Mahler: Rückert-Lieder (Kindertotenlieder, 5 Rückert-Lieder, fahrendes Gesellen)

This is a Great Recordings of the 20th Century CD from EMI, including 2 song cycles, a song set, and a glorious repetition of single song song from a second set. The set and one cycle are poems by Rückert, while the other cycle is Mahler's unlove poems. The lyrics are included in Spanish, French, German (original, all), English. I have to say that by far the best translation of the three is the Spanish. It keeps the essence and keeps closer elements to the German. The other two have been worded too freely.
I have to say that it is very seldom that one can find a working of 4 different people so well put together: Rückert, Mahler, Barbirolli, and Baker. It is hard to believe that each worked on its own. On its own time and space, to be empathic with the tone of the lyrics. Alone, of course, until Baker and Barbirolli joined on rehearsals. The booklet's text is very appropriate for this CD (which is something unusual, in my opinion), because the writer gives a 1st person perspective as well as a personal narrative.

Whoever listens to this CD (unless a German expert, of course... oder Deutsche als Muttersprache, aber natürlich) should follow reading the lyrics closely to enjoy this fully.
The last song, which repeats the 2nd set's fifth song, is superbly performed, sublime interpretation by all.

Janet Baker, mezzo-soprano; John Barbirolli conducts the Hallé Orchestra, New Philharmonia Orchestra

CD contents

• Kindertotenlieder, song cycle for voice & piano [or orchestra] (Rückert)
• Rückert Lieder, song collection for voice & piano [or orchestra] (Rückert)
• Lieder eines fahrenden Gesellen, song cycle for voice & piano [or orchestra] (Mahler lyrics)
• Ich bin der Welt abhanden gekommen, song for voice & piano [or orchestra] (#5 of 7 Songs by (Rückert) )

Bruno Walter: Beethoven & Mahler

This is the rare Volume 2 for Grammofono 2000's "His First Recordings in America for Columbia". Bruno Walter conducts the New York Philharmonic Orchestra. And he plays the piano in "Lieder und Gesänge aus der Jugendzeit" for Desi Halban, soprano.

I really enjoyed Mahler's Symphony no. 5 with Walter, as compared to Claudio Abbado's. I think Walter's is how it was intended... much more subtle, playful, serene (of course, his closeness to Mahler must have played a key role in his interpretation). While Abbado's gives it a cinematographic touch, very much with the grandiosity used in incidental music, Walter's is more situated, theatrical... less lights and more imagination. The comparison would be similar to Hollywood productions today vs. Hollywood productions from the 50's.
Regardless, both are worth listening to. Enjoy particularly the fifth movement of Mahler Symphony No. 5.

Beethoven's Eroica is very expressive, especially with his use of dynamics.

Link to Amazon's page for this CD set: Beethoven: Symphony No. 3; Mahler: Symphony No. 5

Name	Key	Catalogue	Musicians	Observations
Disc 1: Beethoven
Symphony No.3	Eb	Op.55 Columbia M449	Jan. 1941	Eroica
Disc 2: Mahler
Symphony No.5	C#m	Columbia SL 171	Feb.10,1947
Selection from "Lieder und Gesänge aus der Jugendzeit" for Voice and Piano(1880-1890)		Columbia SL 171	Desi Halban, soprano Bruno Walter, Piano Dec. 16, 1947	I.Frühlingsmorgen (Leander) II. Erinnerung (Leander) III. Hans und Grethe (Mahler) VII. Ich ging mit Lust durch einen grünen Wald (*) IX. Starke Einbildungskraft (*) XI. Ablösung im Sommer (*) XII. Scheiden und Meiden (*) XIII. Nicht wiedersehen (*)

Mahler: Symphony No. 5 (Abbado)

After a long drought of listening to nothing, I listened again to Gustav Mahler's Symphonie Nr. 5. It took many several times to begin to appreciate it. I have to say that I am neither impressed nor inspired. But finally I can recognize the wide spectrum of emotions and scenes. From the barren fields of the first part, to the epic reunion in the third part. Both, the first movement, has a very somber theme, and the fifth one, has a light-hearted one, making an interesting transition.
Claudio Abbado directs the Chicago Symphony Orchestra, 1981
Edit: I have listened to this once more, many months later. I do like it better now. I can even say that I was awaiting to. Acoustic memory sure plays a huge role to taste (esp. in laymen, I suppose). The themes are strong and resounding.

Erster Teil

1. Trauermarsch.

In gemessenem Schritt. Streng. Wie ein Kondukt

2. Stürmisch bewegt.

Mit größer Vehemenz

Zweiter Teil

3.Scherzo

Kräftig, nicht zu schnell

Dritter Teil

4.Adagietto

Sehr langsam

5.Rondo-Finale

Allegro - Allegro giocoso. Frisch

Mahler: Des Knaben Wunderhorn

Wow. I am surprised how subtle, strong, simple and beautiful Mahler could sound. The way it is described is right: it just sounds as an honest interpretation.

This is on of the Great Recordings of the Century, in EMI Classics. Elisabeth Schwarzkopf (a:soprano), Dietrich Fischer-Dieskau (b:bariton, from which I already have other works), and George Szell conducting the London Symphony Orchestra, recorded live in 1968.

I have finally turned out to be a believer of vocal music.

1. Revelge, b


2. Das irdische Leben, a


3. Verlor'ne Müh, a+b


4. Rheinlegendchen, a


5. Der Tamboursg'sell, b


6. Der Schildwache Nachtlied, a+b


7. Wer hat dies Liedlein erdacht, b


8. Lob des hohen Verstandes, a


9. Des Antonius von Padua Fischpredigt


10. Lied des Verfolgten im Turm, a+b


11. Trost im Unglück, a+b


12. Wo die schönen Trompeten blasen, a+b