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Mahler: Complete Symphonies (DG Collectors Edition) Box set

13 customer reviews

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Product details

  • Performer: Edith Mathis, Norma Procter, Marjorie Thomas, Elsie Morison
  • Orchestra: Bavarian Radio Symphony Orchestra, Bavarian Radio Chorus
  • Conductor: Rafael Kubelík
  • Composer: Gustav Mahler
  • Audio CD (11 Sept. 2000)
  • SPARS Code: DDD
  • Number of Discs: 10
  • Format: Box set
  • Label: DG
  • ASIN: B00004SA86
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: 32,426 in Music (See Top 100 in Music)

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Product Description

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

BBC Review

This is home, or it should be, for any prodigal Mahler-lover weary of extreme gestures and fat sonorities. Thorough reacquaintance with Kubel?k interpretations long overlooked - especially his Sixth, Eighth and Ninth symphonies - convinced me that his is the golden mean of urgent forward movement, supple change of gear and the wisdom to know where more space or emphasis than the score indicates is really needed (supremely his own rallentando into the blazing return of the 'Veni, creator spiritus' in the Eighth Symphony and the three heavenward leaps before the big collapse of the Ninth's first movement). The Bavarian strings, sinewy rather than sensuous, benefit from the extra space of the later recordings, which include the famous account of the Adagietto used in Visconti's Death in Venice. Yet the placement of first violins ranged with basses left, second violins to the right, always pays off and goes some way to accounting for the unremitting textural clarity of the performances (reinforced by ever-characterful woodwind with an uncanny knack for the grotesque).

set follows the fashion for slimline presentation, previously adopted by Philips for Haitink and EMI for Tennstedt, though there's been no change since its fatter incarnation - still one symphony per disc except for the Third, and no attempt to accommodate Fischer-Dieskau in the song cycles. As for consistency, only the admirable Edo de Waart (RCA) competes in time-span and unity of vision. Until Rattle completes his cycle - the first to end, as it surely should, with the Cooke performing version of the Tenth Symphony - there can be no healthier overall survey.

Performance *****
Sound ***

© BBC Music Magazine 2000

Customer Reviews

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Most Helpful Customer Reviews

19 of 19 people found the following review helpful By G. J. Mcintyre on 9 Oct. 2009
Format: Audio CD Verified Purchase
I have a particular interest in these recordings. They were not only my introduction to Mahler but to classical music. It happened after I caught some Mahler used as soundtrack on a film - no, not "Death In Venice" but a James Caan film called "The Gambler" which featured the hair raisingly eerie opening of the First. I borrowed a boxed set of the symphonies from a local library and - yes, it was this very set but on vinyl.

After this I started buying more celebrated performances by Barbirolli, Horenstein, Karajan and others - all so much more lush. I adapted to the epic romantic style and the heart on sleeve approach.

When I eventually returned to this set in CD form I was astonished by its sinewy leanness. It may be said that such is the emotive quality of Mahler that his music doesn't need any added emphasis and that seems to be Kubelik's attitude. The swift pacing conveys not only a more comprehensible structure but also a complete lack of self-indulgence. The closest equivalent to this approach may be Boulez whose clinical attitude can create a paradoxical fascinating repellence with respect to these works but Kubelik projects a more human sense of involvement, a warm chamber like intimacy, and a more visceral sense of drama.

I confidently predict that - as with Boulez - you will either love or hate these performances. Wallowing is most emphatically not on the bill. And the speed adopted throughout may appal many who are accustomed to emotive underlining and sensual lingering.

Even those antipathetic to Kubelik's stance may find him attractive in the early works, which are given a more rustic abrasiveness than usual. At the faster speeds, the trumpet fanfares and piccolo arabesques in the finale of no.
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10 of 10 people found the following review helpful By Scriabinmahler TOP 1000 REVIEWER on 26 Nov. 2008
Format: Audio CD
As a complete set, Kubelik's DG recordings are still unbeatable, because every symphony in the set is in a class of its own, unlike Solti, Bernstein, Tennstedt, Sinopoli, Haitink, Rattle, and Chailly's complete Mahler cycle in which you find at least two or three unsatisfactory performances.

What makes Kubelik's recordings stand out from the rest is the way he lets every part of the score sing with all heart and soul in every phrase and every bar, yet his eyes are firmly fixed on the whole developement of the symphony, not just the structural developement but psychological and dramatic developement too. That is why Kubelik's rendition of any Mahler Symphony never sounds artificial or calculated, unlike so many of recent recordings by so called great conductors, and it has the natural spontaneousness and the sense of inevitability which create extra vitality and impact in the music without resorting to Bernsteinesque excesses. I guess he learned the art from his mentor Fürtwängler.
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42 of 44 people found the following review helpful By Philoctetes TOP 500 REVIEWER on 22 Feb. 2006
Format: Audio CD
Kubelik's years with the BRSO were (and are) a continual delight and if you want to invest in a set of Mahler symphonies under one baton, this is the best bet. Warmly and spaciously recorded in Munich during the 60s and 70s, Kubelik's Mahler is wonderfully lyrical and vernal, especially in the Wunderhorn symphonies; brisk without being hurried and always personable or should that be humane.

Symphonies 1, 4 and 5 get renditions I would prefer to all other contenders, with 3 similarly wonderful and 2, 7 and 9 enthusiastically done if not quite so exceptional. 6 & 8 are quite satisfactory, but the only way to really 'get' the 8th is to go to it in concert. The adagio of the 10th is also included, but get Rattle's CD (BPO, EMI) for the complete picture.

Choose this and avoid Bernie's campness, Abbado's coldness, Solti's aggression, Haiitnk's dourness, Chailly's autopilot and the occasional touches of lunacy that afflict the other contenders. Kubelik makes the most satisfactory gateway into Mahler's soundworld and will refresh those who've wearied of other leaden performers. Spirited and lively musicmaking for your pleasure.
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24 of 25 people found the following review helpful By Colin Fortune VINE VOICE on 25 Jan. 2007
Format: Audio CD
All responses to music, recorded or otherwise, are of their nature highly subjective and personal. If you want a Mahler set with emotion overlaid on the music then you should get Bernstein/DGG. This set is in many ways its antithesis.

In a perfect world Symphony 1 would have the short exposition repeat in the first movement. Even without it this performance is one of the most bracing and satisfying that I know.

Symphony 2 is excellent except for the very end of the disc where the engineers limit the volume because of the difficulty of recording this work. Soloists are very fine, however.

Symphony 3 is one of my favourite performances of the work with a bright and clear approach. Movement #1 is particularly noteworthy for being held together at a fairly brisk pace without any suspicion of hurrying. The subesequent movements are most sensitively and poetically done.

Symphony 4 works extremely well, again at a fairly brisk tempo. This is an alternative to performances by Maazel, Szell and Klemperer. Freshness is the keynote again.

With Symphony 5 the direct and poetic approach produces one of the most satisfying performances that I know for Kubelik lets the music speak for itself. Part One is excellent, with a funeral march that never drags in Movement #1 and an explosion of angry energy in Movement #2. There are delightful "lifts" to the walz rhythms in Movement #3. The Adagietto is a little slow by 2007 fashion but very well brought off. Movement #5 is a racing and jolly rondo full of life-asserting vigour.

I cannot get on with either Symphony 6 or 7. In the first case I find the tempi too frenetic and in the second a mercurial performace is spoiled by rather hard recording of the strings in particular.
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