unless you want absolutely the digital sound, in which case I recommend rather Bertini ... when they are published in LP (late 60's early 70) Mahler Kubelik had not imposed, critical considering them too " timid "and preferring full Haitink (which remains a reference today rightly) or Solti (who was less aged, it seems you) in fact, when we saw the phonograph and that CD replay these interpretations we realize that they were more or less betrayed by the contemporary engraving (unlike Haitink and Solti who were both served as technical permitted) can then judge the work on parts of Rafael Kubelik and the Bavarian Radio Orchestra and we realize that this remains one of the four or five most beautiful Mahler integral to date, neither more nor less ... say that what characterizes the beginning to the end the work of Kubelik is above all faithfulness to the text, his desire to capture maximum specific components of this music (nostalgia, love of nature, popular music and reminiscences of traditional dances but also the grotesque and the sarcastic) and to have maximum detail while avoiding (even if not always achieved) lose sight of the overall architecture. We must not forget that some of these symphonies were played little or no at this time, and Rafael Kubelik often did pioneering work, which explains why it is sometimes less comfortable with the architecture of some movements extremely complex (first movement of the third final of the sixth, the ninth initial Andante) that some leaders of today, as his band is sometimes pushed to its limits, with fairly harsh sonorities (brass in particular) but at least they play fair (which was not always the case at the time ...) and for my part I find these colors sometimes a little green much better go to Mahler's music as research systematics of the "beautiful sound". Voice side, it's going to correct transcendent, the least known soloists (s) are not necessarily the least convincing (s); some symphonies had been considered at the time of publication as references (the Titan, resurrection) and continue to occupy a more than respectable place in the discography, some less "rated" excellent turn out (the fourth, extremely endearing The fifth of exemplary clarity, the seventh night but moderately corrosive as vitriol and sharp as steel, the eighth grand and fervent both ...) and others considered more or less failed at their publication have still beautiful moments (the third is full of delectable times despite the difficulties to master the overall architecture, the sixth is sharp and committed but sometimes too fast and ditto for the architecture, the second movement the ninth is an exemplary accuracy of tone compared to the popular inspiration, it really is one or rather "Laendler" pure ... pure fruit sugar) in any case nothing dishonorable in relation to what was (and especially with what has happened since ...) in the end more than positive, and almost ideal for a first approach (as Haitink) leaves deepen secondarily for symphonies "difficult" (sixth, ninth) than Other chefs have mastered more later. Note as well that the Audite label released a number of "live" these symphonies by the same which are sometimes very different (fifth in 1981) and punctually preferable (third).
