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Mahler - Symphony 9 & Kindertotenlieder

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4 used from £29.99

Product details

  • Orchestra: Royal Scottish National Orchestra
  • Conductor: Jascha Horenstein
  • Composer: Gustav Mahler
  • Audio CD (10 Sep 2001)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: BBC Legends
  • ASIN: B00005NSW8
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 278,640 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Song TitleArtist Time Price
Listen  1. Symphony No. 9 in D Major: I. Andante comodoLondon Symphony Orchestra29:55Album Only
Listen  2. Symphony No. 9 in D Major: II. Im Tempo eines gemachlichen Landlers - Etwas tappisch und sehr derbLondon Symphony Orchestra16:56Album Only
Listen  3. Symphony No. 9 in D Major: III. Rondo-Burleske: Allegro assaiLondon Symphony Orchestra13:56Album Only

Disc 2:

Song TitleArtist Time Price
Listen  1. Symphony No. 9 in D Major: IV. Adagio - Sehr langsam und noch zuruckhaltendLondon Symphony Orchestra26:49Album Only
Listen  2. Kindertotenlieder (version for voice and orchestra): No. 1. Nun will die Sonn' so hell aufgeh'nJanet Baker 5:23£0.59  Buy MP3 
Listen  3. Kindertotenlieder (version for voice and orchestra): No. 2. Nun seh' ich wohlJanet Baker 4:49£0.59  Buy MP3 
Listen  4. Kindertotenlieder (version for voice and orchestra): No. 3. Wenn dein MutterleinJanet Baker 5:00£0.59  Buy MP3 
Listen  5. Kindertotenlieder (version for voice and orchestra): No. 4. Oft denk' ich, sie sind nur ausgegangenJanet Baker 3:09£0.59  Buy MP3 
Listen  6. Kindertotenlieder (version for voice and orchestra): No. 5. In diesem WetterJanet Baker 7:26£0.59  Buy MP3 

Product Description

BBC 4075 2; BBC - Inghilterra; Classica Orchestrale

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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Scriabinmahler TOP 500 REVIEWER on 10 Nov 2008
Format: Audio CD Verified Purchase
I totally disagree with the reviewer above. This is not smooth and easy listening Mahler of our era, but it belongs to the golden age of Mahler recordings in which the likes of Stokowski, Solti, Levine, Tennstedt made gritty and labouring Mahler recordings, and Horenstein's robust and profound account of 9th belongs to that era. Highly recommendable alongside another monumental heavy-weight recording of the same symphony conducted by Maderna, also avilable on BBC Legend.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 6 reviews
7 of 8 people found the following review helpful
One of the premiere Mahler 9ths 28 Aug 2002
By R. J. Claster - Published on Amazon.com
Format: Audio CD
This live performance from 1966, in very good stereo sound (in particular it captures effectively the concert hall ambience in a way that makes most studio recordings sound antiseptic by comparison), is one of the most powerful I have heard of this music. It achieves its impact through a weight and emphatic intensity of utterance that highlights the dark, fatalistic elements of the music rather than its songful, lyrical qualities, as with Barbirolli-Berlin (or, to a lessor extent, the live Kubelik on Audite, which may be the most balanced interpretation of the 9th), or its volatile, manic changes of mood, as with Bernstein. Although the orchestral execution of the Rondo-Burleske is, admittedly, somewhat disjointed in spots, Horenstein achieves both a seamless flow and unbroken concentration of mood in the sublime concluding adagio movement, surpassing in these aspects most other performances I have heard. Expensive, yes, but an essential purchase for dedicated Mahlerians.
4 of 5 people found the following review helpful
A glorious recording! 31 Jan 2005
By Hiram Gomez Pardo - Published on Amazon.com
Format: Audio CD
The elusiveness, the slender touch, the precise accent and the absolute domain and total understanding of this work considered as musical testament are some of the fundamental tools to perceive the real intention of Mahler in his Farewell Symphony.

Curiously the Symphony begins with a theme that it might be well considered as a mesmerizing cradle song. More than an Adagio Gustav seems to go to the ancestral matrix , the primary origin or the maternal roots if I may expressing in mythological language: the candid innocence.

And suddenly the happy harmony will be faced to the existential anguish, the hardness of living with his peaks and lows: the first loves, the first depressions, the nature song, those admirable landscapes so well depicted from his native Vienna.

The last movement emerges as the final resolution: the fate of man dissolved in the cosmos infiniteness.

Curiously, the structure of that Symphony goes from the human unity to universe's integration and in this sense goes in opposite direction to Beethoven's Ninth spirit.

Jasha Horenstein was a champion director of Mahler and somehow he explores this far universe with absolute expressiveness keeping in mind every little detail to remark the Mahlerian pathos.

One of the best versions ever recorded. If you add Walter Vienna of the last thirties, Scherchen Vienna Symphony you will obtain the most honest and convincing performings of this supreme work to date.
4 of 5 people found the following review helpful
Essential, harrowing, unforgettable 1 Jun 2005
By Joel Rafi Zabor - Published on Amazon.com
Format: Audio CD
For me, Horenstein's interpretation of the Ninth is the only one that can stand beside Klemperer's more consistent rendering, which it not infrequently surpasses. The BBC recording offers what is surely the most harrowing performance of the first movement on record, compared to which Bernstein's exertions on DGG, for example, seem merely hysterical. Horenstein seems to have tested the darkness of his reading against a wealth of personal and historical experience, so that there is nothing merely rhetorical about it, ever. Much as I love Mahler's Ninth, I don't particularly care about the middle movements, so that I don't have the reservations expressed by other reviewers here. The BBC last movement is fine, but the slower, broader version on Horenstein's mono Music & Arts set is unsurpassably great: Horenstein's magical sense of tempo conforms exactly to Mahler's instruction "slow, while still holding back" and no other conductor has come close to its expressive depths and heights. The mono version of the first movement is better disciplined than the stereo BBC, in which Horenstein and the orchestra were fighting to hear each other in the boomy acoustics of the Royal Albert Hall, but the stereo version elucidates Horenstein's complete command of this extraordinary music's cataclysm of detail. This is a performance no lover of Mahler or his Ninth will want to be without. Alas for the shopper, the same must be said of the mono Music & Arts issue, but once you have those two and the Klemperer you've got it all, just about.
12 of 17 people found the following review helpful
Uneven but interesting 3 Aug 2004
By L. Johan - Published on Amazon.com
Format: Audio CD
This live stereo recording of a Horenstein Mahler 9 deserves its place in every Mahlerite collection, mainly for the first and last movements - the first in particular. The two other movements are less memorable or even to forget. Moreover, the sound is not great but OK. The audience's behavior is acceptable. An oddity is the applauses between movements.

Pros first:
I am not a fan of Horenstein, but it must be said that his interpretation of the first movement is impressive. Especially the climaxes come off very well. Excellent brass playing! Considering the last movement, it is getting a very slow presentation. Although I prefer the swift takes, such as Kubelik's (Audite, live) and Walter's (EMI, live), Horenstein's sensitive grasp is more convincing, than, say, Karajan's simplified and syrup-sentimental view (DG, live).

Here we have the second movement, of which Horenstein doesn't make anything interesting. Compare with Klemperer (EMI)! The third movement, finally, is deeply problematic for other reasons, with playing "out of bounds". How bad is it? It is one thing to be out of key, if we talk about winds and brass. But it is another thing to be out of tune, which is the matter here. At the end of the movement the timpanist is bars ahead of the rest. It sounds very odd if you know the piece.

Who's to blame? Horenstein is the usual suspect, I suppose. All rehearsal concentration put on the first and last movements; the two inner sections performed on routine.

The present recording can be recommended anyway, but certainly not as a first choice. Go for Barenboim (Teldec) or Abbado (DG) you want a great live, and for Ancerl (Supraphon) or Klemperer (EMI) if you want an excellent studio take.
6 of 9 people found the following review helpful
a true masterpiece 11 Dec 2001
By Will Saar - Published on Amazon.com
Format: Audio CD
it's like horenstein's advance from the vox (vienna symphony) version of bruckner's 9th, and his bbc philharmonic offering, decades later. the difference is obvious. this recording shows similar maturity, compared to the vox version of horenstein's 'youth'. relativity aside, as a stand-alone performance it maps out most insightfully what can only be said to be the last work of an era. unlike klemperer, this version doesn't seem to overburden one,(though that may have been mahler's intent...)opting instead for a deeply spiritual, fascinating journey through life and what may lie beyond, tempered by an emerging acceptance of both. the botched parts referred to above seem to be a staple of some of horensteins later conducting, and i dont put it in the realm of impossibility to suggest it intentional, as it would further inform the chaotic ambience of the movement...
rest assured this one is a keeper.
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