# Mahler 8--What recordings do you own?



## SixFootScowl (Oct 17, 2011)

I have Bernstein NYP, Gielen, Olson (Conductor for Colorado Mahlerfest at the time it was recorded), Shaw, and Solti. This has been a tough symphony for me to get into, but as I collect more recordings and come back to it from time to time, I am gaining a greater appreciation for it.

This is the Mahlerfest set I have. It is Mahlerfest VIII and since we are now on Mahlerfest XXXI, this one would date to 1995.


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## CnC Bartok (Jun 5, 2017)

Too many recordings here, I'm afraid, Fritz! Nearly all are in boxed sets, admittedly these did manage to swallow up the individual recordings I had as well. I think the only standalone recordings I have are the older Gielen Sony set and Colin Davis on RCA (the former is a gem, the latter is remarkable for its blandness, alas).

I am afraid I am going for two or three very fine recordings amongst these that are favourites, all of which are probably very predictable. Firstly Solti's famous one, which remains my favourite; but if I want a bit more spirituality - at the expense of excitement - I very much enjoy Tennstedt's, and also Sinopoli's.

Regrettably it is almost certainly my least liked of the Mahler canon, and only when it is given out as a real "occasion" does it come off. Brilliant to see/hear it live, which I have done twice: once at a prom many moons ago, but also in Prague Cathedral, which was a really fantastic experience, partly helped by the unintentionally well-timed rumbles of thunder from outside on a stormy April evening!

The only Robert Olson recording I have is of Mahler 10, done in a not-Cooke version, which I really like. It has a much more chamber-music scoring to it, something debatably reflecting the direction Mahler might have been going in?


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## Granate (Jun 25, 2016)

This is the only recording of the No.8 I own: the studio Tennstedt recording is one of the best I've ever listened to only challenged by the Tennstedt live recording and the famous Solti in Chicago. It's often difficult to juge all of them. If I wanted to own another recording of the symphony, that would ve the live recording in the LPO label.


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## mbhaub (Dec 2, 2016)

The 8th is my least favorite of the symphonies, too. It has it's great moments, to be sure. But the first 2/3 or so of the 2nd movement just goes so slowly. Even in live performance I just don't love it like the other symphonies. As an incurable Mahler collector, I have too many 8ths; some 20 or more. Any recording that won't fit on one CD is too long. But even one-disk versions aren't necessarily good. Jarvi's on BIS is shallow, glib, uninvolving. Solti's is pretty exciting, but it's a Frankenstein of a recording. I love the old Wyn Morris recording from RCA in 1972 - slower than most, but he really builds the tension. Maazel is just routine - he didn't seem to really enjoy it, either. Stokowski with NY in 1950 is quite exciting, but of course the dim mono sound doesn't even begin to reveal the score in its glory. I like the Kubelik DG recording: quick and no-nonsense. Did anyone, ever, capture as much ecstatic brilliance as he did in the coda of the first movement?

If I had to keep only one, it's a new one: from Utah with Thierry Fischer and the Utah Symphony on Reference Recordings. Extraordinary sound - play it loud on a good system. And the interpretation is as good as it gets. It is a 2-disk version, but played this way it works. The Utah orchestra plays the symphony as well as any of the big-name orchestras and the conducting is also tops.


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## techniquest (Aug 3, 2012)

Aside from the recordings in box-set symphony cycles, I have these 6 recordings of the 8th.
They are: 
- Symphonica of London / Wyn Morris (imvho one of the very best M8 recordings)
- Warsaw National Philharmonic / Antoni Wit
- MahlerFest Orchestra / Robert Olsen (the same recording as yours from MahlerFest VIII but with different cover, recorded on january 14-15, 1995)
- CBSO / Rattle
- LSO / Gergiev (the live St Pauls Cathedral recording from 2008)
- Deutsches Symphonie Orchester, Berlin / Kent Nagano









I have the live Tennstedt recording on dvd (transferred from VHS tape), and it really is a corker!


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## SixFootScowl (Oct 17, 2011)

techniquest said:


> Aside from the recordings in box-set symphony cycles, I have these 6 recordings of the 8th.
> They are:
> - Symphonica of London / Wyn Morris (imvho one of the very best M8 recordings)
> - Warsaw National Philharmonic / Antoni Wit
> ...


How do you like the Mahlerfest recording?


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## Merl (Jul 28, 2016)

I have lots and lots of Mahler 8ths but like none of them. I just can't bear the 8th. I like or love all Mahler's other symphonies but the 8th does nowt for me. Oh hang on, I don't like the 3rd much either.


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## Azol (Jan 25, 2015)

Solti
Chailly/Concertgebouw
Chailly/Gewandhaus (on Blu-ray)
Bernstein (on DVD)
Nagano
Tennstedt (studio one)

The main problem obtaining more M8 recordings is the benchmark that has been set so high (Solti). Definitely looking for more, as M8 is one of my favorites.

If they are going to release THIS on DVD I will grab it right away!


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## Biffo (Mar 7, 2016)

Like other posters the 8th is my least favourite Mahler symphony but I have still managed to accumulate nine versions- four of them in box sets. Most recently I have listened to Bernstein's LSO recording; the DSD remastering has greatly improved the sound but the work still eluded me. In so far that I have a favourite it would be between Chailly (Concertgebouw) and Nagano. I will have to give Kubelik another try sometime; I have it as part of the complete cycle and only listened to it once. I can't share the enthusiasm for Solti - too noisy and frenzied in Part I.


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## Enthusiast (Mar 5, 2016)

I'm like everyone else. I have a few because I have a few complete sets. It is not a work I like particularly. But, perhaps, one day I will give it a proper go and try to get into it. It is too hot at the moment.


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## Brahmsianhorn (Feb 17, 2017)

I have Solti, Tennstedt, Sinopoli, Abbado, Morris, Stokowski, Scherchen, Flipse, and Mitropoulos, but my two favorites are:


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## elgar's ghost (Aug 8, 2010)

I'm not a massive fan of the 8th. Ironic in a way, as it was the first Mahler symphony I bought. Why I have as many recordings of it as I do the other symphonies is purely in the interests of symmetry, I suppose. In the final analysis I probably have about four too many, so if I had to get rid of half of them I'd probably hold on to the Solti, Kubelik, Horenstein and Tennstedt recordings.

Kubelik (part of DG box)
Solti (Decca)
Bernstein (Sony)
Rattle (EMI)
Tennstedt (EMI)
Sinopoli (DG)
Horenstein (BBC)
Chailly (Decca)


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## SixFootScowl (Oct 17, 2011)

I think the problem is that the Eighth is overwhelmingly choral. I have the same problem with Mendelssohn's 2nd. I am not huge on choral music, much preferring solo, duet or even quartet, but not so much into full choir, which on recordings can come off rather noisily and overly loud.


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## Manxfeeder (Oct 19, 2010)

I have Abaddo. I used to have a favorite recording, but I lent it to someone a few years ago, and it was never returned, and I've forgotten who the conductor was. You can tell, I don't care much for the 8th. I like the first half, but the text of the second half is kind of silly, so I don't pay much attention to it. So I usually stop before the second part.


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## SONNET CLV (May 31, 2014)

Like many of you others, I find the Mahler 8th to be the least listened to (by me) of the Mahler symphonies, though I do have several versions on my shelf (maybe a dozen) and I have the full score of the work and occasionally read through it as I listen to a performance. I simply do not find it as musically intriguing as the other symphonies. It isn't necessarily the choral element or the texts. I remain a big Goethe fan from my theatre days. And I relish Mahler's vocal symphonies and songs. The eighth remains overwhelming and is a lot to grasp on any one hearing. Still, I would not have wanted to live a life devoid of the knowledge (and sound) of this astounding masterpiece. Maybe I just prefer the 4th or 1st or 5th or 2nd or 3rd or 9th or another one more than I do the 8th. My loss.


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## elgar's ghost (Aug 8, 2010)

It's a nagging problem with me because it was a numbered symphony - had Mahler designated it as being a cantata or oratorio perhaps I would be more positive towards it as a stand-alone work rather than having my judgement clouded because of it being awkwardly shoehorned into the rest of the cycle.


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## Weird Heather (Aug 24, 2016)

mbhaub said:


> If I had to keep only one, it's a new one: from Utah with Thierry Fischer and the Utah Symphony on Reference Recordings. Extraordinary sound - play it loud on a good system. And the interpretation is as good as it gets. It is a 2-disk version, but played this way it works. The Utah orchestra plays the symphony as well as any of the big-name orchestras and the conducting is also tops.


I have this one as well, and I agree with this assessment. I have always liked Mahler's 8th, but I have also felt over the years that I don't quite "get" it or it doesn't speak to me quite like Mahler's other symphonies. This recording gave me a new appreciation for it and caused me to pay closer attention to the music. This symphony, perhaps more than his others, really needs a top quality performance combined with a venue with good acoustics and careful engineering. Incidentally, I used to live in Salt Lake City, and I regularly attended performances by this orchestra. I remember when they were doing their musical director search and a few candidates appeared as guest conductors. Thierry Fischer was a clear favorite with the audience, and I was quite happy when he was chosen for the position. I was glad to hear from this recording that they are still in top form.

In addition to this one, here are the others in my collection.

Atlanta Symphony/Robert Shaw
Chicago Symphony/Georg Solti
London Symphony/Leonard Bernstein
Tonhalle Orchestra Zurich/David Zinman
Utah Symphony/Maurice Abravanel


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## SixFootScowl (Oct 17, 2011)

I wonder if a smaller choral force might help, something more on the chamber orchestra size. But maybe that is contrary to his intent (Symphony of a Thousand?).


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## mbhaub (Dec 2, 2016)

The title "Symphony of a Thousand" wasn't Mahler's - it was the concert promoter who gave it that name. The problem with your comment about the choral force is that there's more than one choir. There are two choirs, plus a boys choir, and then the soloists. When I listen to the 8th, the best way for me is to turn off the lights, save a few candles. Have a full glass of brandy or other spirits at hand, turn the volume up and just listen. No score, no TV running, no dogs allowed. Just try to have the music envelope me. After 50 years of listening to Mahler the 8th is still the juggernaut, but this helps. I've begun to believe that if I'm ever going to truly assimilate it and understand it I'm going to have to participate in a real performance - probably join the symphony volunteer choir if and when they ever get around to doing it again. It's been 35 years!


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## Larkenfield (Jun 5, 2017)

Poor Mahler. Not one mention of the importance of the texts he used, their meaning and significance, in one of greatest successes he experienced in his lifetime. Not one translation or quote of the text is offered and why he might have used it.

This is not the only symphony that ever used soloists and choral forces. I have a number of different performances of the 8th, with most of them not being entirely satisfying, and I believe there's a reason for that: Mahler wrote in the upper range of the voice to create an added intensity of feeling, but too often the voices can sound forced, strained, as if the vocal parts were deliberately written out of their comfortable zone.

But exploring the texts that are married to the orchestra and voices may give a different perspective on the symphony and why he wrote it the way he did. I like the BBC Horenstein but feel that most of the recordings of the 8th just do not capture what Mahler was after, and it might have been his "fault," because it seems to take years for this symphony to be understood and appreciated, and I would include myself with ten copies by Abravanel, Bernstein, Chailly, Horenstein, Jarvi, Kubelik, Ozawa, Solti, and Stokowsky, who gave the American premiere of the 8th in 1916 with the Philadelphia Orchestra. The problem with some of these recordings is poor sound quality and perhaps the fact that Mahler seems out of his element in this symphony; that he doesn't always sound like himself when compared to his other symphonies.

Mahler 8th reviews by Tony Duggan: 
http://www.musicweb-international.com/Mahler/Mahler8.htm

Greatly enjoyed hearing Dudamel's outstanding performance in Caracas. A well deserved standing ovation and one of the best 8ths I've yet heard.


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## SixFootScowl (Oct 17, 2011)

mbhaub said:


> The title "Symphony of a Thousand" wasn't Mahler's - it was the concert promoter who gave it that name. The problem with your comment about the choral force is that there's more than one choir. There are two choirs, plus a boys choir, and then the soloists. When I listen to the 8th, the best way for me is to turn off the lights, save a few candles. Have a full glass of brandy or other spirits at hand, turn the volume up and just listen. No score, no TV running, no dogs allowed. Just try to have the music envelope me. After 50 years of listening to Mahler the 8th is still the juggernaut, but this helps. I've begun to believe that if I'm ever going to truly assimilate it and understand it I'm going to have to participate in a real performance - probably join the symphony volunteer choir if and when they ever get around to doing it again. It's been 35 years!


Might be able to do it at Mahlerfest next May.


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## CnC Bartok (Jun 5, 2017)

Lark - a word of caution...

Yes No.8 was probably the greatest success of his lifetime in terms of audience reception, and of course fair enough. But I suspect audiences were a bit like that - Big = Good!! Much the same is true of Dvorak, who had many of his great successes, especially in England, with his big choral works, immediately baptised as great masterpieces. I think one of them, the now relatively obscure Svatebni Kosile (The Spectre's Bride) was performed by forces not far short of Mahler's 1000, somewhere "up North", to a rapturous reception. Where is that piece now? Certainly not in the standard repertoire! [EDIT: it was actually performed in London, not "up North", and it was only 650 performing, but still....!]

In the second part, Mahler is of course setting part of one of the greatest works of world literature, no mean feat, and it is the closest he came to writing an opera, which wouldn't have worked well, as the characters are not "real", not their earthly characters, if that makes any sense. As a single "symphonic movement", it is remarkable, it flows, it holds together as a single entity for over 50 minutes. But for me there are bits that don't work. There are too many episodes that sound cheesy and saccharine - harps for angels, that sort of stuff - which are for me significant weaknesses. Out of his element? Yeah, OK! Eighth Symphony, or First attempt at Opera??!


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## Art Rock (Nov 28, 2009)

No matter how many different interpretations I've tried (I have Bernstein, Boulez, Chailly, Haitink, Kubelik, Rattle, Solti, Tilson Thomas, Wit), I keep thinking this is his least symphony, even though I would not want to be without it.


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## Star (May 27, 2017)

Mahler's 7 and 8 are frZnkly ones I can't get on with. Naybe another try sometime


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## Biffo (Mar 7, 2016)

Robert Pickett said:


> Lark - a word of caution...
> 
> Yes No.8 was probably the greatest success of his lifetime in terms of audience reception, and of course fair enough. But I suspect audiences were a bit like that - Big = Good!! Much the same is true of Dvorak, who had many of his great successes, especially in England, with his big choral works, immediately baptised as great masterpieces. I think one of them, the now relatively obscure Svatebni Kosile (The Spectre's Bride) was performed by forces not far short of Mahler's 1000, somewhere "up North", to a rapturous reception. Where is that piece now? Certainly not in the standard repertoire! [EDIT: it was actually performed in London, not "up North", and it was only 650 performing, but still....!]
> 
> In the second part, Mahler is of course setting part of one of the greatest works of world literature, no mean feat, and it is the closest he came to writing an opera, which wouldn't have worked well, as the characters are not "real", not their earthly characters, if that makes any sense. As a single "symphonic movement", it is remarkable, it flows, it holds together as a single entity for over 50 minutes. But for me there are bits that don't work. There are too many episodes that sound cheesy and saccharine - harps for angels, that sort of stuff - which are for me significant weaknesses. Out of his element? Yeah, OK! Eighth Symphony, or First attempt at Opera??!


I'll start with the nitpicking: The Spectre's Bride was first performed in Birmingham (August 1885) with Dvorak conducting a choir of 400 and an orchestra of 150. I have problems with this work as well but that is for another thread. Source: the Supraphon booklet for Dvorak: Sacred Works & Cantatas.

I have never heard the work live and concede it might make a different, possibly overwhelming, impression. However, I can only judge it by recordings.

Turning now to the text of Mahler 8. I have known the hymn 'Veni creator spiritus' since childhood though we usually sang it in English. I understand the theology/doctrine behind it and possibly even why Mahler was drawn to setting it. Part I has some wonderful moments but overall I find it noisy and strenuous.

I have read Goethe's Faust (all of it) but in English. Many years ago I had several discussions with Germanophile friends on the work and understand (or did) some of the significance of Faust's redemption etc. I wasn't sympathetic to the latter part of Part II and Mahler's music makes no difference. I have a recording of Schumann's 'Scenes from Goethe's Faust' and don't really care for that work either.

Part II gets of to a good start with the orchestral prelude and has a shattering ending but there is, for me, an awful, overlong soggy middle. All the ecstatic hovering goes on far too long and makes me want to shout out 'Get on with it'.

Just laying back and let it wash over me isn't an option. I need to know and understand the text and either way it just drags.

The booklet note by John Williamson for the Segerstam version (Chandos) isn't very complementary about Part II saying it contains 'elements from cantata and the opera house'. Even if the work really is a cantata in disguise I still don't enjoy it.

Mahler did attempt to write an opera in his youth but eventually abandoned it. Later he made a completion of Weber's 'Die drei Pintos' and it was a great success though soon fell into near oblivion. He doesn't seem to have been drawn to opera again.


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## david johnson (Jun 25, 2007)

I have: Solti/CSO & Rattle/CBSO. Like many of us, I have also heard others. It isn't one of may favorite Mahler works.


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## CnC Bartok (Jun 5, 2017)

Yeah, I misread the London/Birmingham bit, my bad. But my source does say they used an orchestra of 150 and choir of 500!


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## Biffo (Mar 7, 2016)

Robert Pickett said:


> Yeah, I misread the London/Birmingham bit, my bad. But my source does say they used an orchestra of 150 and choir of 500!


What is a 100 choristers between friends!


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## WildThing (Feb 21, 2017)

Bernstein: Vienna Philharmonic Orchestra, Vienna State Opera Chorus (from DG boxset)
Bertini: Cologne Radio Symphony Orchestra and Chorus (from EMI boxset)
Solti: Chicago Symphony Orchestra, Vienna State Opera Chorus, Vienna Singverein, Vienna Boys' Choir
Tennstedt: London Philharmonic Orchestra and Chorus (studio recording from Warner boxset)


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## Barbebleu (May 17, 2015)

Bertini - Köln RO
Kubelik -Bavarian RO
Rattle - CBSO
Solti -CSO
Bernstein -VPO
Tennstedt - LPO

I feel most of you must be listening to a different symphony from me! Easily one of Mahler's best and also one of the greatest of symphonies by anyone. My absolute first choice of the half dozen I have is the Kubelik but the Solti does have a dynamism and visceral excitement which I find extremely enjoyable. But then again I love Das Lied von der Erde and Das Klagende Lied so it might be that I get the eighth more than others do.


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## CnC Bartok (Jun 5, 2017)

Biffo said:


> What is a 100 choristers between friends!


Choristers are real people (so I am told...) 

I am glad Kubelik gets a mention as well. I have him down as my benchmark for Mahler these days, but his DGG 8th is not a "big event" like some other recordings. Being so really helps, but it doesn't need to be, as nor for me is Tennstedt's calmer more considered recording, which all in all is almost as good as Solti's! Incidentally, if it's that DGG Kubelik you're recommending, Barbebleu, I'd be hard pushed to do the same for the slightly later Audite recording with the same basic forces. I find the recording quality a bit harsh, which detracts from the enjoyment.


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## Barbebleu (May 17, 2015)

Robert Pickett said:


> Choristers are real people (so I am told...)
> 
> I am glad Kubelik gets a mention as well. I have him down as my benchmark for Mahler these days, but his DGG 8th is not a "big event" like some other recordings. Being so really helps, but it doesn't need to be, as nor for me is Tennstedt's calmer more considered recording, which all in all is almost as good as Solti's! Incidentally, if it's that DGG Kubelik you're recommending, Barbebleu, I'd be hard pushed to do the same for the slightly later Audite recording with the same basic forces. I find the recording quality a bit harsh, which detracts from the enjoyment.


I've not heard that version Robert. Mine is the vinyl one before the DGG engineers went mental with the dynamics. I have a digital copy too but I find that I quite often stick on my vinyl Mahler and just thole the side breaks.

For all of you scratching your heads at the word thole - it's an old Scottish word meaning tolerate or put up with!:lol: every day's a school day, eh!


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## CnC Bartok (Jun 5, 2017)

Well why not? Why use some daft Latin based or Germanic/English phrasal verb when there's a good solid Gaelic/Celtic alternative!


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## techniquest (Aug 3, 2012)

Fritz Kobus said:


> How do you like the Mahlerfest recording?


I only keep it for curiosity value really, and it would never be my go-to recording. The soloists are often very distant, and the ladies and children choirs sound as though they are really running out of steam in the sections prior to 'Blicket Auf'.
The recording itself is very flat with the occasional (and almost obligatory) over-spotlighted trumpet. That being said, it's a very brave attempt and I bet it sounded wonderful to be there at the concert.


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## SixFootScowl (Oct 17, 2011)

Added a new one to my collection today:

Bernstein NYP
Gielen
Olson (Mahlerfest)
Shaw
Solti
*Haitink*

And I am liking it quite a lot!


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## Konsgaard (Oct 24, 2014)

The 8th is among my favourite Mahler symphonies so I own a lot of recordings. There's no point listing them all.

BUT...

The famous Solti recording was my introduction to the work and the reason it took me years to appreciate it. The 8th I think is the most spiritual Mahler symphony (along with the 2nd) and it takes more than great orchestral execution to get it right. 

Rattle captures the mysticism (still the sound could be better).

So does Wit on Naxos, a performance that received excellent reviews and offers heartfelt playing and great recorded sound with plenty of reverb (that suits the symphony, in my opinion). 

Bertini, I think overall captures every single tiny detail and again offers a heartfelt performance.

Finally, the Tennstedt live on the LPO live label is perhaps one of his greatest Mahler achievements. Exuberant, joyous, full of energy! Only drawback some tape hiss.

So, these are my top 4 choices. Yes, I've heard Bernstein I and II, Abbado, Sinopoli, Chailly (slow tempi that work!), Nagano, Boulez, Gielen, Shaw, Solti, Haitink, Kubeli, Jarvi. 

If anyone is thinking of a budget Mahler 8, then the Wit on Naxos is as good as it gets.


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## techniquest (Aug 3, 2012)

> If anyone is thinking of a budget Mahler 8, then the Wit on Naxos is as good as it gets.


I agree; a sparkling, dignified performance with very good sound too.


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## SixFootScowl (Oct 17, 2011)

Konsgaard said:


> So does Wit on Naxos, a performance that received excellent reviews and offers heartfelt playing and great recorded sound with plenty of reverb (that suits the symphony, in my opinion).
> 
> If anyone is thinking of a budget Mahler 8, then the Wit on Naxos is as good as it gets.


I passed on that one and got the Haitink set today. The Haitink sound seemed richer to me. Maybe check it out again next time I visit Dearborn Music. I like the Haitink but maybe should have both.


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## Enthusiast (Mar 5, 2016)

Fritz Kobus said:


> Added a new one to my collection today:
> 
> Bernstein NYP
> Gielen
> ...


I have never been so much of a fan of Haitink's Mahler - too sane and sober for me - but could imagine this being what I would want in this symphony so I am tracking it down (decent used copies seem to sell quite cheaply online) to give it a go. After it I will return to the famous Solti that I have but didn't break this symphony for me the last time I tried.


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## flamencosketches (Jan 4, 2019)

Well, I have been listening to all of Mahler's symphonies in order, one per day, for the past week. An insane undertaking, I know, but it has been richly rewarding so far. Anyway, tomorrow I reach the 8th, long my least favorite Mahler symphony, and the piece which put me off Mahler for a long time after I heard Solti's famous performance (the first Mahler anything I ever heard). I am working on enjoying it, as it was Mahler's own favorite symphony and I am confident that there is something there.

I have heard the *Bernstein/London Symphony* and the *Solti/Chicago Symphony*. Neither did much for me, but I would say the Bernstein was marginally better (he always had a more idiomatic feel for Mahler's music than did Solti). I recently picked up the *Haitink/Concertgebouw* and this will be the recording I listen to tomorrow. Haitink is always an excellent Mahler conductor and the RCO is one of THE great Mahler orchestras, I think, so I am very excited to check it out. However, should I fail to enjoy this recording, there are a few more I am very, very curious about. Namely, the Wit/Polish Radio - I am a big fan of maestro Wit and the rave reviews here have piqued my interest to an extreme degree - and then the Gielen on Sony. Also curious about the Boulez. And I'm sure one day I will return to the famous Solti with more perspective.

I'll write back tomorrow, wish me luck


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## starthrower (Dec 11, 2010)

The Gielen on Sony is a good one, imo. I think for many listeners starting out, Mahler no. 8 is a tough one and usually sited as the least favorite. But with time and repeated listening it becomes obvious that it is a great work full of beautiful music. I find Bernstein's 1st movt in the DG recording to be a bit too much. Way over the top for my taste. I prefer Gielen, Boulez, and Tennstedt. And I like Ozawa too. I haven't listened to Kubelik, Haitink, or Solti.


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## flamencosketches (Jan 4, 2019)

starthrower said:


> The Gielen on Sony is a good one, imo. I think for many listeners starting out, Mahler no. 8 is a tough one and usually sited as the least favorite. But with time and repeated listening it becomes obvious that it is a great work full of beautiful music. I find Bernstein's 1st movt in the DG recording to be a bit too much. Way over the top for my taste. I prefer Gielen, Boulez, and Tennstedt. And I like Ozawa too. I haven't listened to Kubelik, Haitink, or Solti.


I haven't heard any Gielen or Tennstedt. I have a feeling that when I decide to get into one or the other, it will be a big event. Or maybe it won't click with me at all. Either way, your positive words about the 8th symphony are helpful. I suspect you're right that there is really something there and it's just a matter of finding it through multiple listens and perhaps finding the right recording.


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## Kollwitz (Jun 10, 2018)

Solti as a single recording, plus Gielen, Haitink and Chailly in box-sets.

I've listened to the Solti more than the others, as a function of both purchasing it first and enjoying the symphony less than all the others. I do like dynamism of Solti, haven't listened to the Gielen yet. I'm hoping that having become more accustomed to, and interested, in vocal music since first acquaintance with the symphony I'll get more out of it.


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## starthrower (Dec 11, 2010)

flamencosketches said:


> I haven't heard any Gielen or Tennstedt. I have a feeling that when I decide to get into one or the other, it will be a big event. Or maybe it won't click with me at all. Either way, your positive words about the 8th symphony are helpful. I suspect you're right that there is really something there and it's just a matter of finding it through multiple listens and perhaps finding the right recording.


A high quality recording can really help with this massive symphony. I'm very impressed with the Boulez on DG. I bought the 2 CD set for a few bucks.


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## D Smith (Sep 13, 2014)

I have Bernstein (London and Vienna), Solti, Gielen, Maazel (live NY) and Abbado. I guess I like Solti the best but it’s my least favourite Mahler work so I don’t listen to it very often. All the choirs and soloists are just too much for me, but that’s my problem. Perhaps I’ll use this as an opportunity to give it another try.


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## Rogerx (Apr 27, 2018)

Solti- undisputed no 1 
Bernstein twice- Tennstedt -Kubelik - Haitink ( twice) Shaw on Telarc for the sound.


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## flamencosketches (Jan 4, 2019)

starthrower said:


> A high quality recording can really help with this massive symphony. I'm very impressed with the Boulez on DG. I bought the 2 CD set for a few bucks.


You're right, it is going for really cheap. I'll have to sample the Gielen/Sony, Wit/Naxos, and Boulez/DG and see which one I like the best. I'm listening to the Haitink now. It's good, but I don't know if this is the one that will really win me over. Kind of blurry textures. This kind of piece may demand digital recording.


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## Tsaraslondon (Nov 7, 2013)

I used to have the Solti on LP and I still think it probably has the best soloist line up, but I have the 1986 Tennstedt on CD now, and a very fine performance it is.

That said, it's not my favourite Mahler symphony and I don't listen to it very often.


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## DavidA (Dec 14, 2012)

Kubelik
Tennstedt 
Chailly

Don't get on with this work


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## MrMeatScience (Feb 15, 2015)

I have Kubelik, Chailly, Boulez, Gielen, Bernstein, Solti, MTT. It's not my favorite Mahler, but it's still an incredible work. I find the structure one of the most challenging aspects of this symphony. That second movement is a little much, but when I'm in the right frame of mind it packs a punch.


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## Merl (Jul 28, 2016)

I have lots of recordings of it in Mahler cycles but don't like the symphony so I never play it. I've tried umpteen times but it's never going to resonate with me.


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## Guest (Oct 21, 2019)

I have something close to a dozen recordings in Mahler cycles (Haitink, Chailly, Kubelik, Solti, Neumann, Maazel, Bernstein, probably some others I haven't thought of. I've purchased an individual recording of it, and have never listened to any part of it. I doubt I ever will.


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## flamencosketches (Jan 4, 2019)

Baron Scarpia said:


> I have something close to a dozen recordings in Mahler cycles (Haitink, Chailly, Kubelik, Solti, Neumann, Maazel, Bernstein, probably some others I haven't thought of. I've purchased an individual recording of it, and have never listened to any part of it. I doubt I ever will.


You have close to a dozen Mahler cycles, and you have not and _never_ will listen to ANY of Mahler's 8th? That is insanity, my friend. You clearly like Mahler, or you wouldn't have bought so many CDs of his music... so why are you avoiding this symphony so much?


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## Guest (Oct 21, 2019)

flamencosketches said:


> You have close to a dozen Mahler cycles, and you have not and _never_ will listen to ANY of Mahler's 8th? That is insanity, my friend. You clearly like Mahler, or you wouldn't have bought so many CDs of his music... so why are you avoiding this symphony so much?


Large chorus and orchestra is like fingernails on a chalkboard to me, the sound repulses me. I enjoy it in smaller ensembles, Bach, Mozart, but the bigger the ensemble the less I like it. I see no reason to subject myself to Mahler 8 when there is so much wonderful music out there I have not heard.


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## 1996D (Dec 18, 2018)

Baron Scarpia said:


> Large chorus and orchestra is like fingernails on a chalkboard to me, the sound repulses me. I enjoy it in smaller ensembles, Bach, Mozart, but the bigger the ensemble the less I like it. I see no reason to subject myself to Mahler 8 when there is so much wonderful music out there I have not heard.


Mahler's 8th is amazing. The last run he had with this one, Das Lied, and the 9th, was his best by far in terms of technique and artistry. He improved so much it's almost unbelievable, from the simplicity of his 2,3,4 symphonies you couldn't have imagined that he'd get so good.

As a composer I can tell you that his 8th is so much more than his early symphonies in terms of craftsmanship. The creativity is on a whole other level, the counterpoint is sublime, the dramatic element even stronger. Only the 5th, Das Lied, and the 9th are better.

His early symphonies are rated highly for the simplicity and honesty of their themes and message--which more people understand--, but that's not the real Mahler, his true genius comes later.


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## Rogerx (Apr 27, 2018)

I found Maurice Abravanel and Eliahu Inbal somewhere on the shelf's also .


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## flamencosketches (Jan 4, 2019)

I ordered the Wit/Warsaw/Naxos Mahler 8. It was between that and the Boulez; I chose Wit for budget reasons. I love what I’ve heard of both.


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## starthrower (Dec 11, 2010)

Baron Scarpia said:


> I see no reason to subject myself to Mahler 8 when there is so much wonderful music out there I have not heard.


You could experience much of that beauty in Mahler 8. Try part 2 if the first half is too much of a choral avalanche.


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## starthrower (Dec 11, 2010)

flamencosketches said:


> I ordered the Wit/Warsaw/Naxos Mahler 8. It was between that and the Boulez; I chose Wit for budget reasons. I love what I've heard of both.


Weird! Yesterday there were 3 copies of the Boulez at Amazon for 2.99 and today the price is higher. But the Naxos probably has great sound.


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## flamencosketches (Jan 4, 2019)

starthrower said:


> Weird! Yesterday there were 3 copies of the Boulez at Amazon for 2.99 and today the price is higher. But the Naxos probably has great sound.


Yeah I thought so too! I remember there was even a brand new copy going for $3.99 or so. Bummer that I missed the boat, but I'll come back around on the Boulez recording in the future. I recently read (from a tertiary source) that Boulez did not like the 8th symphony and only recorded it to complete the cycle, but I do not buy it. His performance was executed with some real conviction and power I think.


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## starthrower (Dec 11, 2010)

I've collected some of the individual Boulez discs buying used copies. I have 6,8-9. and I bought new copies of the Lieder CDs. The one with the blue cover is a superb recording.


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## Mandryka (Feb 22, 2013)

The Boulez Mahler 8 which is supposed to be really special is from a London concert in 1975, it's many years since I heard it, but I remember that it had the magic touch, if anyone wants it PM me and let me know here, or I may not notice.


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## SixFootScowl (Oct 17, 2011)

Fritz Kobus said:


> I have Bernstein NYP, Gielen, Olson (Colorado Mahlerfest), Shaw, and Solti.


To the above (June 2018) I since added Haitink, Abravanel, and Kubelik.


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## flamencosketches (Jan 4, 2019)

Fritz Kobus said:


> To the above (June 2018) I since added Haitink, Abravanel, and Kubelik.


Do you have a single favorite?


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## SixFootScowl (Oct 17, 2011)

flamencosketches said:


> Do you have a single favorite?


I need to go through them all and figure that out. But right now I am on a listening spree to my dozen Rings to figure favorites there. Perhaps next month.


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## thejewk (Sep 13, 2020)

I'm just listening to the Horenstein LSO BBC version I got in a cheap download set, and it has immediately jumped ahead of the Tennstedt (only a little better) and the Solti CSO (far better, mostly because it doesn't feel like I am being berated) for me. If only the phlegmatic Londoners hadn't filled the quiet section around 10 minutes into the second part with abominable hacking.


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## starthrower (Dec 11, 2010)

I found nice used copies of Kubelik, and the Solti Legends edition for under 5 bucks so I bought them. Looking forward to these Mahler 8ths!


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## elgar's ghost (Aug 8, 2010)

thejewk said:


> _...If only the phlegmatic Londoners hadn't filled the quiet section around 10 minutes into the second part with abominable hacking..._


Could be worse - imagine the cacophony of wet rasping coughs if it was a Soviet-era recording from Moscow or Leningrad...


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## pianozach (May 21, 2018)

Ain't. Got. No. 

Sadly, I have hardly any *Mahler* in my digital music library. Only four tracks. I've got the half hour long *adagio* from *Symphony No. 10* [Karl Anton Rickenbacher: Bamberg Symphony Orchestra], and the *first movement* from *Symphony No. 5* [Anton Nanut: Ljubljana Radio Symphony Orchestra].

Also have *Blumine*, and *Totenfeier* (Funeral Rites).


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## Rogerx (Apr 27, 2018)

SixFootScowl said:


> I need to go through them all and figure that out. But right now I am on a listening spree to my dozen Rings to figure favorites there. Perhaps next month.


Did you ever do the Mahler test ?
If yes, the list please


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## Andrew Kenneth (Feb 17, 2018)

Dimitri Mitropoulos - Salzburg 1960 (CD)
Leonard Bernstein - Salzburg 1975 (CD)
Eliahu Inbal - Frankfurt 1986 (blu-spec CD)
Eliahu Inbal - Tokyo 2008 (SACD)
Eliahu Inbal - Tokyo 2014 (SACD)
Valery Gergiev - London 2008 (SACD)
Markus Stenz - Köln 2011 (SACD)
Mariss Jansons - Amsterdam 2011(blu-ray)
Gustavo Dudamel - Caracas 2012 (blu-ray)


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## SixFootScowl (Oct 17, 2011)

Rogerx said:


> Did you ever do the Mahler test ?
> If yes, the list please


Mahler test? I have not listened to Mahler in a long time, so probably would not be able to take the test anyway.


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