highly. I bought it at the time and hated it immediately. He "interferes" with the music. He does the same on his Mahler 9 with the BPO. Yuk!!
Thanks, David, for the excellent talk. Thought you were going to mention Svetlanov at some point ... probably the worst M1 ever recorded (or at least high on that list). On Maazel, I love his Vienna and London recordings, don't care for the New York cycle (download only), including the 1st. His best rendition of the work, however, was never published. Taped in Münich in 2003 or 2004 (BRSO). As you can guess, I'm a Maazel fan ... sorry for that! All the best!
Never apologize. You can like creepy reptilian conductors all you like!
When Maazel does something right, it’s thrilling.
Fantastic review!!! Your greatest (Kubelik) was the first Mahler I bought many years ago. Even the version of CD was the same. Ha.
I agree with you about the kubelik--though it is equally fine on Audite. I miiss the Ancerl on Supraphon, but I agree that the Mahler 1 is Boulez's best Mahler.
I was worried you weren't going to include Kubelik.
I've always loved Boulez with Chicago and you aren't kidding about Honeck/PSO - they are amazing.
Ha ha I sat here crossing my fingers muttering Kubelik, Kubelik, KUBELIK!! And whatta ya know! There it is. I was pleasantly surprised! Nice! (But I but all the rest on my list!)
RE: KUBELIK. There was another live performance on the AUDITE label which is sonically superb. Please tell your readers!
You just did,
what do you think of kubelik's earlier mahler 1 with the vienna philharmonic? I listen to that one on LP sometimes.
Now hearing the Kubelik recording. You are right! One of our cats peed on my copy, but still sounds decent on my new Moon 260D CD player.
J'ai eu la chance de pouvoir l'acheter (la version d'Ozawa) avec en bonus les Rückert-Lieder par Fischer-Dieskau, que je possédais déjà par Janet Baker. J'adore cette version, que je découvre, et cela varie les versions (j'ai aussi Bernstein en DVD avec le Wiener en DG). Et je ne peux pas, comme Dave, avoir toute la discographie de tout Mahler et Bruckner 😂
Your mention of Mehta/Israel had me rushing to my CD library. Sure enough, my EMI disc contains Blumine as movement two. On the other hand, my LP pressing of Ozawa/Boston is sans Blumine. Go figure! Despite that, I agree that both are worthy of top honors.
I was not speaking of the Mehta/EMI, but the earlier recording for Decca. The EMI is quite good as well.
Everybody seems to do this symphony and there are very good performances, but one performance that stands out above all, and it may be hard to get, is Jascha Horenstein and the London Sumphony from 1969. It's on Unicorn or Nonesuch (LP). He links this more clearly with the later symphonies.
Sorry, but Horenstein's first had some cachet when first released but it hasn't held up well. There are some pretty significant slips (missing timpani in the first movement) and a finale that suffers from chronically stiff tempos--always a problem with Horenstein--and the least "snappy" final octave "snap" on disc. The ending sounds like an accident. It's not competitive, however fond of it our memories may be.
@@DavesClassicalGuide true, not everybody will respond to his tempos. The timpani are rather balanced too closely. But from what I understand, Mahler was a neurotic. He overstated everything. I think this is where Bernstein does well, and Horenstein, Solti, and Levine come close. It just happens to be a favorite version of mine.
@@francispanny5068 Of course. Favorites are favorites.
Great videos! I've been enjoying many of them. Kudos!
I'm surprised that you omitted LSO/Horenstein from your list. It's considered the best one by several folks I've seen (classical review books, etc.).
I think you mean Horenstein, and it's pretty good, but not comparable to the ones I listed .
@@DavesClassicalGuide Yes indeed (dumb typo there, which I'll now correct). Fair enough! We all have our tastes.
For me, the beginning of the finale most often feels so anemic... like there's not enough noise and fire. The brass and drum playing is always so square and neat and it doesn't work. The Korean Symphony had a performance up on TH-cam that did it so right, but I can't find anymore. I wonder though if the quality of the recording was responsible
I agree 100% with the Kubelik.
Interestingly, when Phillips brought out their first Haitink/Concertgebouw CD box of the symphonies, they used his first recording of this. However, in the new Universal CD/Blu-Ray set of the symphonies and song cycles, while they still have the earlier version, they also include his second recording as a "bonus." My only question is why they didn’t just use the second all along, but I'm not going to look a gift box set in the mouth (or whatever). Anyway, although I'd heard the standard four-movement version and owned recordings of it beforehand, after I heard Ozawa and the BSO do it live with the "Blumine" movement the last time I ever saw them in concert (just before they recorded it, I assume), I've always felt like the jump between the opening movement and the scherzo in the standard version sounded too abrupt; for me, having a true slow movement between the two just seems more natural and organic.
Dave, as a 17 year old kid, I heard Kubelik and the BRSO play the Mahler 1. Carnegie Hall. 1968. I remember it as to this day. It was my first real encounter with "titanically" powerful music. It may be a trite phrase..but that night so longreally did change my life.
In fact Muti does have other mahler recordings and it is from the mahler fest box set which is still very expensive
I’m really curious what the opinion is on the recording of the “Hamburg/Weimar edition by Les Siècles with François-Xavier Roth. Personally I like it a lot with their choice of instruments and excellent sonic quality. Starting to become a favourite.
I find it loathsome.
@@DavesClassicalGuide 🤣 love it.
David, as someone who's seen and played Mahler 1 so often, any thoughts or stories about the ending of the first movement? The one where the timpanis get in the way and the orchestra has to stop? It's the most audacious ending; it shouldn't work as well as it does, and no one talks about it! :)
It's actually very straightforward--it sounds much more audacious technically than it really is. That's the beauty of it.
"A useless piece of garbage and you should avoid it entirely." lol Now I REALLY want to hear it.
Thank you, Sir, for your videos which I have enjoyed very much. What do you think of Adrian Boult and the LPO on Everest? It's a brisk performance at only 46 mins!
Very fast, and very faceless, but I admire the fact that he did it at all.
Thank you very much for replying! I must admit I was surprised that he recorded it at all - not a name associated with that of Mahler's. Boult just seems to get on with it. Thanks again, and keep up the good work!!!
The Boult Mahler 1 was the one I "imprinted" on as a teenager with my first Mahler LP. (Everest was on the skids and the price was right, plus a teacher's recommendation). The reissue on CD in the early nineties was just wonderful sounding, so I listened with fresh ears. Still really like that one! But my final vote is for Bruno Walter - both versions.
I, too, am a fan of the Boult Mahler 1 -my first Mahler LP. I never thought I'd see the day when it would get a CD release, but it did! After years and years of hearing him conduct Vaughan Williams this performance can only be described as "Boult lets his hair down." Bright as the tempi are, he seems to revel in the sound of the orchestra. @@StandingStoneVideo
Another real sleeper (and with Blumine) is Kocsis/Hungarian National Philharmonic. I find the pacing is just right and the woodwinds are great. Some coughing we must endure. Do you have an opinion about it Dave?
I agree it's good, but not essential and if we don't have to endure coughing, why should we?
@@DavesClassicalGuide make it actually "live" I think?
Here we go!
The 1st is a problem child for me. Really hope I'll find a enjoyable one someday...
Got Chailly, Kondrashin, MTT, Kubelik, Muti and Abravanel lying arround. Which to go first?
It took me quite some time to really enjoy Mahler’s 1st as well, but I’m there now. Of the recording you list I’d start with Kubelic since it’s a recording commonly regarded as the reference.
@@AlexMadorsky Thx! I'm fairly new to classical music and was at first rather taken aback by Mahler's style, but now after having heard all 9! symphonies, I must confess, it really worries me that all the other symphonies out there can't hold a candle to Gustav. It feels like I can't go back to enjoy other symphonies maybe beside Bruckner, because they all fade in comparison to Mahler....
Like with Whisky, once you go to Islays you'll never go back to ordinary whisky.
Have you tried listen to it with the Blumine movement placed second/movement. I've made this comment. If you stream,try to listen to the 1st with the Blumine movement. If you do so,would like to hear what you think.
@@estel5335 Mahler is one of the true greats, but there are hundreds of wonderful yet unsung symphonies and other works out there by an untold number of composers. Another great reason to watch Dave’s videos!
@@frankgyure3154 personally, I like Blumine both placed second or as a stand-alone overture of sorts. I totally understand the people who find use of Blumine as the second movement ahistorical, and I have no desire to quibble with them. I just think it’s a lovely bit of music either way.
I have a question about the last measure of the symphony. According to my score, everyone has the final D quarter notes except the trombones, tuba, and non pitched percussion. The timpani has a D on the first quarter of the measure and a rest on the second while everyone else has a "rebound" D an octave below their first quarter. On many recordings, I hear what sounds like a bass drum on the second quarter. To me, this destroys the "rebound" effect that the score seems to indicate. Is there an edition of the score that has this? Is this an effect that Mahler added for some of his performances? The older recording I have do not seem to have this.
Not that I'm aware of. Conductors (Bernstein included) just add it. I agree that it's wrong, exactly as on the last note of the first movement of Rachmaninoff's Second Symphony,
Glad you agree that it's wrong. I once heard Dudamel change the rhythm so the downbeat of the last measure became the last beat of the preceding measure, and the "rebound" beat became the downbeat of the final measure! It was the last straw of what was already a very conductor-centered performance.
Mr Hurwitz listed a few I have not heard (or remember). Of the M1's at the top for me are: Abbado/Chicago (1982; DG) and Ozawa (Decca; 2009 ?? Saito Kinen live).
The Ozawa 2009 is a powerful hi-fi recording -- which all Mahler music MUST have -- with a v. good perf.
The Abbado ("Abbado???" yes, Abbado !) + Chicago combo nail it with pacing and evenness and balance. The wimpy DG recording -- as many DGs are -- is the main drawback.
Abbado/Berlin is better if you like Abbado's Mahler.
Pleased you featured Kondrashin. He always keeps the sight lines clear.
Just one oddity in his conception : strange diminuendo on the 3rd bar of the 2nd movement, and all subsequent repetitions.Unmarked, and completely against the grain.On the other hand, the vibrato inflected horn which ushers in the trio is sheer delight.
Yes to Kubelik!! And Gielen too whose Mahler is wonderful.
A word on the sound of the Kubelik recording which I always regarded as problematic. Dry and tight is the way I would express it. Yes, I know you are allergic (my word) to new technology however the BluRay version that came out a few years ago shows the original master to sound very differently. Rich, open, no distortion, clear and full top to bottom. I honestly wonder about the SACD/BluRays because some of them don't sound so wonderful and I have regular CDs that sound as good as the SACDs. Whatever the technology the remastering in this case is wonderful!
As for Haitink I think of him as the 25% conductor meaning I am more often disappointed but 25% of the time he was great. I have low interest in his studio Mahler but there is a box entitled: "Mahler Christmas Matinees" or "Kerstmatinees" live recordings on Decca/Tower with the Concertgebouw: Mahler Symphonies 1, 2, 5, 7, 9. The 1st in that box is very good. Symphonies 5 and 7 one has to ask "what was he thinking about? Anything"?
I heard him many times over his years here in Boston and it was always a crap shoot in terms of interpretation and emotional commitment but the BSO always played their best for his baton.
David, you must have been a competent singer when you were younger. Despite your croaky voice, you always hit the right intervals even on the trickier melodies, and I always easily recognise them.
Well gee, thanks.
My first experience of Mahler One was a second hand LP from Everes [£1 in about 1984].
Adrian Boult was the conductor. I got through the first three movements, bu the Finale defeated me with its [seemingly] gratuitous violence. Boult [in the 1950s] was capable of Toscanini-esque violence of expression ...
I am sure that I have tried again with radio concert relays.
Unfortunately that did twenty years of reticence about Mahler for me. That was changed [for a short while] by turning the pages for the pianist in a Mahler song recital in Herefordshire with a wold-class soprano and a very fine pianist who was very kind to his page turner! The concert was given in the big hall of the Bishop's Palace in Hereford ... a medieval grand hall that could seat an audience of over a hundred, but cold as any fridge in winter ...
Mahler still perplexes me, but I am still fascinated by his compositions.
Best wishes from George
Who would you go for between Bertini, chailly and Kubelik as a complete cycle?
Lets add Gielin and Bernstein (Sony) in there also
Hi Michelangelo - I'm guessing from that that David would recommend the Bertini, its very well played and recorded. However, if someone asked me that question I'd be inclined to the Kubelik as, although it is more sonically limited than all the recent attempts, he was such a great and experienced conductor and he has a great orchestra there. Even where the sonics aren't exactly ideal, he can be very exciting - the 6th and 7th symphonies, for example, are really quite brisk! No hysteria, but that doesn't mean unexciting, and in the end you can get a bit tired of overdoing things in Mahler. I don't know how the prices compare.
I have Chailly's recordings in their original releases. They are very very good if you want an even better orchestra in excellent sound. He is a bit slow in the first movement of nr 6 (but all the detail comes through all the more) so it is a real funeral march, really. Ditto in the opening movement of nr 7 (although it comes to a very impressive climax). Nr 4 is a bit "cool" but has Barbara Bonney in the finale which is an almost ideal sort of voice. Nr 3 would be my choice for that work. Nr 9 is beautifully recorded and played although the finale is quite long compared to many others. So there might be a tempo problem at various strategic points for some people in Chailly's excellent set.
The box doesn't have the extra couplings Chailly did for the original releases (Berg, Bach arr Mahler, Bach arr Webern, Diepenbrock (!)) which are all lovely, but as I don't have the box I don't know if there's a Das Lied von der Erde there. If there isn't (Kubelik doesn't have one either) then I think, as Bertini does (?), that could be your answer if you only want one box. But then I think the Chailly has the Wunderhorn songs, at least, plus a rather good performance of the reconstructed Symphony nr 10 so ultimately it is probably the most comprehensive.
@@murraylow4523 thanks a lot Murray for your detailed suggestion. I'll bear it in mind!
What do you think of Eschnbach's first with the Paris orchestra? for me the best performance ever, live or not.
Well then, what difference does it make what I think?
@@DavesClassicalGuide I wanted to know if you knew her and your expert opinion
@@matteor.7439 I know, but as I said, you have already made up your mind, so I would prefer not to give my opinion in this instance.
I seem to have most of the versions you recommended so I am in very good shape. But I sinned. I was curious and got the F-X Roth performance of the 1893/5 Hamburg whatever version. It was interesting, but not a good idea in the end. Mahler on period instruments, it's a scam. I will not do this again. I am a little sad however, that you didn't mention Ancerl, who to me is on a par with Kubelik.
I am a big fan of these video-chats, but I am not the 100% believer of Mr. Hurwitz’s opinion. So I check Maazel ONF on Sony and Ozawa Boston on Philips (no blue-thing version) and I agree with Mr. Hurwitz that conductor with his ideas interferes this music. Maazel stops the flow and indicates his ideas. I do not think Ozawa has no idea but he does not stop the flow. Kubelik on DG sounds like they are recorded on Melodiya, so sorry.
so what is the worst?
Vänskä--Minnesota on BIS, at least for now. A new low.
Your comments of orchestra playing Mahler better without the conductor interfering and getting in the way with ideas, reminds me of how well Berlin PO did Mahler 9 with Karajan, or despite Karajan being there. And also how the LSO Mahler Gergiev sound as though they are just playing straight through in the easiest way, like if you're tapping the foot you won't lose place.
Michael Halász performance on Naxos seems to get ignored, but there are a lot worse out there.
And a lot better...which is why it gets ignored. Average doesn't cut it.
Scientists believe that the first version, edition, performance you hear, that will be the version, performance, edition you will prefer for the rest of your life.
Holds some truth, I suppose.
Personally, it annoys me when conductors rush through the funeral march almost as if they're afraid they'll miss their own. Stop that! Slow down, slow down! Let the atmosphere do the work, not the notes. That is, of course, just my opinion.
It's not true of me at all.