By nature shy and retiring, Klaus Tennstedt was a reluctant celebrity, and his international career in the last quarter of the twentieth century must have seemed utterly incredible to him. Yet as introverted and introspective as Tennstedt was, it doesn't seem at all obvious in this 1983 concert recording of Gustav Mahler's Symphony No. 6 in A minor, "Tragic," for this is one of the conductor's most extroverted, aggressive, and potent performances.
Bernard Haitink has had a long association with Gustav Mahler's Symphony No. 3 in D minor, from his classic 1966 stereo recording with the Royal Concertgebouw Orchestra to his 2006 audiophile recording with the Chicago Symphony Orchestra. This 2016 release on BR Klassik finds Haitink leading the Bavarian Radio Symphony Orchestra in a stirring live performance that shows no diminishment of the conductor's interpretive powers, and compares quite well with his previous renditions.
The presence of the young Mahler Chamber Orchestra and the decision by pianist Leif Ove Andsnes to conduct it from the keyboard may lead you to expect a smaller-scale performance than listeners actually get here, in this second album of Andsnes' "Beethoven Journey." Certainly this isn't keyboard-pounding Beethoven. The slow movement of the Piano Concerto No. 4 in G major, Op. 58, has none of the giant-stomping-around quality it often received in golden-age recordings.
This set of CD is EMI's ultra-low-cost boxed series, although the ultra-low prices, but this series there are still many excellent recordings, such as Ke Luotan's Beethoven Symphony Complete Works, Chiclini's Saty Piano works and so on. In this set of Mahler songs, it is worth noting that Teng Shi Te Te Te's "song of the earth", in its symphony is not included. In addition, the Baker Jazz singing "Luke Te song" and Fisher - Di Si test and Barenboim cooperation piano version of "Junior Magic" is also a very good version. But unfortunately did not include Canta "lament the song", but rather repeated the collection of the symphony of Teng Tate's total in the first 2,3,4 contains vocal movement, so it can not be called A song collection.
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.