Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer [CD]

If a recording truly does honour to EMI's "Great Recordings of the Century" collection it is certainly this one. Although not made without problems --Walter Legge's original Philharmonia Orchestra started to fall appart in mid-recording and so a portion of the work was actually played by what came to be known for over a decade as the "New Philharmonia" orchestra, a fact that was noticeable in the original LP album labels but apparently forgotten in subsequent re-issues-- their effect --if any-- are unpercievable, such is the degree of concentration in spite of the interruptions in the recording process represented by the orchestra's disputes with their founder. Who knows, perhaps because of that the recording came out so perfectly done, as if the musicians were thinking to teach Legge a lesson in that this would embody the perfect legacy of one of the best orchestral ensembles ever assembled in London, of whose permanence in time no one was sure at he time (the orchestra survived, as we now know, and always among the top London orchestras, first as the "New Philharmonia" and from the end of the 70's on again with their original name, but not with that golden qualities of the late 50's and early 60's). The Klemperer way with the work is, as is to be expected, severe, objective and very much to the point, his concern for clarity of articulation (derived from coaxing clarity from the players themselves and not the result of engineering trickery) yielding miracles in our understanding of the inner construction of the piece, a "modernistic" Mahler 180° removed from more expressive conductors (more on this later), his habitual orchestral seating arrangement an additional bonus (violins split left and right of the conductor, horns and related family back left, trumpets and trombones back right). The much-lamented Fritz Wunderlich proves an ideal and wise choice, and Ludwig rose magnificently to the ocasion in spite of her reputed dislike of, or indifference with, the results (she is reported to prefer her remake of some years later with Bernstein and the Israel Philharmonic). A work like this deserves to be considered from more than a single point of view, though. This Klemperer recording is magnificent, mind you, and in no way will you go wrong if you purchase it, but I'd recommend to any person interested in this odd mixture of a symphony and a song cycle to also try another view, one that exploits its many emotional facets. Walter's readings provide an interesting alternative to Klemperer's severity (either the 1952 mono Decca made in Vienna or the stereo CBS made in New York City with a top-form NY Philharmonic, both with a fabulous singer -Ferrier in Vienna, Haefliger in NY- and a so-so one), but if you want to go the full monty buy the Decca Bernstein, made in Vienna in 1966 with James King and Dietrich Fischer-Dieskau essaying the male voice alternative to the alto voice. The depths achieved by Bernstein and Fischer-Dieskau in "Der Abschied" get as close to the bare bones of the true soul of this work as no other recording I know of, legal or pirate. Bernstein can go into excesses alright, but in the end and in its very own way, isn't this about excess? So my final recommendation: buy both, as in their peculiar ways they belong inextricably with each other.

Yes - two! Wunderlich with the Philharmonia in Kingsway Hall, and Ludwig with New Philharmonia in Abbey Road, 29 months later. But you'd never know. Sound quality is excellent, although Wunderlich is somewhat forward. Wonderful singing and evocative, haunting playing. Simply the best...

This excellent recording of Gustav Mahler's Das Lied von der Erde was released in 1998 by EMI in the Great Recordings of the Century series: its place as one of the great recordings of the 20th Century is well-deserved.

Gustav Mahler (1860 - 1911) called Das Lied von der Erde (1907- 1909) as his most personal composition. It compiles six songs to poems from Hans Bethge's Die Chinesische Flöte (The Chinese Flute). The songs are sung alternately by the mezzo-soprano and the tenor.

This large orchestral song cycle was recorded in the early 1960s by internationally reknowed artists: Christa Ludwig (Mezzo-Soprano), Fritz Wunderlich (Tenor), the Philharmonia Orchestra conducted by Otto Klemperer. The remastering by EMI is remarkable and therefore the sound quality equals any contemporary recording.

Musically, particularly the interpretation of both singers is outstanding, with a very clear German diction and a sensitive vocal expression. This recording was done when Fritz Wunderlich's international career reached its climax, having built a reputation as singer of Lieder and interpretations of roles in Mozart operas. This recording adds perfectly in the collection for Wunderlich-lovers, whose career was cut short by a tragic fatal accident in 1966.

The balance between orchestra and the soloists is another point of excellence in this recording. Otto Klemperer, who reached the height of his conducting career, leads the orchestra well-balanced and with a transparent sound-layer as an ideal accompanying "instrument". Nevertheless, all the orchestral nuances are brought out support all heights and lows of emotions, expressed by the singers. It should be added that Klemperer had recorded this work twice; this recording was made after his legendary Beethoven cycle (1957 - 1959) with the same orchestra.

This recoding is definitely one of the best recordings available on CD, and reasonably priced.