This set is a real treat, and an unmissable bargain to boot. Having already released both Rattle’s and Tennstedt’s Mahler cycles at budget price, EMI have gone even further to commemorate the Mahler anniversary by raiding the archives and providing what is, effectively, a treasure trove of the finest Mahler conductors and singers on their books. We have highlights from Rattle and Tennstedt but also remarkable contributions from Klemperer, Barbirolli, Horenstein, Szell and even Furtwängler. Add in the super bargain price (less than £3 per disc) and this set is irresistible, even before you consider the superlative quality of what is on offer.
Simon Rattle’s Mahler series turned a lot of heads as it was being released and we are treated to three highlights here. His Third is a reading of strength and authority - just listen to the awesome power of the opening movement - combined with moments of great tenderness and lyrical beauty. It was also something of a game-changer in interpretations of the Nietzsche movement, playing the oboe calls as glissandi rather than distinct notes, something nearly all subsequent recordings have observed. The singing of Birgit Remmert is heartfelt and intense, while the chorus brim with life in the fifth movement. The finale moves to an incandescent climax meditating on the love of God, though the sudden accelerando will put some off. Unusually the conductor chose his live recording of the Seventh over his studio version for release. In my view the acoustic of the Snape Maltings doesn’t flatter the CBSO but the clarity of the reading, even in the finale, is beyond doubt. The texture and palette of both Nachtmusik movements is delectable. The Tenth is Rattle’s later, Berlin version, by common consent the finest reading of this work available, and certainly superior to Rattle’s own Bournemouth recording. The playing of the Berlin strings, for one thing, is on a much higher level than Bournemouth’s. Rattle carries a searing vision that is lacking from Chailly’s account. Rattle’s contributions form the backbone of this compilation and it merely underlines one’s awareness of this conductor’s strength as a Mahlerian.
Tennstedt’s set is EMI’s other staple in this repertoire, though for the Fifth EMI have wisely chosen his live version of 1988, a vast improvement on his heavy, lethargic studio recording. The first movement unfolds with sure pacing and superb playing while the vehemence of the second movement is tempered with surprising lightness of rhythm so that parts of the movement sound like a demonic dance of death. The conductor undermines the scherzo’s exuberance with a touch of sarcasm at the outset and the Adagietto is intense and hushed - literally so: I had to adjust the volume at the outset and was then taken aback at the big climax. The finale scampers along with vigour, the re-emergence of the brass chorale the obvious culmination, and the audience erupt into deserved applause at the end. Others have waxed lyrical about the virtues of Tennstedt’s Eighth but I’ve never been one of them. I love to immerse myself in the overt theatricality of Solti and the closing bars of Tennstedt’s version sound underplayed and weak to my ears. Listening to it again, however, I was struck anew by just how musical a version this is: where Solti took the score by storm Tennstedt looked for hidden depths and microscopic detail, helped by a team of soloists who revel in every note and an engineering team that do their best to expose every facet. The payoff of the final bars isn’t quite enough to satisfy me, but taken holistically this remains a highly satisfying performance.
Klemperer’s Mahler performances have everywhere the distinctive imprimatur of authority, considering his direct link with the composer. His Resurrection is one of his finest performances, surprisingly fleet of foot, but only in the Urlicht does it feel rushed. The ensemble is not always ideally together but the listener is never in any doubt that a master is at the helm. The first movement crackles with intensity, driven by stabs of energy that stick out of the texture. The second movement exudes poise and, yes, charm, with a wonderful string sound, and Klemperer even finds wit and humour in the Scherzo. The finale carries immense power in the approach to the throne of God and the chorus sing magnificently from their barely audible entry to the blazing climax, though Schwarzkopf’s contribution to the solo singing is noticeably more characterful than Rössl-Majdan’s. Klemperer’s Das Lied von der Erde did a lot to open up the whole interpretative spectrum of this work, contrasting Bruno Walter’s introspection with this conductor’s harder-edged drive. The conductor does indeed take us on an intense journey into the soul, but his soloists are what sets this account apart as extra-specially great. Wunderlich’s molten tenor glows in this music, summoning grandeur and intensity for the first movement but finding a comic touch for The Drunkard in Spring. Christa Ludwig is at her absolute peak here. Only Ferrier and Fassbaender could challenge her supremacy in this music, parts of the Farewell becoming almost unbearably intense, and the final few minutes summon up the best from both conductor and singer. The remastered sound is very good too, allowing me to give this Lied the highest recommendation.
EMI have also done a great job of raiding the archives for this set and unearthing some high quality novelties. Horenstein’s Fourth is as recommendable a version as you are likely to find. Throughout he captures just the right mix of the innocent and the sinister, most notably in the joky but devilish scherzo which leaps along with a sneer on its face. The first movement is light-hearted with just the right element of Schwung and the third is soft and intense until the “heaven’s gates” climax where the full force of the orchestra is unleashed. Dame Margaret Price sounds very adult in the finale, no hint of childishness, but her voice is still very beautiful and both soloist and conductor have the measure and pace of this movement entirely.
Barbirolli’s Ninth is at the head of many recordings of this symphony to come from Berlin, and it was the recording with which I first got to know this work. Listening to it again after many years it has lost none of its power. The hand of a master shapes the unfolding of the great Andante comodo, though the ultimate climax is not quite as total as you can hear elsewhere. The Ländler comes across initially as highly comic but this expression curdles into a sinister leer as the movement progresses. The Rondo Burleske has had few performances on disc that are just so well played, while the sheer warmth of the string sound in the great theme of the finale will take your breath away. The closing pages are especially heartbreaking, the conductor conveying wonderfully the sense of a life ebbing slowly away. This is a performance to cherish. The same can’t be said for Barbirolli’s Sixth, however. He has an awesome grip of the vast scale of the finale - listen for the way the music intensifies after each hammer-blow - and the slow movement (positioned second) sounds very beautiful. However the first movement and scherzo are much too slow and lumpen with no energico about them at all. This drains the music of its power and makes it unrecommendable, not helped by the persistent grunts the microphones pick up from the podium. Barbirolli also ignores the first movement exposition repeat.
The only out-and-out disappointment among the symphonies, however, is Giulini’s heavy First which is much too controlled, lacking drama and passion. The conductor is too measured and aristocratic in this music and is unwilling to let the players off the leash so that the big climaxes are curiously underplayed. The finale, in particular, lacks energy so that there is little sense of a developing journey, though Giulini shows surprising affinity for the klezmer elements of the third movement.
Elsewhere Rattle’s Klagende Lied has had to contend with stiff competition from Chailly on Decca, but in Rattle’s hands we hear the cantata as not only a pre-echo of the mature composer but as a fairly astonishing work in itself: what ordinary student could produce such marvellous orchestral sonorities? Chorus and soloists are excellent, with an especially noteworthy contribution from Robert Tear.
For the other song cycles EMI offer us tremendous variety and quality. The early Lieder und Gesänge are extremely well sung, with humour and wit sitting alongside heartfelt passion. The set includes three songs specially recorded for this set by Antonio Pappano and Ian Bostridge, and when you see that the other songs include the likes of Christa Ludwig, Katarina Karnéus (especially beautiful) and Brigitte Fassbaender you know that you are in safe hands. Elsewhere Furtwängler directs a predictably weighty account of the Gesellen lieder with the young Fischer-Dieskau wringing every ounce of meaning out of the words, conveying white-hot intensity in the third song and a poignant sense of loss in the finale. Szell’s 1968 account of the Wunderhorn songs is still the finest you will hear anywhere. The singing is above praise and the vocal acting is so compelling that each song feels like a miniature opera. And what a treat to have Kathleen Ferrier’s untouchable account of the Kindertotenlieder! When it was recorded in 1949 this performance set standards that every other recording of the cycle has sought to live up to and the dark intensity of Ferrier’s voice is perfectly suited to this music. Ferrier’s natural successor, however, was surely Dame Janet Baker, and her 1969 account of the Rückert-Lieder acts as a wonderful counter-balance to Ferrier, coming immediately after the Kindertotenlieder on the same disc. It is with the Rückert-Lieder that EMI choose to end the whole set: we get Thomas Hampson’s (slightly pallid) account of the piano version and then - a collector’s treat, this - seven contrasting accounts of the final song, Ich bin der Welt abhanden gekommen, in a huge range of interpretations and accompaniments which only serve to highlight the wonderful mood of this song. I leave it to the listener to decide which account is the finest: it’s a difficult choice.
Full credit to EMI for commemorating the composer’s anniversary in this way: they have appealed to both newcomers and established collectors by providing the complete works at a super bargain price and have given us a cook’s tour of great Mahler conducting at the same time. Full texts and translations are provided as a PDF on the final CD. For what it’s worth, I think that this set trumps the similar offer of the complete works from DG: the DG is also full of quality but EMI have been more imaginative in choosing their performances and the overall standard is higher here. Snap up this outstanding bargain while it is available: it may not be around for long.
Simon Thompson
TRACKLIST
CD 1
Das Klagende Lied (1878-80, rev. 1892-3 & 1898-9)
[1] I. Waldmärchen 28.31
[2] II. Der Spielmann 17.35
[3] III. Hochzeitsstück 18.57
Helena Döse, soprano ▪ Alfreda Hodgson, mezzo
Robert Tear, tenor ▪ Sean Rea, bass
CBSO Chorus (chorus master: Simon Halsey)
City of Birmingham Symphony Orchestra/Sir Simon Rattle
Recorded: 12 & 13.X.1983 and 24.VI.1984; Town Hall, Birmingham
Producer: John Willan
Balance engineer: Michael Sheady
(P) 1985 EMI Records Ltd. STEREO/DDD
Piano Quartet in A minor (incomplete: 1876-8)
[4] I. Nicht zu schnell 11.21
Domus: Susan Tomes, piano ▪ Krysia Osostowicz, violin Timothy Boulton, viola ▪ Richard Lester, cello
Recorded: IV.1988, St. Barnabas’ Church. Woodside Park, London
Producer: Andrew Keener
Balance engineer: Mike Hatch
(P) 1988 Virgin Classics Ltd. STEREO/DDD
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 76.40
CD 2
Lieder eines fahrenden Gesellen (Mahler) (Dec. 1884-5, rev. ?1891-6)
[1] I. Wenn mein Schatz Hochzeit macht 4.15
[2] II. Ging heut morgen übers Feld 4.46
[3] III. Ich hab’ ein glühend Messer 3.29
[4] IV. Die zwei blauen Augen von meinem Schatz 5.40
Dietrich Fischer-Dieskau, baritone
Philharmonia Orchestra/Wilhelm Furtwängler
Recorded: 24 & 25.VI.1952, Kingsway Hall, London
Producer: Lawrance Collingwood
Balance engineer: Douglas Larter
(P) 1955 EMI Records Ltd. MONO/ADD
Digital remastering (P) 2001 by EMI Records Ltd.
Symphony No. 1 in D major (1884-8, rev. 1893-6)
[5] I. Langsam, schleppend, wie ein Naturlaut 16.49
[6] II. Kräftig bewegt, doch nicht zu schnell 8.00
[7] III. Feierlich und gemessen, ohne zu schleppen - 11.23
[8] IV. Stürmisch bewegt 20.47
Chicago Symphony Orchestra/Carlo Maria Giulini
Recorded: 30.III.1971, Medinah Temple, Chicago
Producer: Christopher Bishop
Balance engineer: Carson Taylor
(P) 1971 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2004 by EMI Records Ltd.
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 75.30
CD 3
Symphony No. 2 in C minor (1888-94, rev. 1903) “Resurrection”
[1] I. Allegro maestoso
(Mit durchaus ernstem und feierlichem Ausdruck) 19.03
[2] II. Andante moderato (Sehr gemächlich) 10.30
[3] III. In ruhig fliessender Bewegung 11.40
[4] IV. “Urlicht” (Sehr feierlich, aber schlicht) 4.01
Text from “Des Knaben Wunderhorn”
[5] V. In tempo des Scherzos. Wild herausfahrend - 6.57
[6] Wieder sehr breit - 2.58
[7] Ritardando…Maestoso - 5.03
[8] Wieder zurückhaltend - 6.25
[9] Langsam. Misterioso - 5.38
[10] Etwas bewegter - 3.05
[11] Mit Aufschwung aber nicht eilen 4.00
Text by Friedrich Gottlieb Klopstock & Mahler
Elisabeth Schwarzkopf, soprano ▪ Hilde Rössl-Majdan, mezzo
Philharmonia Chorus (chorus master: Wilhelm Pitz)
Philharmonia Orchestra/Otto Klemperer
Recorded: 22 - 24.XI.1961 & 15, 24.III.1962, Kingsway Hall, London
Producer: Walter Legge, Walter Jellinek & Suvi Raj Grubb
Balance engineer: Douglas Larter, Robert Gooch & Francis Dillnutt
(P) 1963 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2000 by EMI Records Ltd.
CD 4
Lieder (1879-83)
[1] 1. Im Lenz (Mahler) 2.59
[2] 2. Winterlied (Mahler) 2.57
[3] 3. Maitanz im Grünen (Mahler) 1.45
Ian Bostridge, tenor
Antonio Pappano, piano
Recorded: 19.II.2010, St. Jude-on-the-Hill, Hampstead, London
Producer: John Fraser
Balance engineer: Philip Hobbs
Editor: Julia Thomas
(P) 2010 EMI Records Ltd. STEREO/DDD
Lieder und Gesänge
i (1880-7)
[4] 1. Frülingsmorgen (Leander) 1.50
[5] 2. Erinnerung (Leander) 2.58
[6] 3. Hans und Grete (Mahler) 2.02
[7] 4. Serenade aus Don Juan (Tirso de Molina, trans. Braunfels) 1.38
[8] 5. Phantasie aus Don Juan (Tirso de Molina, trans. Braunfels) 2.16
ii (from Brentano and Armin: Des Knaben Wunderhorn, 1887-90)
[9] 1. Um schlimme Kinder artig zu machen 1.38
[10] 2. Ich ging mit Lust durch einen grünen Wald 4.25
[11] 3. Aus! Aus! 1.56
[12] 4. Starke Einbildungskraft 0.58
iii (from Brentano and Armin: Des Knaben Wunderhorn, 1887-90)
[13] 1. Zu Strassburg auf der Schanz’ 3.52
[14] 2. Ablösung im Sommer 1.46
[15] 3. Scheiden und Meiden 2.15
[16] 4. Nicht wiedersehen 4.48
[17] 5. Selbstgefühl 1.53
Christa Ludwig, mezzo
Gerald Moore, piano
Recorded: 1, 3 - 5.V.1959, No. 1, Abbey Road Studios, London
Producer: Walter Legge & Walter Jellinek
Balance engineer: Harold Davidson
(P) 1960 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1991 by EMI Records Ltd.
Katarina Karnéus, mezzo
Roger Vignoles, piano
Recorded: 7 - 9.VII.1998, St. Michael’s Church, Highgate, London
Producer: Simon Kiln
Balance engineer: Arne Akselberg
(P) 1999 EMI Records Ltd. STEREO/DDD
Brigitte Fassbaender, mezzo
Irwin Gage, piano
Recorded: 24 - 26.X.1979 & 11 - 14.III.1980, Gemeindehaus, Berlin-Zehlendorf
Producer: Christfried Bickenbach
Balance engineer: Wolfgang Gülich
(P) 1981 EMI Music Germany STEREO/ADD
Digital remastering (P) 2005 by EMI Music Germany
Alice Coote, mezzo
Julius Drake, piano
Recorded: 19 - 21.XII.2002, Potton Hall, Suffolk
Producer: Simon Kiln
Balance engineer: Jonathan Allen
(P) 2003 EMI Records Ltd. STEREO/DDD
Dietrich Fischer-Dieskau, baritone
Daniel Barenboim, piano
Recorded: 5 - 10.II.1978, Siemensvilla, Berlin
Producer: Suvi Raj Grubb
Balance engineer: Johann-Nikolaus Matthes & Michael Sheady
(P) 1980 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2005 by EMI Records Ltd.
Symphony No. 3 in D minor (1893-6, rev. 1906)
Erste Abteilung
[18] I. Kräftig. Entschieden 33.36
Philip Harrison, trombone
5 56657 2, CD 1 [1]
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 76.40
CD 5
Symphony No. 3 in D minor (1893-6, rev. 1906)
Zweite Abteilung
[1] II. Tempo di Menuetto. Sehr mäßig 10.21
[2] III. Comodo. Scherzando. Ohne Hast 16.53
Jonathan Quirk, posthorn
5 56657 2, CD 1 [2] & [3]
[3] IV. Sehr langsam. Misterioso. Durchaus ppp 9.24
Text by Friedrich Nietzsche
[4] V. Lustig im Tempo und keck im Ausdruck 3.57
Text from “Des Knaben Wunderhorn”
[5] VI. Langsam. Ruhevoll. Empfunden 22.22
5 56657 2, CD 2 [1] - [3]
Birgit Remmert, contralto
City of Birmingham Symphony Youth Chorus
Ladies of the City of Birmingham Symphony Chorus (chorus master: Simon Halsey)
City of Birmingham Symphony Orchestra/Sir Simon Rattle
Recorded: 5 - 7.X.1997, Symphony Hall, Birmingham
Producer: David R. Murray
Assistant Producer: Mark Howells
Balance engineer: Mike Clements
(P) 1998 EMI Records Ltd. STEREO/DDD
Blumine (originally planned for Symphony No. 1, discarded 1906)
[6] . (Andante) GB-AYC-08-02838 7.22
2 16576 2 [3]
Frankfurt Radio Symphony Orchestra/Paavo Järvi
Co-production with Hessischer Rundfunk (Frankfurt Radio)
Recorded: V.2007, hr-Sendesaal, Frankfurt
Producer: Christoph Claßen
Balance engineer: Rüdiger Orth
(P) 2009 EMI Records Ltd./Virgin Classics STEREO/DDD
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 70.30
CD 6
Symphony No. 4 in G major (1892, 1899-1900, rev. 1901-10)
[1] I. Heiter, bedächtig. Nicht eilen 17.58
[2] II. In gemächlicher Bewegung. Ohne Hast 11.28
[3] III. Ruhevoll 19.59
[4] IV. Sehr behaglich 9.45
Text from “Des Knaben Wunderhorn”
Dame Margaret Price, soprano
London Philharmonic Orchestra/Jascha Horenstein
Recorded: 23 & 24.XI.1970, Barking Town Hall, London
Producer & Balance engineer: John Boyden
(P) 1971 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1983 by EMI Records Ltd.
CD 7
Symphony No. 5 in C sharp minor (1901-2, scoring repeatedly revised)
[1] I. Trauermarsch
(In gemessenem Schritt - Streng - Wie ein Kondukt) 13.38
[2] II. Stürmisch bewegt, mit grösster Vehemenz 15.25
[3] III. Scherzo: Kräftig, nicht zu schnell 18.06
[4] IV. Adagietto (Sehr langsam) 11.21
[5] V. Rondo - Finale: Allegro 14.52
The London Philharmonic/Klaus Tennstedt
Recorded LIVE: 13.XII.1988, Royal Festival Hall, London
Producer: John Willan
Balance engineer: Graham Haines
(P) 1989 EMI Records Ltd. STEREO/DDD
CD 8
Kindertotenlieder (Rückert) (1901-4)
[1] Nun will die Sonn’ so hell aufgeh’n 4.49
[2] Nun she’ ich wohl, warum so dunkle Flammen 4.37
[3] Wenn dein Mütterlein tritt zur Tür herein 4.30
[4] Oft denk’ ich, sie sind nur ausgegangen! 2.53
[5] In diesem Wetter, in diesem Braus 6.22
Kathleen Ferrier, contralto
Wiener Philharmoniker/Bruno Walter
Recorded: 4.X.1949, Kingsway Hall, London
Producer: Walter Legge
Balance engineer: Douglas Larter
(P) 1952 EMI Records Ltd. MONO/ADD
Digital remastering (P) 1998 by EMI Records Ltd.
5 Rückert-Lieder (1901-2)
[6] Blicke mir nicht in die Lieder! 1.37
[7] Ich atmet’ einen linden Duft! 2.42
[8] Um Mitternacht 5.55
[9] Liebst du um Schönheit (orch. Max Puttmann) 2.27
[10] Ich bin der Welt abhanden gekommen 6.46
Janet Baker, mezzo
New Philharmonia Orchestra/Sir John Barbirolli
Recorded: 17 & 18.VII.1969, Watford Town Hall
Producer: Ronald Kinloch Anderson
Balance engineer: Stuart Eltham
(P) 1970 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1999 by EMI Records Ltd.
Symphony No. 6 in A minor (1903-4, rev. 1906, scoring repeatedly rev.)
[11] I. Allegro energico, ma non troppo. Heftig , aber markig 21.19
New Philharmonia Orchestra/Sir John Barbirolli
Recorded: 17 - 19.VIII.1967, Kingsway Hall, London
Producer: Ronald Kinloch Anderson
Balance engineer: Peter Bown
(P) 1968 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1996 by EMI Records Ltd.
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 65.00
CD 9
Symphony No. 6 in A minor (1903-4, rev. 1906, scoring repeatedly rev.)
[1] II. Andante moderato 16.03
[2] III. Scherzo: Wuchtig 13.59
[3] IV. Finale: Allegro moderato 32.47
New Philharmonia Orchestra/Sir John Barbirolli
Recorded: 17 - 19.VIII.1967, Kingsway Hall, London
Producer: Ronald Kinloch Anderson
Balance engineer: Peter Bown
(P) 1968 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1996 by EMI Records Ltd.
CD 10
Symphony No. 7 (1904-5)
[1] I. Langsam - Allegro risoluto, ma non troppo 22.06
[2] II. Nachtmusik I: Allegro moderato 14.40
[3] III. Scherzo: Schattenhaft 10.15
[4] IV. Nachtmusik II: Andante amoroso 12.19
[5] V. Rondo - Finale: Tempo I: Allegro ordinario -
Tempo II: Allegro moderato ma energico 17.49
City of Birmingham Symphony Orchestra/Sir Simon Rattle
Recorded LIVE: 21 & 22.VI.1991, Snape Concert Hall, Snape (1991 Aldeburgh Festival)
Producer: David R. Murray
Balance engineer: Mike Clements
Assistant Engineer (recording): Mike Hatch
Assistant Engineer (mixing): Chris Ludwinski
Technical Engineer: Andy Beer
(P) 1992 EMI Records Ltd. STEREO/DDD
CD 11
Lieder aus “Des Knaben Wunderhorn” (Brentano & Armin) (1892-1901)
[1] I. Revelge b 7.12
[2] II. Das irdische Leben a 2.45
[3] III. Verlor’ne Müh a&b 2.30
[4] IV. Rheinlegendchen a 3.08
[5] V. Der Tamboursg’sell b 5.52
[6] VI. Der Schildwache Nachtlied a&b 6.21
[7] VII. Wer hat dies Liedlein erdacht? b 2.01
[8] VIII. Lob des hohen Verstandes a 2.49
[9] IX. Des Antonius von Padua Fischpredigt b 4.01
[10] X. Lied des Verfolgten im Turm a&b 3.44
[11] XI Trost im Unglück a&b 2.13
[12] XII. Wo die schönen Trompeten blasen a&b 7.32
Elisabeth Schwarzkopf, soprano a ▪ Dietrich Fischer-Dieskau, baritone b
London Symphony Orchestra/George Szell
Recorded: 8 & 9.III.1968, Kingsway Hall, London
Producer: Walter Legge
Balance engineer: Christopher Parker
(P) 1968 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2000 by EMI Records Ltd.
Symphony No. 8 in E flat major (1906-7) “Symphony of a Thousand”
Part 1 - Hymnus: Veni, creator spiritus
Allegro spirituoso
[13] Veni, creator spiritus 1.26
[14] Imple superna gratia 4.21
[15] Infirma nostril corporis 6.37
[16] Accende lumen sensibus 4.33
[17] Veni, creator spiritus 5.09
[18] Gloria, Patri Domino 2.30
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 75.00
CD 12
Symphony No. 8 in E flat major (1906-7) “Symphony of a Thousand”
Part 2 - Final scene from “Faust” (Goethe)
Poco adagio:
[1] Waldung sie schwankt heran 14.31
[2] Ewiger Wonnebrand 1.28
[3] Wie Felsenabgrund mir zu Fußen 4.22
Allegro deciso:
[4] Gerettet ist das edle Glied 3.22
[5] Uns bleibt ein Erdenrest 2.21
[6] Hier ist die Aussicht frei 0.38
[7] Höchste Herrscherin der Welt 4.11
Äußerst langsam, Adagissimo
[8] Dir, der Unberührbaren 3.55
[9] Bei der Liebe, die den Füßen 5.32
[10] Neige, neige, du Ohnegleiche 5.55
[11] Blicket auf zum Retterblick 5.51
[12] Alles Vergängliche 5.48
Elizabeth Connell, soprano I (Magna Peccatrix)
Edith Wiens, soprano II (Una Poenitentium)
Felicity Lott, soprano III (Mater Gloriosa)
Trudeliese Schmidt, contralto I (Mulier Samaitana)
Nadine Denize, contralto II (Maria Aegyptiaca)
Richard Versalle, tenor (Doctor Marianus)
Jorma Hynninen, baritone (Pater Ecstaticus)
Hans Sotin, bass (Pater Profundus)
Tiffin School Boys’ Choir (chorus master: Neville Creed)
London Philharmonia Choir (chorus master: Richard Cooke)
(Language Coach: Hilde Beal)
David Hill, organ
London Philharmonic Orchestra/Klaus Tennstedt
Recorded: 20 - 24.IV.1986, Walthamstow Town Hall, London
& 8 - 10.X.1986, Westminster Cathedral, London
Producer: John Fraser & James Mallinson
Balance engineer: John Kurlander & Tony Faulkner
(P) 1987 EMI Records Ltd. STEREO/DDD
CD 13
Das Lied von der Erde (from “Die chinesiche Flöte” (Bethge) (1907-9)
[1] Das Trinklied vom Jammer der Erde b 8.07
[2] Der Einsame im Herbst a 10.11
[3] Von der Jugend b 3.43
[4] Von der Schönheit a 7.47
[5] Der Trunkene im Frühling b 4.44
[6] Der Abschied a 29.33
Christa Ludwig, contralto a
Frtiz Wunderlich, tenor b
Philharmonia Orchestra ▪ New Philharmonia Orchestra/Otto Klemperer
Recorded: 19 - 22.II.1964, Kingsway Hall, London,
7 & 8.XI.1964 and 6 - 9.VII.1966, No. 1, Abbey Road Studios, London
Producer: Walter Legge & Peter Andry
Balance engineer: Douglas Larter & Robert Gooch
(P) 1967 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1998 by EMI Records Ltd.
CD 14
Symphony No. 9 in D major (1908-9)
[1] I. Andante comodo 26.46
[2] II. Im Tempo eines gemächlichen Ländlers
(Etwas täppisch und sehr derb) 14.51
[3] III. Rondo-Burleske: Allegro assai. Sehr trotzig 13.34
[4] IV. Adagio (Sehr langsam; molto adagio) 23.01
Berliner Philharmoniker/Sir John Barbirolli
Recorded: 10, 11, 14 & 18.I.1964, Jesus-Christus-Kirche, Berlin-Dahlem
Producer: Ronald Kinloch Anderson
Balance engineer: Ernst Rothe
(P) 1964 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2002 by EMI Records Ltd.
CD 15
Symphony No. 10 in F sharp minor (1910)
A performing version of Mahler’s draft, prepared by Deryck Cooke, in collaboration
with Berthold Goldschmidt, Colin Matthews and David Matthews
[1] I. Adagio 25.14
[2] II. Scherzo 11.24
[3] III. Purgatorio: Allegretto moderato 3.55
[4] IV. [Scherzo] 12.06
[5] V. Finale 24.47
Berliner Philharmoniker/Sir Simon Rattle
Recorded LIVE: 24 & 25.IX.1999, Philharmonie, Berlin
Producer: Stephen Johns
Balance engineer: Mike Clements
Asssitant Engineers: Graham Kirkby & Andy Beer
(P) 2000 EMI Records Ltd. STEREO/DDD
CD 16 - BONUS TRACKS
5 Rückert-Lieder (1901-2)
[1] Blicke mir nicht in die Lieder! 1.19
[2] Ich atmet’ einen linden Duft! 2.54
[3] Liebst du um Schönheit 2.27
[4] Um Mitternacht 6.34
[5] Ich bin der Welt abhanden gekommen 6.48
Thomas Hampson, baritone
Wolfram Rieger, piano
Recorded: 19 - 21.III.1996, No. 1, Abbey Road Studios, London
Producer: John Fraser
Balance engineer: John Kurlander
(P) 1997 EMI Records Ltd. STEREO/DDD
Ich bin der Welt abhanden gekommen (Rückert)
[6] 5 66981 2 [15] 6.51
Janet Baker, mezzo
Hallé Orchestra/Sir John Barbirolli
Recorded: 4.V.1967, No. 1, Abbey Road Studios, London
Producer: Ronald Kinloch Anderson
Balance engineer: Neville Boyling
(P) 1968 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1999 by EMI Records Ltd.
[7] 6.43
Christa Ludwig, mezzo
Gerald Moore, piano
Recorded: 1, 11, 13, 14, 17 & 20.XI.1957, No. 1, Abbey Road Studios, London
Producer: Walter Legge
Balance engineer: Christopher Parker & Robert Gooch
(P) 1959 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2010 by EMI Records Ltd.
[8] 6.32
Christa Ludwig, mezzo
Philharmonia Orchestra/Otto Klemperer
Recorded: 17 - 19.II.1964, Kingsway Hall, London
Producer: Walter Legge
Balance engineer: Douglas Larter
(P) 1967 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 1988 by EMI Records Ltd.
[9] 7.23
Dietrich Fischer-Dieskau, baritone
Daniel Barenboim, piano
Recorded: 5 - 10.II.1978, Siemensvilla, Berlin
Producer: Suvi Raj Grubb
Balance engineer: Johann-Nikolaus Matthes & Michael Sheady
(P) 1980 EMI Records Ltd. STEREO/ADD
Digital remastering (P) 2005 by EMI Records Ltd.
[10] 6.46
Thomas Allen, baritone
English Chamber Orchestra/Jeffrey Tate
Recorded: 16 & 17.V.1988 and 16.X.1989, No. 1, Abbey Road Studios, London
Producer: David Groves
Balance engineer: Mark Vigars
(P) 1991 EMI Records Ltd. STEREO/DDD
[11] 6.44
Brigitte Fassbaender, mezzo
Irwin Gage, piano
Recorded: 24 - 26.X.1979 & 11 - 14.III.1980, Gemeindehaus, Berlin-Zehlendorf
Producer: Christfried Bickenbach
Balance engineer: Wolfgang Gülich
(P) 1981 EMI Music Germany STEREO/ADD
Digital remastering (P) 2005 by EMI Music Germany
[12] 5.13
Katarina Karnéus, mezzo
Roger Vignoles, piano
Recorded: 7 - 9.VII.1998, St. Michael’s Church, Highgate, London
Producer: Simon Kiln
Balance engineer: Arne Akselberg
(P) 1999 EMI Records Ltd. STEREO/DDD
Urlicht (Symphony No. 2, IV) (Des Knaben Wunderhorn)
[13] 4.46
Alice Coote, mezzo
Julius Drake, piano
Recorded: 19 - 21.XII.2002, Potton Hall, Suffolk
Producer: Simon Kiln
Balance engineer: Jonathan Allen
(P) 2003 EMI Records Ltd. STEREO/DDD
This compilation (P) 2010 by EMI Records Ltd. © EMI Records Ltd. 2010
TOTAL DURATION (approx) 72.00