A student of Mahler book pioneers and essential recordings

In Mahler, there are the first generation, that of Mahler's students, those who knew him, who worked with him, who defended him when his work was still misunderstood, rejected, undermined. And there are others. And, whatever attachment we have for large Mahler defenders that are or were Bernstein, Tennstedt, Abbado, Sinopoli, Gielen, Jansons, Rattle, Kondrashin (list to be completed at will, without forgetting versions isolated Karajan, Barbirolli, Horenstein!), we must admit that the evidence of this first generation are ones that we can not simply do without, at least when they are experiencing.

Like those of Klemperer so, or those of Scherchen, the Bruno Walter Mahler recordings are essential. We obviously very familiar with the Song of the Earth with Viennese Ferrier and Patzak (Decca), and the Ninth concert recorded before the war, also with the Wiener. We revere these records ... At the risk of forgetting those, yet fundamental, conducted in the United States during the latter part of Walter's career, and for the Columbia label (now Sony). This box, which is more a very friendly price offer comes again these references and also the wisdom to include in particular the two versions of the Symphony No. 1 "Titan", the first in mono and second in stereo. Here a word on each of these records.

- Symphony # 1 - New York Philharmonic, 1954 (mono) (CD 7)
Version superbly played and recorded in a very clear and detailed mono late. We discover the power of Walter Mahler: an extraordinary formal mastery, but also design a less serious, less hieratic than Klemperer. Walter does not refuse the orchestral effect and here is what meets the ears: a spectacular Mahler, whose influence has been recognized by some chiefs later (Abbado, for a very current example).

- Symphony No. 1 - Columbia Symphony Orchestra 1961 (stereo) (CD 1)
A version sometimes slightly underestimated in comparison with that of 1954. Rightly, in my opinion, especially when you can enjoy both. For we must still admit that this very pure stereo, very raw Columbia offers an extra dimension to this spectacular Mahler. We gain in comfort and shock, although this version is orchestrally a little worse and a little bit cold though.

- Symphony No. 2 - NYP, Emilia Cundari & Maureen Forrester, 1958 (stereo) (CD 1-2)
The Resurrection symphony is one of those that nobody played as well as leaders who knew Mahler himself and received his instructions. Also the two most beautiful versions are they a live Klemperer in 1965 and it still a great achievement in the spectacular category. A show without artifice, however, which lacks neither the fury of the first movement, nor contemplation of the end (unlike a Stokowski for example). Maureen Forrester, as one can imagine, sublime in Urlicht.

- Symphony No. 4 - NYP & Desi Halban 1945 (mono) (CD 3)
Willem Mengelberg, one of the most addictive historical evidence in this chamber symphony, so touching when successful. The soprano Halban Desi has no equal, to place on the same heights as Jo Vincent (Mengelberg) and Reri Grist (Bernstein I).

- Symphony No. 9 - Columbia SO 1961 (stereo) (CD 3-4)
Perhaps the pinnacle of the recordings in any case that a complete version of the 1938 without any substitute or pale beside him. A very direct Mahler, raw, raw (which is reinforced by the orchestra and extroverted sound recording). And so many parameters that could have given hardness, born on the contrary the highest purity, profound and tender sadness that partition-bye, made and defended as ever. A great recording.

- Symphony No. 5 - NYP 1947 (mono) (CD 5)
As the 4th, a rather old band and necessarily random sound quality. A beautiful view, however, a testimony to know, although this is much 5th ardent defenders, effective and perhaps more concerned (Barbirolli, Rattle).

- Das Lied von der Erde - NYP, Mildred Miller & Ernst Haefliger, 1960 (CD 6)
Inevitably, when you know the version of the same in Vienna with Walter Ferrier and Patzak, or versions of Reiner, Jochum, Klemperer, we might want to disregard it. It would be quite wrong: Walter always control both the subtlety of orchestral discourse in this symphony in all but name. Ernst Haefliger competes easily with the tenors of the other versions, and Mildred Miller, immaculate, offers Abschied not lacking emotion!

- Lieder eines Fahrenden Gesellen - Columbia SO & Mildred Miller, 1960 (CD 2)
Mildred Miller found here, and as the competition is slightly weaker than in the Song of the Earth, these records are even more essential, especially since few women's voices are really and as valiantly illustrated in these songs.

A box not to be missed, then, that we want to discover Mahler or that one wishes to deepen knowledge here thanks to one of its most ardent defenders.