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Mahler - Symphony No 1; Songs of a Wayfarer SACD

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Includes FREE MP3 version of this album.
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Mahler - Symphony No 1; Songs of a Wayfarer + Mahler: Symphony No. 3 + Mahler: Symphony No 2, 'Resurrection'
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Product details

  • Conductor: Klaus Tennstedt
  • Composer: Gustav Mahler
  • Audio CD (29 May 2006)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: SACD
  • Label: Lpo
  • ASIN: B000FMR498
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 166,920 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.

Song TitleArtist Time Price
Listen  1. Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (version for voice and orchestra): No. 1. Wenn mein Schatz Hochzeit machtThomas Hampson 5:00£0.79  Buy MP3 
Listen  2. Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (version for voice and orchestra): No. 2. Ging heut' morgen ubers FeldThomas Hampson 4:47£0.79  Buy MP3 
Listen  3. Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (version for voice and orchestra): No. 3. Ich hab' ein gluhend MesserThomas Hampson 3:48£0.79  Buy MP3 
Listen  4. Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (version for voice and orchestra): No. 4. Die zwei blauen AugenThomas Hampson 6:26£0.79  Buy MP3 
Listen  5. Symphony No. 1 in D Major, "Titan": I. Langsam, schleppendLondon Philharmonic Orchestra15:41Album Only
Listen  6. Symphony No. 1 in D Major, "Titan": II. Kraftig bewegt, doch nicht zu schnellLondon Philharmonic Orchestra 7:31£0.79  Buy MP3 
Listen  7. Symphony No. 1 in D Major, "Titan": III. Feierlich und gemessen, ohne zu schleppenLondon Philharmonic Orchestra10:22Album Only
Listen  8. Symphony No. 1 in D Major, "Titan": IV. Sturmisch bewegtLondon Philharmonic Orchestra19:03Album Only

Product Description

Product Description

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'...a stirring account,with tight control causing Mahler's climatic outbirsts-both joyous and nostalgic-to hit home potently.' --Classic FM Magazine

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Most Helpful Customer Reviews on (beta) 7 reviews
7 of 7 people found the following review helpful
Excellent Live Tennstedt Mahler Performances from The Proms 31 July 2006
By J Scott Morrison - Published on
Format: Audio CD
Klaus Tennstedt is a Mahler conductor about whom opinions can be fiercely divided. There are those who decry his emotionality, and those who love it. I fall in the latter camp. These two performances are from London Proms concerts -- 1985 (Symphony) and 1991 (Songs) -- recorded live by the BBC and just now being released for the first time on the fairly new LPO label, the London Philharmonic's own label. Indeed it is only the twelfth of their releases and they are indeed worthy.

Thomas Hampson had recorded the 'Lieder eines fahrenden Gesellen' ('Songs of the Wayfarer') early in his career with Leonard Bernstein and the New York Philharmonic. That performance seemed a bit underdone to me; rather, it appeared to me that Bernstein rather overpowered Hampson. This performance, however, is mature and ravishing. Mahler wrote his own texts, presumably in response to a love affair with a singer than had not gone well, and the overall tenor of the songs is sad or at least reflective, with the exception of the beginning of the second song where the finch says to the traveler, 'Isn't it a good morning ... a wonderful world?' to which the wayfarer responds 'No, my happiness can never bloom.' Hampson, that healthiest and most American of singers, sings the finch's optimism convincingly but, better, he conveys the wayfarer's despair equally well. The end of the fourth song 'Die zwei blauen Augen' is both heart-breaking and gently inspiriting. This is a masterful performance by Hampson, matched by a virtuosic performance by the LPO.

I have to admit that it had been probably a couple of years since I had listened to a performance of Mahler's First Symphony, and in hearing it here in this electric live performance by Tennstedt and the LPO I was struck anew with what a marvelous work it is. I know there are probably better recorded performances overall -- Horenstein, Kubelik and Bernstein come to mind -- but coming back to the symphony after such a hiatus I was again reminded what a marvelous first symphony it is, one in which Mahler broke all the rules and created a sui generis work of real power. Tennstedt's emotionality is evident throughout, although the third movement seems slightly automatic in tone (and there are some momentary tuning problems with the 'Bruder Jakob' entry). The LPO brass really outdo themselves in the Stürmisch bewegt fourth movement. One finds oneself dodging the lightning strikes!

I don't know that I would recommend this recording as an only Mahler First, but I was extremely impressed with Hampson's 'Wayfarer Songs' and find it very nearly the equal of Thomas Quasthoff's recent lauded set under Boulez which also has the additional merit of Anne Sofie von Otter's touching 'Kindertotenlieder.'

Scott Morrison
7 of 7 people found the following review helpful
Wyfarer finally in a male voice. 25 Aug. 2010
By N. White - Published on
Format: Audio CD Verified Purchase
My experiences with Mahler's "Songs of a Wayfarer" has been an interpretation by first, Christa Ludwig and later by Janet Baker. I thought it was time to hear it sung by a male voice and I agree, Thomas Hampson is wonderful, but I still prefer Christa Ludwig's which has more melancholy emotion and though it is quite old, it is and will be my favorite of the three.
The Symphony No. 1 conducted by Klaus Tennstedt is absolutely brilliant and I am
glad I have it in my collection. I would recommend this CD to anyone who loves Mahler.
N. White
5 of 6 people found the following review helpful
Another great addition to Tennstedt's legacy 10 Jan. 2007
By Santa Fe Listener - Published on
Format: Audio CD Verified Purchase
This joyous Mahler First is the best I've heard from Tennstedt and therefore one of the best in my collection. Jascha Horenstein has built a posthumous reputation that considerably amplifies what he enjoyed in life, and the same seems to be developing around Tennstedt. Thanks to BBC Legends, Profil, and now the London Phil's own house label, revelatory performances are coming to light, and many are better than their studio counterparts on EMI. The conductor tried the Mahler First twice in commercial release and was dissatisfied with both, I believe--I know he disliked the first version with the London Phil. on EMI. Here they are joined again, and the results are highly personal, flexible, and satisfying. No one will ever know what Furtwangler might have sounded like conducting a Mahler symphony (he did conduct them, including the Third, early on), but Tennstedt gives us a glimmer.

The sonics here are above average for a live Proms concert, although the sound must be turned up to keep it from sounding distant. Tennstedt's tempos are not unusual, but his rubato certainly is--you have to get used to his predilection for turning on a dime. That's even more true in the Wayfarer Songs, but Thomas Hampson does well in following the conductor's spontaneous expressive touches. As for the singer, he was in tremendous voice in 1991, giving a display of technical virtuosity that few, if any, have matched for power and dramatic force. Hampson isn't as personal with the text as Fishcer-Dieskau or Thomas Quasthoff, but that's the only drawback. In all, a great addition to a growing posthumous Tennstedt legacy.
1 of 1 people found the following review helpful
A touching Titan from Tennstedt, bittersweet at times 19 Jan. 2013
By Andrew R. Barnard - Published on
Format: Audio CD
A previous reviewer described this live Titan from Tennstedt as "joyous". It certainly is, but not carefree like Abbado's impeccable Berlin disc. Tennstedt finds highly charged emotion in every bar of Mahler's youthful symphony. This isn't a ponderous performance yet Tennstedt's intensity lends way to a certain desperate passion that has traces of loneliness at times. Like most great Mahlerians, Tennstedt finds great spontaneity, with rubato that transforms the symphony, giving it a fresh, vivacious feel.

Comparing Tennstedt to Abbado and Bernstein, two of my other favorites, Tennstedt stands out for sounding unabashedly Germanic, with an air of unmistakable depth and richness. But where Abbado and Tennstedt sound youthful and ambitious, Tennstedt seems to be on a restless search for meaning. In some ways this is a retrospective performance. We find Tennstedt reminiscing the bliss of childhood, not reliving it. He becomes a wayfarer, finding satisfaction in the beauty around him, yet realizing that it will soon fade. This understanding transforms the reading, meaning we will find touches of sadness even when enjoying the fragrances in the lovely flower garden. I don't think the Titan requires such mixed emotions, but Tennstedt's inspiration is captivating, and I doubt I'll ever hear the likes of his performance elsewhere. On a practical side, the sound quality is second rate, and the London Philharmonic isn't flawless. If you can count all the flubs from the brass on both hands, you must have more fingers than I do. Yet given the vision from the podium, these detractions don't hinder my appreciation.

The Songs of a Wayfarer that open the disc are conducted with the same level of involvement from Tennstedt. Thomas Hampson sings with a level of sadness--some will find it ponderous--that leaves us mourning the threat of lost beauty. Some listeners will prefer the greater exuberance, brilliance, and variety found from Thomas Quasthoff and Pierre Boulez with the Vienna Phil, but I'll tuck this heart wrenching performance away for when I want an intense, sober listen.

I'm overjoyed to have discovered this disc, which lends an air of pathos to a symphony that I previously viewed as predominately joyous. I won't forget Abbado and Bernstein, but Tennstedt earns a place beside them.
1 of 1 people found the following review helpful
Mahler, Tennstedt and Hampson 15 Jan. 2012
By Grady Harp - Published on
Format: Audio CD
Klaus Tennstedt and Thomas Hampson have long been associated with sublime performances of the works of Gustav Mahler. These recordings (1985 for the Symphony No 1 and 1991 for the 'Lieder eines fahrenden Gesellen') are here paired for the first time and the choice of placing them together is a fine one. The London Philharmonic Orchestra responds sensitively to Tennstedt's inspiring interpretation, making this one of the most emotionally charged, honestly felt recordings of this masterpiece of the day.

Thomas Hampson's performance here is a true collaboration with Tennstedt. Finally we can here the near-whispered passages that make Hampson's delivery so heartrendingly eloquent. His voice is in top form and his commitment to Mahler and to the composer's marriage of his own poetry with his music makes this a very personal experience - the mature work of a 23 year old composer writing about his passionate remembrance and longing for a lost love. Hampson is currently in Los Angeles with Gustavo Dudamel and the LA Philharmonic Orchestras month long Mahler Project (the song cycle is paired with the Symphony No. 4 illuminated by both Dudamel and soprano soloist Miah Perrson. It is rewarding to know that Hampson is still as lyrical as ever. He is able to push the big moments of the cycle without strain and still extend his serene sensitivity to the quiet passages that he allow him to ascend into the range of his upper voice. It is selfless delivery on Mahler's tender songs.

One of the reasons this recording is so outstanding is the choice of pairing the 'Lieder eines fahrenden Gesellen' with the First Symphony: there are passages from the pivotal 'Lieder' cycle that appear throughout Mahler's symphonies - especially the funeral march theme that is obviously moved directly into the score of the accompanying Symphony No. 1. And exceptional recording by two exceptionally sensitive Mahlerites! Grady Harp, January 12
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