Mahler: Complete Symphonies (DG

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Product Description ------------------- Rafael Kubelik's highly chromatic, poetic Mahler s have been stes in Duetsche Grammophon's catalogue since their inception. Tempos overall tend to be quicker than the norm (Symphony No. 8 for instance fits conveniently on one CD), yet never at the expense of glossing over the composers renowned wealth of inner details. Many Mahler aficionados still regard Kubelik's readings here of the Symphonies No. 1 and No. 7 as reference s. Distinguished soloists include Dietrich Fischer-Dieskau, Edith Mathis, Norma Proctor, Franz Crass, and Julia Hamari. The Bavarian Radio Symphony Orchestra as well as the various outstanding choirs employed throughout the cycle couldn't be more in sync with Kubelik's inspired visionary interpretations. Review ------ This is home, or it should be, for any prodigal Mahler-lover weary of extreme gestures and 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 s, 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 ter 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 ier overall survey. Performance ***** Sound *** © BBC Music Magazine 2000