Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.
"This is yet another triumph for PentaTone’s RQR series. With visionary conducting and exemplary playing and singing, this set is a treasure to listen to from both an audiophiles' and a musician’s perspective. (…) To sum up: for all Mahlerians, this is an essential addition to the discography." ~SA-CD.net
Mahler’s Resurrection has been much recorded in recent years, so much so that new versions prompt one to groan inwardly and mutter: ‘Not another one’. Such ubiquity has its price, for any newcomer has to be something out of the ordinary if it’s to have any impact. Of recent releases David Zinman (Sony-BMG), Jonathan Nott (Tudor) and James Levine (Orfeo) definitely belong in this category; Vladimir Jurowski (LPO) and Markus Stenz (Oehms) manifestly don’t. And now Oehms are taking another bite out of the cherry, with the Hamburg orchestra led by their chief conductor Simone Young. Curiously, this was recorded at around the same time as the Stenz Mahler 2, which seems extravagant in this already overstocked field.
I got this disc a couple of years ago; a recent hearing showed me it had lost none of its power. Ernst Krenek (1900-91) is a pretty obscure figure, but on the evidence of his 2nd Symphony he ought to be better known. The 2nd is an audacious anarcho-symphony. Two huge, sloppy outer movements surround a rather dour scherzo; a sort of anti-structure is created by filling the piece with masses ……..Scott Spires @Amazon.com
You will probably be as incredulous as I was to learn that the greatest cycle of Mahler symphonies comes not from any of the usual suspects - Abbado, Bernstein, Chially, Haitink, Kubelik, Rattle, Sinopoli, Solti, Tennstedt - but from the unsung Gary Bertini, who spent the better part of his career as music director of the Cologne Radio Symphony Orchestra. Unlike any of those more publicized sets, each of which includes a misfire or two, Bertini is consistently successful from first to last; his performance of each of these works can stand comparison with the very best available.
Fans of Gustav Mahler's joyous Symphony No. 4 in G major will relish this buoyant performance by Ivan Fischer and the Budapest Festival Orchestra, featuring soprano Miah Persson, for it is wholly in keeping with the light tone and merry spirit of the score and is as delightful as any other recording on the market.
Claudio Abbado was an Italian conductor. One of the most celebrated and respected conductors of the 20th century, particularly in the music of Gustav Mahler, he served as music director of the La Scala opera house in Milan, principal conductor of the London Symphony Orchestra, principal guest conductor of the Chicago Symphony Orchestra, music director of the Vienna State Opera, founder and director of Lucerne Festival Orchestra, music director of European Union Youth Orchestra and principal conductor of the Berlin Philharmonic orchestra.
This is a reissue of Mahler performances delivered in Cologne in 1992 and 1993, and Thomas Quasthoff, just on the verge of international fame, was in phenomenal voice. The upper extension of his beautiful, expressive bass-baritone is thrilling, in perfect control. Artistically, he only grew stronger, as evidenced by his searing reading of 'Lieder eines fahrenden Gesellen' under Boulez (DG), but this earlier interpretation comes close, and there's no comparison so far as vocalism is concerned. The WDR orchestra plays well under the rather prosaic leadership of the late Gary Bertini (a native Russian who emigrated to Palestine as a child in the 1930s)– both are good enough, and the recorded sound is excellent. In all, this is a shattering reading by Quasthoff that should be heard by every lover of Mahler.
Bold, lush, and exquisite piano quartets by Mahler, Schumann, and Brahms, this core classical album presents some of the finest pieces written in the romantic era. For this chamber music album, Daniel Hope has put together a stellar cast, including CMS Artistic Directors David Finckel and Wu Han, as well as viola legend Paul Neubauer.