# Vote for your 3 favourite Mahler Symphonies



## Waehnen

Please vote for your 3 favourite Mahler Symphonies. It will be interesting to see the distribution!

Yes, it is hard to pick but this is not too serious a game.

With the similar Sibelius vote I was able to predict the results. But not with Mahler!


----------



## RobertJTh

6 -10 - 5
If Das Lied was included, that'd take first place.
And if we're talking individual movements, 9/1.


----------



## Rogerx

No 8-2-3 in that order, love them all though.


----------



## Waehnen

RobertJTh said:


> 6 -10 - 5
> If Das Lied was included, that'd take first place.
> And if we're talking individual movements, 9/1.


Thanks, Robert.

At this stage of getting to know Mahler, my choices were 3, 5 and 6!


----------



## Art Rock

DLVDE - 4 - 9

Since you left out DLVDE, 4 - 9 - 6


----------



## Triplets

Can’t limit it to 3


----------



## BrahmsWasAGreatMelodist

My top 3 with Mahler is pretty clear: 8, 9, 6


----------



## Kreisler jr

9, 6 and 5. With Das Lied von der Erde this would have replaced #5. Although, like some late Beethoven, Mahler's 9th and 6th are a bit of an ordeal listening to, so the 5th is probably the one I listened to far more often than either 9 or 6. 7 and 4 would be next.


----------



## Barbebleu

2, 7 and 8. With 3 and 9 as honourable mentions.


----------



## starthrower

Lately it's 1,2,7, but No.10 Adagio is my favorite movement of all Mahler symphonies.


----------



## Barbebleu

I’m partial to the Cooke realisation of the 10th. In particular the Wyn Morris/NPO version.


----------



## Barbebleu

Before anyone asks - Cooke I! Btw it was recorded in 1972 before the revisions of 1976 and 1989 so not - as the box says - the final revised edition.


----------



## Heck148

9 - 5 - 6
Love them all, tho


----------



## HenryPenfold

So, so difficult. 

Being very disciplined, I voted 3, 6 & 9


----------



## CnC Bartok

3 - 6 - 10, hardly a clear cut choice for me


----------



## Azol

2, 3, 8 - I'm clearly into "big" Mahler stuff.
Honorable mention - 7, 9


----------



## Waehnen

I gave yet another go at the 9th Symphony inspired by the poll results. But I need to admit I absolutely cannot stand the Ländler Movement. It is unbelievably irritating. As if it was composed to irritate the listener. The awful woodwind trills and dance-like hopping around. Being sarcastic or ironic doesn’t help me here.

I have no doubt Mahler would have changed it had he heard it performed. There is no bull**** like that on 2, 3, 5, 6 or 7. One of those ideas that seem good on paper.


----------



## Art Rock

That's quite a leap from "But I need to admit I absolutely cannot stand the Ländler Movement. It is unbelievably irritating." to "I have no doubt Mahler would have changed it had he heard it performed. "

I love the 9th as it is, and I'm sure many here would not agree with your assessment.


----------



## Waehnen

Art Rock said:


> That's quite a leap from "But I need to admit I absolutely cannot stand the Ländler Movement. It is unbelievably irritating." to "I have no doubt Mahler would have changed it had he heard it performed. "
> 
> I love the 9th as it is, and I'm sure many here would not agree with your assessment.


I am sure not everyone if anyone will agree with me.

But this Ländler could have been saved with some changes to the harmony on these hopping trills. The basic major scale with I - V - I is just too simple and irritating combined with the naive dance rhythm. Especially considering the high quality of the other material. With rather minor changes this movement could have been changed to suit some more ears and minds.

I have similar problems with some other great works, too. For example Hammerklavier Sonata would have been better without the 2nd Movement.

The point is not to state everyone else is wrong.


----------



## Kjetil Heggelund

I meant 1, 5 and 9...never heard 10 which is what I voted...


----------



## Kreisler jr

Mahler had included such more or less parodistic folksy music since his first symphony. Both motives, melodies and instructions (clumsy (täppisch), rough (derb)) This aspect is toned down or missing from 5-8 and LvdE but that 2nd movement of the 9th cranks it up a bit. I like it a lot, it's such an important element of his style that something would be missing otherwise.


----------



## Waehnen

Kreisler jr said:


> Mahler had included such more or less parodistic folksy music since his first symphony. Both motives, melodies and instructions (clumsy (täppisch), rough (derb)) This aspect is toned down or missing from 5-8 and LvdE but that 2nd movement of the 9th cranks it up a bit. I like it a lot, it's such an important element of his style that something would be missing otherwise.


Are there other movements in other symphonies that are constructed in an likewise irritating way (from my point of view)? So far I am happy to say this and the 1st Movement of Symphony no. 4 are the only ones that I do not like to listen to. The finale of symphony 7 is a bit all over the place, though. 

For example the scherzo of the Resurrection is very stylish stuff with stimulating harmonies.


----------



## Azol

M9/2 works great in the context of drama of outer movements - consider it a very down-to-earth "celebrating a simple life" (whoops, almost quoting JRR Tolkien on that!) as if coming from a distance to the mind ready to step over the threshold.


----------



## elgar's ghost

6/9/2. This has been the case for a long time, so having to choose three was straightforward. Next favourites after that are 3 and 10.


----------



## Skakner

Hmm...
5 is a solid favorite.
8 is the less favorite.

For the rest, it depends...

This period I'd pick *5*,2,6.


----------



## Waehnen

Azol said:


> M9/2 works great in the context of drama of outer movements - consider it a very down-to-earth "celebrating a simple life" (whoops, almost quoting JRR Tolkien on that!) as if coming from a distance to the mind ready to step over the threshold.


I tried it yet again. It is actually rather funny how strong my negative reaction is.

20 years ago I composed a Trio for Alto Saxophone, Bb-Clarinet and Piano. It was performed twice. At that time my musical language hadn´t really developed so it was an easy path for me to use neo-classical dance themes when needed. One of the themes was the most annoying musical gesture I could imagine. I used the theme a vital part of the narrative. For example, in the middle of the "beautiful parts", this "annoying theme" would occasionally show up. It´s funny how many in the audience felt despair when the theme occurred again: "Not this again!"

But not even the most annoying theme I could think of is nowhere near as annoying as that "M9 II Ländler I-V-I Hopping Trills". 

Enough of the matter, though! I don´t wanna be impolite.


----------



## RobertJTh

Waehnen said:


> I gave yet another go at the 9th Symphony inspired by the poll results. But I need to admit I absolutely cannot stand the Ländler Movement. It is unbelievably irritating. As if it was composed to irritate the listener. The awful woodwind trills and dance-like hopping around. Being sarcastic or ironic doesn't help me here.
> 
> I have no doubt Mahler would have changed it had he heard it performed. There is no bull**** like that on 2, 3, 5, 6 or 7. One of those ideas that seem good on paper.


The constant use of double turns in the last movement irritate me much more.
Richard Specht, Mahler's first biographer, suggested that Mahler, if he had lived long enough to perform and revise the 9th, he'd have gotten rid of half of those damn double turns...


----------



## Xisten267

My top four are #9, Das Lied von Der Erde, #2 and #6. Since that the poll left DLVDE out, I voted for the other three.


----------



## Kreisler jr

I don't really know what's irritating you. To my knowledge the changes Mahler made after premieres of some earlier symphonies were usually details in instrumentation. I am almost certain that nothing substantial would have been changed either in the 2nd or 4th movements of the 9th. Mahler certainly had enough experience and imagination to imagine how double turns or folksy clarinet sound like...

As for similarities. They are many but of course movements as a whole can still evoke a very different impression. The obviously "ugly" section is both the beginning with the solo double bass and the later "klezmer" section in the 3rd mvmt of the 1st. The "sermon to the fishes" has the obnoxious flapping of the "rute" (not sure what the english name for that stick-bundle percussion is) and rough marking of the beats by winds. There are uncouth sounds "Naturlaut" in the first movement of the 3rd (incl. one section were the "kitchen percussion" seems to have taken over everything, like children beating pots with spoons and ladles). 
The trio? section of 4,ii has a similar (albeit more lyrical/idyllic) clarinet motive and the first movement of that work has also obnoxious jingling and blaring out woodwind. In the 5th the military music of the first and the laendler/waltz of the 3rd movements are more generic and tamed down.

9,ii not only has the clumsy, silly beginning but also the more grotesque, almost apocalyptic moments in the faster sections that remind be a bit of the "dance of death" or Ravel's valse. It is overall a study in the grotesque but IMO extremely effective as such.


----------



## Waehnen

Kreisler jr said:


> I don't really know what's irritating you. To my knowledge the changes Mahler made after premieres of some earlier symphonies were usually details in instrumentation. I am almost certain that nothing substantial would have been changed either in the 2nd or 4th movements of the 9th. Mahler certainly had enough experience and imagination to imagine how double turns or folksy clarinet sound like...
> 
> As for similarities. They are many but of course movements as a whole can still evoke a very different impression. The obviously "ugly" section is both the beginning with the solo double bass and the later "klezmer" section in the 3rd mvmt of the 1st. The "sermon to the fishes" has the obnoxious flapping of the "rute" (not sure what the english name for that stick-bundle percussion is) and rough marking of the beats by winds. There are uncouth sounds "Naturlaut" in the first movement of the 3rd (incl. one section were the "kitchen percussion" seems to have taken over everything, like children beating pots with spoons and ladles).
> The trio? section of 4,ii has a similar (albeit more lyrical/idyllic) clarinet motive and the first movement of that work has also obnoxious jingling and blaring out woodwind. In the 5th the military music of the first and the laendler/waltz of the 3rd movements are more generic and tamed down.
> 
> 9,ii not only has the clumsy, silly beginning but also the more grotesque, almost apocalyptic moments in the faster sections that remind be a bit of the "dance of death" or Ravel's valse. It is overall a study in the grotesque but IMO extremely effective as such.


You are right about the 2nd Movement of the 4th Symphony. Clearly these two movements are relatives. The dancing trills irritate me also here but luckily they are not as exaggerated and constant as in the 9th Symphony 2nd Movement.

But I am happy with the notion that not everyone are annoyed by these kind of dancing trills. It is something about me. "It's not you, Gustav, it's me…"


----------



## MarkW

In no particular order: 4, 6, 10 (Mazetti II), DLVDE, 9, 5. 1. Most pf the rest I can do without


----------



## HenryPenfold

HenryPenfold said:


> So, so difficult.
> 
> Being very disciplined, I voted 3, 6 & 9


Or 2, 4 & 7 

......................


----------



## RobertJTh

Kreisler jr said:


> I don't really know what's irritating you. To my knowledge the changes Mahler made after premieres of some earlier symphonies were usually details in instrumentation. I am almost certain that nothing substantial would have been changed either in the 2nd or 4th movements of the 9th. Mahler certainly had enough experience and imagination to imagine how double turns or folksy clarinet sound like...


I think Specht just posed a rhetorical question and instead of assuming Mahler would change the thematic content of the finale after hearing it performed (which I agree, he probably wouldn't have done), he just complained about the over-abundance of those double turns. Not only in the main theme itself and all of its iterations, but used as contrapuntal device too, constantly occurring in middle voices, bass lines etc. Frankly, the themes of the finale are not as good as the themes of the first movement.

I realize that I'm taking a leak on holy grounds here, but I really feel that often with Mahler, his melodic inspiration runs out in the later or last movements of his symphonies. Examples are 1, 2, 7, 8 and 9. Even Das Lied slightly suffers from it.
I often wondered if the limited time he could spend on his composition and the crazy work scheme (summer holidays only) had something to do with it. Inspiration overflowing at the beginning, then the clock started ticking and with the new season in Vienna or New York approaching, he had to push through, perhaps, and rely on his technical mastery to get things finished?
It's telling that the symphony that he was in a real hurry to get completed (written in just a couple of weeks!), the 8th, is often seen as his worst, with a 2nd half that lacks melodic inspiration and just recycles melodies from the first movement that weren't too interesting to begin with.


----------



## KevinJS

1, 4 and 8, probably reflecting the exposure I've had to the symphonies. I found the right #3 today (Chailly) amongst this week's new arrivals. Not that there's anything wrong with the Kubelik I already had, but #3 clicked into place in all the right ways.


----------



## Waehnen

RobertJTh said:


> I think Specht just posed a rhetorical question and instead of assuming Mahler would change the thematic content of the finale after hearing it performed (which I agree, he probably wouldn't have done), he just complained about the over-abundance of those double turns. Not only in the main theme itself and all of its iterations, but used as contrapuntal device too, constantly occurring in middle voices, bass lines etc. Frankly, the themes of the finale are not as good as the themes of the first movement.
> 
> I realize that I'm taking a leak on holy grounds here, but I really feel that often with Mahler, his melodic inspiration runs out in the later or last movements of his symphonies. Examples are 1, 2, 7, 8 and 9. Even Das Lied slightly suffers from it.
> I often wondered if the limited time he could spend on his composition and the crazy work scheme (summer holidays only) had something to do with it. Inspiration overflowing at the beginning, then the clock started ticking and with the new season in Vienna or New York approaching, he had to push through, perhaps, and rely on his technical mastery to get things finished?
> It's telling that the symphony that he was in a real hurry to get completed (written in just a couple of weeks!), the 8th, is often seen as his worst, with a 2nd half that lacks melodic inspiration and just recycles melodies from the first movement that weren't too interesting to begin with.


It would appear that I have been able to select as my favourites the ones with the most coherent and high quality material: 3, 5, 6. Such things are important to me. Thank you for your great post.


----------



## arpeggio

................


----------



## Kreisler jr

Do we even always know which movement was composed first? I find the idea of "melodic inspiration running out in the last movement" highly dubious. I think the finales of 1 and 2 have weaknesses but these stem more from overambition and general sprawling than from lack of good themes. And the irritation of the triumphant? finale of the 7th is also not directly connected with thematic material.
The outer movements of the 9th are just very different. If anything, I'd probably say that the two main themes of the finale are more melodically memorable and inspired than most of the material of the first movement. Of course, the first movement is great and more complex. But I was very irritated when I heard it for the first time (admittedly as a teenager who barely knew the 1st, 2nd and 4th). I found the beginning with the muted horn just ugly and the melodic fragments hard to grasp. Now I find it very moving and the fragmentation, build-ups and distintegration are a part of what makes the movement special. The finale is different and works well in being different.


----------



## Waehnen

Kreisler jr said:


> Do we even always know which movement was composed first? I find the idea of "melodic inspiration running out in the last movement" highly dubious. I think the finales of 1 and 2 have weaknesses but these stem more from overambition and general sprawling than from lack of good themes. And the irritation of the triumphant? finale of the 7th is also not directly connected with thematic material.
> The outer movements of the 9th are just very different. If anything, I'd probably say that the two main themes of the finale are more melodically memorable and inspired than most of the material of the first movement. Of course, the first movement is great and more complex. But I was very irritated when I heard it for the first time (admittedly as a teenager who barely knew the 1st, 2nd and 4th). I found the beginning with the muted horn just ugly and the melodic fragments hard to grasp. Now I find it very moving and the fragmentation, build-ups and distintegration are a part of what makes the movement special. The finale is different and works well in being different.


I do believe that an overtly huge scale of a composition can compromise both the musical material and the usage and architecture and the reception of the musical material.

Once I made that mistake as well. I created a huge symphonic work with the idea that "let's turn every stone". I ended up doing great job at the beginning but becoming tired towards the end. The compositions are good but the sounds are not. The material is also so complex that not even I myself am able to listen to the complete work with concentration.

Some critics praised the work and even gave 5 stars but I withdrew the record.

I learned from my mistake. I see my old self in Mahler sometimes.


----------



## ORigel

I haven't listened to Mahler as thoroughly as most here. So I know symphonies 1, 2, 3, and 9 well. I know movements from 5, 6, and 7. And I barely bothered with 4, 8, and 10.

Despite not knowing it very well yet, I chose Symphony no. 6 as one of my options, because I anticipate that when I famaliarize myself with it, it will be one of my favorite symphonies.

9 & 2 are my favorites.

Edit: I see the symphonies I picked are the three most popular options in the poll.


----------



## ORigel

Azol said:


> M9/2 works great in the context of drama of outer movements - consider it a very down-to-earth "celebrating a simple life" (whoops, almost quoting JRR Tolkien on that!) as if coming from a distance to the mind ready to step over the threshold.


I think it's a parody of celebration and activity/bustling, not straightforward celebration.


----------



## Marc

Being very disciplined, I voted 4, 5 and 9.


----------



## Marc

(But it's a pity that Das Lied is not included, after all it's a Symphony in songs.)


----------



## Kreisler jr

There might be problems of grand scale but it seems that for decades most conductors and listeners have not been bothered by this so much in Mahler (or Bruckner or some Shostakovich).

For me the interesting aspects that seem also connected to some criticism are more general and roughly connected with Mahler's place in the symphonic tradition, the programmatic aspects and the "finale problem".
Since Beethoven's 5th the idea of a dramatic arc spanning a whole symphony with some kind of resolution in the finale has been important. One does not need to follow that pattern (Beethoven himself didn't in his 7th and 8th) but overly "classicist" late romantic symphonies with lighter finales and no "narrative" for the whole symphony can also feel a bit lame.
Excluding the 8th (and Das Lied) as they are rather different, I think Mahler's symphonies are overall very interesting in how they handle both the "overarching narrative" and the finale.

For me, the first two symphonies are clearly in the "grand resolution finale" tradition and also had programmatic comments or movement titles that were eliminated later. This still shows a bit, I think, and I find both finales overly ambitious and flawed (still great sections, of course). The 3rd also had titles and has a slow finale that is a rather original twist, more an ecstatic transfiguration than "triumph" ("What love tells" me was the title). The 4th which was maybe composed around the finale (which had been planned as a further movement of the 3rd: "Was mir das Kind erzählt/What the child tells me), so it also has an overarching idea but the finale is an evasion of the traditional climax although maybe the resolution.
I think the 6th is correctly seen as "tragedy" with the finale as climax but catastrophic, not triumphant; despite myself struggling with the very long finale I think this might be overall Mahler's most cogent work.
The 5th and 7th might be the most difficult to place. Both the funeral march and the adagietto of the 5th seem to hint at a vague program but it's vague at best, probably not helpful for the overall arc as the finale seems to put an ironic twist on the "through darkness to light" model. The 7th is even "worse" (I have never read so many disparaging comments on the 5th finale as on the 7th and it lacks an iconic slow movement) 
The 9th is again brilliant in evading the problem or having a great unique solution. Admittedly, Mahler's own 3rd and Tchaikovsky's 6th did a similar thing but I think it works very impressively.


----------



## Marc

Kreisler jr said:


> There might be problems of grand scale but it seems that for decades most conductors and listeners have not been bothered by this so much in Mahler (or Bruckner or some Shostakovich).
> 
> For me the interesting aspects that seem also connected to some criticism are more general and roughly connected with Mahler's place in the symphonic tradition, the programmatic aspects and the "finale problem".
> Since Beethoven's 5th the idea of a dramatic arc spanning a whole symphony with some kind of resolution in the finale has been important. One does not need to follow that pattern (Beethoven himself didn't in his 7th and 8th) but overly "classicist" late romantic symphonies with lighter finales and no "narrative" for the whole symphony can also feel a bit lame.
> Excluding the 8th (and Das Lied) as they are rather different, I think Mahler's symphonies are overall very interesting in how they handle both the "overarching narrative" and the finale.
> 
> For me, the first two symphonies are clearly in the "grand resolution finale" tradition and also had programmatic comments or movement titles that were eliminated later. This still shows a bit, I think, and I find both finales overly ambitious and flawed (still great sections, of course). The 3rd also had titles and has a slow finale that is a rather original twist, more an ecstatic transfiguration than "triumph" ("What love tells" me was the title). The 4th which was maybe composed around the finale (which had been planned as a further movement of the 3rd: "Was mir das Kind erzählt/What the child tells me), so it also has an overarching idea but the finale is an evasion of the traditional climax although maybe the resolution.
> I think the 6th is correctly seen as "tragedy" with the finale as climax but catastrophic, not triumphant; despite myself struggling with the very long finale I think this might be overall Mahler's most cogent work.
> The 5th and 7th might be the most difficult to place. Both the funeral march and the adagietto of the 5th seem to hint at a vague program but it's vague at best, probably not helpful for the overall arc as the finale seems to put an ironic twist on the "through darkness to light" model. The 7th is even "worse" (I have never read so many disparaging comments on the 5th finale as on the 7th and it lacks an iconic slow movement)
> The 9th is again brilliant in evading the problem or having a great unique solution. Admittedly, Mahler's own 3rd and Tchaikovsky's 6th did a similar thing but I think it works very impressively.


Live, in the concert hall, I can enjoy the Finale of no. 7 quite well.
I remember watching/hearing it a long time ago with 2 friends who very rarely listened to classical music and they were wildly enthusiastic. And their happiness made me happy, so therefore Mahler did a good job!

At home, I find the Finale of no. 5 much more convincing. It's very difficult to explain, I just experience it as better constructed and less showing off.


----------



## SixFootScowl

For me, #1, #5, and I was not sure 6 or 7 so went with #7.


----------



## Azol

M7 Finale is probably the happiest music Mahler ever wrote.


----------



## bassaliens22

The finale of the 7th, while definitely optimistic as a whole, has a bit too much irony and satire strewn throughout to really be the happiest thing Mahler ever wrote. The Rondo-Finale of the 5th, the Adagio of the 4th, Das himmlische Leben or the Veni Creator Spiritus probably gets my vote for that. Maybe even the Adagio of the 3rd, though that has moments of struggle and tension that have to be broken through in order to reach the grand last chord.


----------



## Haydn man

I voted 5-7-9 as my favourites 
Probably 5 and 9 will always be in my top 3 but Nos. 2 or 6 are in close pursuit of No. 7


----------



## EdwardBast

6, 5, & 4 for me.


----------



## thejewk

5, 6 and 8 for me, but there would be different picks every day of the week to be honest.


----------



## Brahmsianhorn

9….....5….....7


----------



## Neo Romanza

My choices: 3, 6 & 9. I'm not sure why _Das Lied von der Erde_ wasn't included since it's a symphony in all but a number. If _Das Lied_ was on this list, I'd replace the 6th (even though deep down I'd miss the 6th) with it.


----------



## gprengel

I have problems to vote for Mahler's symphonies as a whole. I adore his slow movements of #2 - #6, #9 and #10 (here the unfinsihed last movement!) as about the most moving music I know (especially of #3), but his fast movements unfortuneately do not reach to me at all ...


----------



## MrMeatScience

Today my answers are 9, 10 (Cooke III), and 7, although 6 may well be in there tomorrow. _Das Lied_ would replace 7 if it were included in the poll. I like the late period!


----------



## Merl

Today I voted 1,4,9. Ask me in a few months time and no doubt 2 of those will be different. The 1st will always be in my top three but the others are likely to change.


----------



## Ravn

DLVDE - 9 - 6. Or 9 - 6 - 1 if we only count the numbered symphonies.


----------



## Malx

I used to know a guy, Mr F. I. Bonacci, he swore by 3-5-8.

I'd struggle to select just three but having just listened through 1-9 over the last couple of weeks I'd probably go for:
2-6-7 with 9 as a very strong first reserve.

Next week who knows!


----------



## Waehnen

I would change my vote to 5-6-7 if I could!

In those symphonies his material is the best out of all the symphonies. In those 3 symphonies Mahler is his unique self the most and gives the best impression of himself as a composer.

The 9th has some bad material and the constant double turns in the Finale I just cannot bear, although it is a great symphony alongside the 2nd and 3rd which are good but not of as high a profile material as 5-6-7. I admit I like symphonies 1 and 4, too, nowadays.

The time for the 8th might come later.


----------



## Reichstag aus LICHT

Neo Romanza said:


> My choices: 3, 6 & 9. I'm not sure why _Das Lied von der Erde_ wasn't included since it's a symphony in all but a number. If _Das Lied_ was on this list, I'd replace the 6th (even though deep down I'd miss the 6th) with it.


It's 3, 6 and 9 for me, too. Glad to know I'm not alone!


----------



## Azol

These double turns are not an issue to these ears. Music wavers, a candle in the wind - sometimes strong, sometimes flickering as if about to fail. M9-4 is one of the best symphonic movements ever written.


----------



## Waehnen

Azol said:


> These double turns are not an issue to these ears. Music wavers, a candle in the wind - sometimes strong, sometimes flickering as if about to fail. M9-4 is one of the best symphonic movements ever written.


And I appreciate it! I would never say to someone you should not like some piece of music. That would be arrogant.

(My only problem with those double turns is that I am sure had Mahler heard the piece live, he would have changed a few of them. Now there are just way too many.)


----------



## Waehnen

I have a live recording of the 9th by Bernstein/Berlin Philharmonik. This time the fast Bernstein tempo does justice to the 2nd Movement. For the first time I find the Ländler bearable.

It would seem that sometimes the right performance is a deciding factor for me in whether I like some music or not.


----------



## HenryPenfold

HenryPenfold said:


> So, so difficult.
> 
> Being very disciplined, I voted 3, 6 & 9


Having listened most of the symphonies in the past week, I've changed my preference to ...........

*2, 6, 9*


----------



## Waehnen

Should I be able to vote now, my choices would be 3rd and 9th for the first place. 2, 4 and 5 are equal for the second place. 6 and 7 for the 3rd place. 1 and 8 for the final spot.


----------



## KevinJS

Revisiting the thread after a couple of months, my preferences don’t seem to have changed. My top 3 haven’t changed (1, 4 and 8) but I’ve zeroed in on preferred versions; 1 - Bernstein (Concertgebouw), 4 Bernstein again with Wittek providing the warbling. I find myself wishing that Bergius had done a better job and that his true soprano had been used instead of Wittek’s alto. I’m also torn over Bernstein or one of the chamber orchestra versions (Linos Ensemble), 8 goes to Rattle/CBSO. No idea why. Rattle was the person who put me off Mahler first time round. I couldn’t get to the OFF switch fast enough when ClassicFM played him. Now, his 8th seems to hit all the right buttons. 

Now I have more exposure to the Mahler brand, I can see others approaching the favoured three. As the music becomes more familiar, however, those three consolidate their position. If anything can take one of the top three spots, I think #3 might displace #1. Time will tell.


----------



## 4chamberedklavier

1, 5, & 7.

I'm not a fan of vocal works in general, and while the other symphonies have parts I can appreciate, there are also parts that seem to drag on for too long.

This is of course, subject to change


----------



## haziz

I voted for a bleeding chunk of 2 (the first 3 movements), and the entirety of 4. I didn't pick a third choice since I am not particularly a fan of the others although 1 & 5 are kind of "meh".


----------



## Waehnen

My top three is 2, 3 and 9 and I am likely to stick to this, eventually. They are all masterpieces beyond any doubt. At the moment I am deeply moved by my new great recordings of the ”resurrection”.


----------

