# Mahler Das Lied von Der Erde



## DavidA

Many versions now of this incredible song cycle. Your recommendations and why?


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## Biffo

Klemperer, Philharmonia & New Philharmonia Orchestras with Christa Ludwig & Fritz Wunderlich - the first version I bought and still the best - better than the other 31 versions I own.


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## Tsaraslondon

Absolutely essential for anyone who loves this work, the final _Abschied_ absolutely shattering in its quiet intensity. Baker, who was always at her greatest in Mahler, quite outdoes even herself on her other recorded versions (Haitink studio and Leppard and Kempe live). She sings with inwardness, radiance and the deepest understanding of the emotional core of the songs, not quite matched by any other singer I have come across. The stereo radio sound is easily as good as any of the studio versions from the same period, and the audience, thankfully quite silent, listen in rapt attention.

Kubelik was always a great Mahlerian and here he captures brilliantly the work's emotional range. Waldemar Kmentt doesn't quite have Wunderlich's heady beauty of tone (who does?), but he is a fine interpreter of the tenor songs.

Unquestionably a desert idland choice.


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## Guest

I will second the Kubelik Audite recording - it is wonderful, my favorite now for a long time. Wonderful performance, and great sound.

Others I enjoy are Reiner's RCA Living Stereo recording, and the Klemperer EMI recording (I am a huge Klemperer fan, although his recording of Wunderhorn is not a favorite of mine).


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## Triplets

I have the First and Ninth from the Kubelik Audite seriesand enjoy them quite a bit, but Greg Mitchell’s review has me grabbing for the credit card. My current favorite is Haitink.


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## joen_cph

Bernstein/Ludwig/Kollo and Klemperer/Ludwig/Wunderlich, especially the first one mentioned. A fine, idiomatic combination of singing, mood and drama. This among the 25 I've got. Haven't heard the mentioned Kubelik though.


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## Guest

Triplets said:


> I have the First and Ninth from the Kubelik Audite seriesand enjoy them quite a bit, but Greg Mitchell's review has me grabbing for the credit card. My current favorite is Haitink.


Kubelik's Mahler 1 on Audite is indeed a great recording as well - if you like that recording, I suspect you should also enjoy his DLvdE on Audite.


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## SixFootScowl

I am sure there are many good ones but I am kind of partial to this one as it has a couple of my favorite singers:


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## wkasimer

DrMike said:


> Others I enjoy are Reiner's RCA Living Stereo recording, and the Klemperer EMI recording (I am a huge Klemperer fan, although his recording of Wunderhorn is not a favorite of mine).


I don't believe that Klemperer ever recorded Des Knaben Wunderhorn, other than a couple of the songs with Christa Ludwig. Are you thinking of Szell?


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## Guest

wkasimer said:


> I don't believe that Klemperer ever recorded Des Knaben Wunderhorn, other than a couple of the songs with Christa Ludwig. Are you thinking of Szell?


Right you are - I got them mixed up!


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## Larkenfield

Bernstein rehearsing with Christa Ludwig and the IPO...






Ludwig considers one of the tempos too fast - I don't blame her - as Mahler is being performed uncharacteristically nervous, tense, mindless, loud and bombastic, like a frantic circus that he pushes even faster and poor but able Ludwig is supposed to sing over. Bernstein eventually grudgingly slows down... But too much coffee with his croissant at breakfast? His explanations of the work can be quite fascinating, though sometimes it seems that he's so identified with the composer that I distrust his conclusions, rationalizations or explanations. I think I'd feel better off not knowing and then just enjoying (or not) the actual performance or the final result.


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## Josquin13

It's an impossible choice, but if I were pressed to pick a benchmark, I'd choose Otto Klemperer's recording of Das Lied von der Erde, with Christa Ludwig and Fritz Wunderlich. Klemperer sounds so idiomatic to me, a conductor naturally at home with this music, and he has great soloists. Tellingly, he doesn't turn the music into overdone melodrama in first song. A great Mahler conductor & a great performance:






The same is true for Bruno Walter's New York Philharmonic performance, with singers Mildred Miller and Ernst Haefliger. Like Klemperer, Walter sounds utterly authentic in this music. He understands every nuance, every turn of phrase. I guess it really did help to know and work with the composer:






I like Walter's 1952 Vienna Philharmonic recording too, with singers Kathleen Ferrier & Julius Patzak, but not as much, and again, I prefer Klemperer's singers. Plus, the sound is better on Walter's NYP recording: https://www.amazon.com/Mahler-Das-L..._rd_t=40701&psc=1&refRID=E1R98C6V02M2P159H8M3

As others have mentioned, I wouldn't want to be without Dame Janet Baker's contributions to Rafael Kubelik and Bernard Haitink's recordings of Das lied, either: 




Nor would I want to be without Maureen Forrester and Richard Lewis's singing on Fritz Reiner's version. That's another great Mahler recording:






After the Klemperer, Walter, & Reiner versions, Rafael Kubelik's live Audite recording would probably be my next choice: 



. Although in recent years I've also found myself reaching for Carla Maria Giulini's fascinating Das lied on DG (Giulni is another favorite Mahler conductor of mine). It has better sound than Kubelik's (& Walter's), which I find attractive:




There is a good BBC version from Jascha Horenstein too: 



.

In addition, I'm fascinated to hear the various chamber versions of the Das lied--transcribed for soloists and chamber ensemble. It allows you to hear the different parts of Mahler's dense score so clearly (which isn't always easy to do outside of a concert hall). The first transcription was done by Arnold Schoenberg (& completed by Reiner Riehn). Both Philippe Herreweghe and Osma Vanska have made recordings of it. I've also enjoyed hearing a more recent chamber transcription by Iain Farrington, which is excellent: 




If anyone's interested, you can listen to the rest here: 
http://www.iainfarrington.com/dasliedvondererde.html

I've not heard the all male Josef Krips' Vienna version with Dietrich Fischer-Dieskau and Fritz Wunderlich, on DG. I know that Mahler preferred a male singer in the alto part (though he didn't live to hear Das lied, if memory serves), and generally, in his orchestral song cycles, but I like women singing the alto part, especially Dame Janet Baker.

To summarize, my top five recordings are: Klemperer EMI, Walter NYP, Reiner CSO, Kubelik Audite, and Giulini DG.

My two cents.


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## wkasimer

DavidA said:


> Many versions now of this incredible song cycle. Your recommendations and why?


Klemperer is, I think, as close to a consensus choice as you'll ever find in classical music, and it's hard to argue with it. Great soloists, superb conducting and orchestral playing, and good sound. And while it's probably the best choice on balance, there are others that I wouldn't want to miss:

Bernstein (Decca): because it's worth hearing the baritone option.
Bertini (EMI): excellent conducting, fantastic sound (Suntory Hall in Tokyo), and a tenor soloist who's even better than Wunderlich. This is probably Heppner's best recording, done before he began singing all that Wagner.
Haitink (Philips): for Janet Baker's solos
Giulini (any of them): for Giulini, and for Fassbaender
Slowik (Dorian): the chamber version, with baritone option.


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## Tsaraslondon

wkasimer said:


> Klemperer is, I think, as close to a consensus choice as you'll ever find in classical music, and it's hard to argue with it. Great soloists, superb conducting and orchestral playing, and good sound. And while it's probably the best choice on balance, there are others that I wouldn't want to miss:
> 
> Bernstein (Decca): because it's worth hearing the baritone option.
> Bertini (EMI): excellent conducting, fantastic sound (Suntory Hall in Tokyo), and a tenor soloist who's even better than Wunderlich. This is probably Heppner's best recording, done before he began singing all that Wagner.
> Haitink (Philips): for Janet Baker's solos
> Giulini (any of them): for Giulini, and for Fassbaender
> Slowik (Dorian): the chamber version, with baritone option.


The Klemperer was always my go to version - until I heard the Kubelik/Audite version with Baker even more moving than she was on Haitink.


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## SixFootScowl

GregMitchell said:


> The Klemperer was always my go to version - until I heard the Kubelik/Audite version with Baker even more moving than she was on Haitink.


The Janet Baker one would be worth a try. In fact, I may have it in one of my Mahler sets. Will have to give it a listen.


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## DavidA

Versions I have all with something to say about the work:

Walter with Ferrier and Patzak - the classic version

Klemperer with Ludwig and Wunderlich

Leppard with Baker and Mitchenson

Karajan with Ludwig and Kollo

Haitink with Baker and King

Giulini with Fassbender and Ariaza

Having listed them I can't believe I have so many! :lol:

one to avoid might be the Kaufmann in which he tries to sing both parts, thus ruining Mahler's intentions of contrast between the voices


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## wkasimer

DavidA;1523317
one to avoid might be the Kaufmann in which he tries to sing both parts said:


> And he doesn't sing either part particularly well....


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## DavidA

wkasimer said:


> And he doesn't sing either part particularly well....


A double whammy!


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## DavidA

Got hold of the Leppard version with Janet Baker and John Michenson. First impressions are that the strings are a bit lightweight.


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## Tsaraslondon

DavidA said:


> Got hold of the Leppard version with Janet Baker and John Michenson. First impressions are that the strings are a bit lightweight.


As I keep saying, for Janet Baker's incomparable singing of the lower part, go for the Kubelik. The tenor, Waldemar Kmentt, isn't half bad either.


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## Barbebleu

Josquin13 said:


> It's an impossible choice, but if I were pressed to pick a benchmark, I'd choose Otto Klemperer's recording of Das Lied von der Erde, with Christa Ludwig and Fritz Wunderlich. Klemperer sounds so idiomatic to me, a conductor naturally at home with this music, and he has great soloists. Tellingly, he doesn't turn the music into overdone melodrama in first song. A great Mahler conductor & a great performance:
> 
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> 
> The same is true for Bruno Walter's New York Philharmonic performance, with singers Mildred Miller and Ernst Haefliger. Like Klemperer, Walter sounds utterly authentic in this music. He understands every nuance, every turn of phrase. I guess it really did help to know and work with the composer:
> 
> 
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> 
> 
> 
> I like Walter's 1952 Vienna Philharmonic recording too, with singers Kathleen Ferrier & Julius Patzak, but not as much, and again, I prefer Klemperer's singers. Plus, the sound is better on Walter's NYP recording: https://www.amazon.com/Mahler-Das-L..._rd_t=40701&psc=1&refRID=E1R98C6V02M2P159H8M3
> 
> As others have mentioned, I wouldn't want to be without Dame Janet Baker's contributions to Rafael Kubelik and Bernard Haitink's recordings of Das lied, either:
> 
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> 
> Nor would I want to be without Maureen Forrester and Richard Lewis's singing on Fritz Reiner's version. That's another great Mahler recording:
> 
> 
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> 
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> 
> After the Klemperer, Walter, & Reiner versions, Rafael Kubelik's live Audite recording would probably be my next choice:
> 
> 
> 
> . Although in recent years I've also found myself reaching for Carla Maria Giulini's fascinating Das lied on DG (Giulni is another favorite Mahler conductor of mine). It has better sound than Kubelik's (& Walter's), which I find attractive:
> 
> 
> 
> 
> There is a good BBC version from Jascha Horenstein too:
> 
> 
> 
> .
> 
> In addition, I'm fascinated to hear the various chamber versions of the Das lied--transcribed for soloists and chamber ensemble. It allows you to hear the different parts of Mahler's dense score so clearly (which isn't always easy to do outside of a concert hall). The first transcription was done by Arnold Schoenberg (& completed by Reiner Riehn). Both Philippe Herreweghe and Osma Vanska have made recordings of it. I've also enjoyed hearing a more recent chamber transcription by Iain Farrington, which is excellent:
> 
> 
> 
> 
> If anyone's interested, you can listen to the rest here:
> http://www.iainfarrington.com/dasliedvondererde.html
> 
> I've not heard the all male Josef Krips' Vienna version with Dietrich Fischer-Dieskau and Fritz Wunderlich, on DG. I know that Mahler preferred a male singer in the alto part (though he didn't live to hear Das lied, if memory serves), and generally, in his orchestral song cycles, but I like women singing the alto part, especially Dame Janet Baker.
> 
> To summarize, my top five recordings are: Klemperer EMI, Walter NYP, Reiner CSO, Kubelik Audite, and Giulini DG.
> 
> My two cents.


Nice post. I would add the Kletzki with F-D and Murray Dickie. The first one I heard and still a favourite. It's always tough to get past an imprint recording!


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## Barbebleu

I've got that Krips recording but I'm ashamed to say I haven't got round to listening to it yet. Mea culpa!


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## flamencosketches

Barbebleu said:


> I've got that Krips recording but I'm ashamed to say I haven't got round to listening to it yet. Mea culpa!


Same goes for me. I also have the Bruno Walter/Ferrier/Vienna recording and likewise have not yet heard it. When I'm in the mood for Das Lied I usually end up going for Klemperer or Haitink.

Anyway I'm really curious about the Walter/NYP with Mildred Miller...:










Thoughts...? I see Josquin13 liked it a lot. I'm trying to collect more of Walter's Mahler. Though I suppose I ought to hear the one I have first... and I'm also curious about the Reiner/Chicago. Man, too many choices!


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## philoctetes

flamencosketches said:


> Same goes for me. I also have the Bruno Walter/Ferrier/Vienna recording and likewise have not yet heard it. When I'm in the mood for Das Lied I usually end up going for Klemperer or Haitink.
> 
> Anyway I'm really curious about the Walter/NYP with Mildred Miller...:
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> Thoughts...? I see Josquin13 liked it a lot. I'm trying to collect more of Walter's Mahler. Though I suppose I ought to hear the one I have first... and I'm also curious about the Reiner/Chicago. Man, too many choices!


it's very good, but where can you get the individual CD? Mine is from the Original Jackets box..


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## Allegro Con Brio

^I like it a lot, a very warm reading in sterling sound. Miller is great; Haefliger I'm a bit more lukewarm on in works like this that require intense emotional engagement. He really doesn't sound, erm..._drunk_ enough in the "drinking song" movements


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## philoctetes

I must confess I like my drunks to control themselves a bit...

I like the Zemlinsky Lyric symphony just as much... maybe it's not as distinctive but it is not an imitation of Mahler either... both were crushed by you-know-who...


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## wkasimer

flamencosketches said:


> Anyway I'm really curious about the Walter/NYP with Mildred Miller...:
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> Thoughts...?


While every Bruno Walter Mahler recording is worth hearing, I think that this is the least good of his three commercial recordings.


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## flamencosketches

philoctetes said:


> it's very good, but where can you get the individual CD? Mine is from the Original Jackets box..


I was going to say Amazon, but it's another case of the digital version being linked to the wrong CD...:

https://www.amazon.com/Mahler-Das-Lied-Erde-Remastered/dp/B07YTQ18G5/

It appears that it can be had in CD with a different (less interesting) sleeve...:

https://www.amazon.com/Mahler-Lied-Erde-Song-Earth/dp/B000002A7L/


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## flamencosketches

Did Claudio Abbado ever record Das Lied? I can’t seem to find a CD. Odd if not, considering how many times he’s recorded all the Mahler symphonies.


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## Josquin13

flamencosketches said:


> Did Claudio Abbado ever record Das Lied? I can't seem to find a CD. Odd if not, considering how many times he's recorded all the Mahler symphonies.


Yes, in Berlin, with Anne Sofie von Otter and Jonas Kaufmann, but as far as I know it's only available on video. You can watch the whole concert here: https://www.bilibili.com/video/av24215432/


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## Knorf

Am I alone in admiring Boulez's account?










Gramophone, BBC, and two Fanfare reviewers rated it highly, but it was harshly panned by Classics Today in their usual nose-in-air way (not Hurwitz, but I'm sure he hated it. He also hated Walter's recording with Vienna, as I recall.)

I also rate it highly; in it's one of the _Das Lied von der Erde_ recordings I return to most often!

My other faves: Walter, Giulini, Kubelík (Audite.)


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## Enthusiast

^ You are not alone. That is a fine account - one of the best (in a field with many bests) and one I listen to often.


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## NLAdriaan

Knorf said:


> Am I alone in admiring Boulez's account?
> 
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> 
> Gramophone, BBC, and two Fanfare reviewers rated it highly, but it was harshly panned by Classics Today in their usual nose-in-air way (not Hurwitz, but I'm sure he hated it. He also hated Walter's recording with Vienna, as I recall.)
> 
> I also rate it highly; in it's one of the _Das Lied von der Erde_ recordings I return to most often!
> 
> My other faves: Walter, Giulini, Kubelík (Audite.)


Boulez offers a refreshing less sentimental Mahler, I like it very much.

Do you mean Walter/Ferrier/Patzak? This would surprise me, as this famous recording to me represents the other end of the emotional spectrum. After many attempts and unlike most others, I just can't follow Ferrier in her Abschied.

In the end, DLVDE is not my favourite Mahler work. I think it has to do with the heavy orchestra which doesn't really fit in with the delicate Chinese poetry. The singers have to force themselves. And the Abschied is a pitfall for most singers, all to soon drowning in emotions. Luckily, there is more than enough Mahler for him to remain my favorite composer.


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## flamencosketches

All I've heard about the Boulez DLvdE is that he was let down by his singers. I'll have to check it out, I do like Boulez in Mahler.


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## wkasimer

flamencosketches said:


> All I've heard about the Boulez DLvdE is that he was let down by his singers. I'll have to check it out, I do like Boulez in Mahler.


That's what I remember about it, but it's been a while since I heard it.


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## Knorf

I don't think the singers are a let down. They're less memorable than some, but fully professional and musically engaged. The conducting is superb, and the orchestra sounds amazing!


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## Schwammerl

The 1952 Kathleen Ferrier/Julius Patzak/Vienna Philharmonic/Bruno Walter recording is often considered to be one of the great gramophone recordings. Ferrier's performance of Der Abschied is deeply moving, especially when one considers that she knew she was under a death sentence at the time. She died a few months after the recording was made.

I see that there is a new release (Nov 2019) of a recording she made with John Newmark as tenor with the New York Philharmonic and Walter just after her 1948 Edinburgh Festival performance. Has anyone heard this?

https://www.somm-recordings.com/recording/kathleen-ferrier-in-new-york/


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## wkasimer

Schwammerl said:


> I see that there is a new release (Nov 2019) of a recording she made with John Newmark as tenor with the New York Philharmonic and Walter just after her 1948 Edinburgh Festival performance.


Set Svanholm is the tenor. Newmark is the pianist in the other works.


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## Ekim the Insubordinate

I like this work - not as much as the 2nd Symphony, but it is up there. I'll be honest - I've never heard the Ferrier/Patzak recording. Don't know how I've let that slip through the cracks. I like Kubelik on Audite and Klemperer.


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## flamencosketches

Ekim the Insubordinate said:


> I like this work - not as much as the 2nd Symphony, but it is up there. I'll be honest - I've never heard the Ferrier/Patzak recording. Don't know how I've let that slip through the cracks. I like Kubelik on Audite and Klemperer.


I've just heard the Ferrier/Patzak/Walter for the first time last week. Really, really good! Worth a listen or two even if it doesn't necessarily become your favorite. So many people name that Kubelik/Audite w/ Janet Baker as their top pick for Das Lied. Sounds like something I ought to hear...


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## Knorf

To be honest, Kubelík is always worth hearing in Mahler.


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## Schwammerl

Oh, thanks for putting that right! Funny, when i wrote this, I had a feeling that John Newmark might be a pianist, not a tenor...should have checked!


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## Barbebleu

I’m listening to a rather nice version at the moment. Rita Gorr, Kenneth MacDonald, Georges Sébastian and the O.R.T.F. It’s a live concert and both singers are in fine voice. Kenneth MacDonald, a Covent Garden regular who died in 1970 at the early age of 47, handles the tenor part really well and Rita Gorr is just super. All in all a great addition to my ever expanding collection of DLVDEs. You can never have too many. 

I acquired the Boulez mentioned above. It’s next up for listening.


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## flamencosketches

I ordered the Reiner/Chicago, which seems to be a love it or hate it affair for most. I love Reiner, and I really love his Mahler 4, so I have high hopes for it. Some seem to find his music-making cold, which is not something I really hear. I'll write back with what I think.

Any thoughts on the Graf/Houston on Naxos? It's being offered for a free download on the New on Naxos newsletter this month, but I passed on it because I wasn't impressed with the singers from the samples. However I am always game to hear a conductor and orchestra that is new to me. Curious if anyone thinks it's worth getting (again, for free—the only thing I have to lose is hard drive space).


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## Barbebleu

I bumped the Boulez for the Reiner. The orchestral playing is just excellent. The singers are very good too but overall it wouldn’t be my go to version.


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## Art Rock

The Boulez is one of my favourite versions of the standard version (orchestra/tenor/alto). Excellent playing, and excellent interpretation by Boulez. Wrt the singers: I have no problem whatsoever with Violeta Urmana and just a little bit with Michael Schade in the first movement, where I prefer a stronger voice. But that's a minor quibble.


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## Simplicissimus

I grew up on the Reiner DLvdE and it has always been a cornerstone of my collection, but I have over the years acquired other versions after feeling a need for comparative readings. One that hasn't been mentioned here, I think, is a live recording from the 1964 Vienna Festival with Josef Krips leading the Wiener Symphoniker (not the VPO) featuring two male voices, tenor Fritz Wunderlich and baritone Dietrich Fischer-Dieskau. I find this performance beautiful and moving. It wouldn't be my only DLvdE, but I think it's my favorite.


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## Barbebleu

seitzpf said:


> I grew up on the Reiner DLvdE and it has always been a cornerstone of my collection, but I have over the years acquired other versions after feeling a need for comparative readings. One that hasn't been mentioned here, I think, is a live recording from the 1964 Vienna Festival with Josef Krips leading the Wiener Symphoniker (not the VPO) featuring two male voices, tenor Fritz Wunderlich and baritone Dietrich Fischer-Dieskau. I find this performance beautiful and moving. It wouldn't be my only DLvdE, but I think it's my favorite.
> 
> View attachment 134897


Again I'm ashamed to say I've had this recording for a couple of years and have yet to listen to it

After I've listened to the Boulez it will be next up.


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## Tsaraslondon

seitzpf said:


> I grew up on the Reiner DLvdE and it has always been a cornerstone of my collection, but I have over the years acquired other versions after feeling a need for comparative readings. One that hasn't been mentioned here, I think, is a live recording from the 1964 Vienna Festival with Josef Krips leading the Wiener Symphoniker (not the VPO) featuring two male voices, tenor Fritz Wunderlich and baritone Dietrich Fischer-Dieskau. I find this performance beautiful and moving. It wouldn't be my only DLvdE, but I think it's my favorite.
> 
> View attachment 134897


I have this version and I do like it. It's good to have a version with the lower songs sung by a male singer, though my preference would still be for a woman. Wunderlich I find peerless in the tenor songs.


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## ZeR0

It's hard to beat the classic Klemperer version, but I also appreciate the baritone approach with Bernstein/VPO.


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## VitellioScarpia

I am partial about the Reference Recording version with Eiji One and the Minnesota Orchestra. I don't believe it is the best version but for some reason I find it very satisfying, in particular Der Abscheid.

https://referencerecordings.com/recording/mahler-das-lied-von-der-erde/


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## flamencosketches

Thoughts on the Karajan/Berlin/Ludwig/Kollo on DG...?










Pretty good, I think.


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## Knorf

I've never heard it, and am alarmed that I was unaware it existed! I must not be a true Karajan fanboy.  :lol:

I'm intrigued that it has the same soloists as Bernstein/Israel Philharmonic!


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## flamencosketches

Knorf said:


> I've never heard it, and am alarmed that I was unaware it existed! I must not be a true Karajan fanboy.  :lol:
> 
> I'm intrigued that it has the same soloists as Bernstein/Israel Philharmonic!


:lol:

Yes, recorded right around the same time as that Bernstein, mid-'70s. Worth a listen, I think. I got it by accident, but I was pleasantly surprised. Everything about it was good, beautifully played by the Berliners, great singing, especially by Ludwig, for whom this is practically a signature work. Somehow I was underwhelmed by the end of the Abschied, it seemed more abrupt than normal. Aside from this I did really enjoy it. I'll be listening again even if it doesn't become my favorite Das Lied. I have 7 in my collection now...  ... too many.


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## Art Rock

flamencosketches said:


> Thoughts on the Karajan/Berlin/Ludwig/Kollo on DG...?
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One of my favourite versions of the original line-up (orchestra/alto/tenor).


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## Byron

The old standards still remain my top choices -- Klemperer with Ludwig and Wunderlich, Haitink with Baker and King, and Bernstein with Fischer-Dieskau and King for the baritone tenor line-up. Since acquiring Kubelik's account on Audite with Baker I can say it is every bit as strong as Haitink's. My absolute favorite, like many, is Walter's with Ferrier and Patzak; however fans of this recording really should make an effort to hear Pristine's remastering, which makes the sonics on the Decca release sound harsh and glaring by comparison. It also properly rebalances the dynamic between vocals and orchestra and brings stunning clarity and detail to the well known and much beloved performance.


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## Reichstag aus LICHT

flamencosketches said:


> I have 7 in my collection now...  ... too many.


Don't be too hard on yourself. I've got at least 25, including chamber versions and an excellent arrangement for voices and piano by Cyprien Katsaris.


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## Art Rock

Reichstag aus LICHT said:


> Don't be too hard on yourself. I've got at least 25, including chamber versions and an excellent arrangement for voices and piano by Cyprien Katsaris.


I'm at over 60 CDs .............


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## Ekim the Insubordinate

Art Rock said:


> I'm at over 60 CDs .............



If I ever visit Kampen, I'll be sure to raid your house.


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## Marc

Ekim the Insubordinate said:


> If I ever visit Kampen, I'll be sure to raid your house.


Before the raid, do visit the Bovenkerk and the Buitenkerk first… both churches have marvellous organs (by Hinsz and Reil).
Oops, apologies, off-topic.


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## DavidA

flamencosketches said:


> Thoughts on the Karajan/Berlin/Ludwig/Kollo on DG...?
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Pretty good as you say. When Ludwig was asked why she thought Klemperer had more understanding of the work she replied 'Klemperer was Jewish'


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## flamencosketches

DavidA said:


> Pretty good as you say. When Ludwig was asked why she thought Klemperer had more understanding of the work she replied 'Klemperer was Jewish'


Interesting. I wonder if she felt similarly about Bernstein whom she also worked with. There's a video of Bernstein rehearsing DLvdE with Ludwig & the Israel Philharmonic and she seems to disagree with some of his interpretive decisions. She stops singing Von der Schönheit and says something to Lenny in German which I can only imagine means "no, no, no, this is much too fast", to which he responds "but this is so much slower than I ever conduct it!" It's quite funny.


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## VitellioScarpia

flamencosketches said:


> Interesting. I wonder if she felt similarly about Bernstein whom she also worked with. There's a video of Bernstein rehearsing DLvdE with Ludwig & the Israel Philharmonic and she seems to disagree with some of his interpretive decisions. She stops singing Von der Schönheit and says something to Lenny in German which I can only imagine means "no, no, no, this is much too fast", to which he responds "but this is so much slower than I ever conduct it!" It's quite funny.


I saw long ago an interview with Ludwig about Bernstein and she said something along the lines that Bernstein had taught her that music contained something more than her German ethos of treating music like a religion but she said "but I will not tell you what" or something like that. I wonder if it was related to the jewishness Bernstein brought to the music.

Perhaps, I am probably connecting points that are not there based on another interview with Thomas Hampson which says that Bernstein had solved for him "the Mahelr paradox" in the Songs of the Wayfarer by saying that when you go to a Jewish wedding, there's always something who's sad among the merriness.


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## Brahmsianhorn

wkasimer said:


> Klemperer is, I think, as close to a consensus choice as you'll ever find in classical music, and it's hard to argue with it. Great soloists, superb conducting and orchestral playing, and good sound.


Hard to call it the most consensus choice in all of classical music when the Ferrier/Patzak/Walter version is considered just as much a classic if not more so. Regardless, my preference is for not just the Ferrier/Walter but even more the live recording on Tahra or Andromeda made just a few days after.

I also love the Thorborg/Schuricht 1939 account, despite the horrendous interruption of a Nazi sympathizer in the audience, as well as Baker/Kubelik on Audite.


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## DavidA

VitellioScarpia said:


> I saw long ago an interview with Ludwig about Bernstein and she said something along the lines that Bernstein had taught her that music contained something more than her German ethos of treating music like a religion but she said "but I will not tell you what" or something like that. I wonder if it was related to the jewishness Bernstein brought to the music.
> 
> Perhaps, I am probably connecting points that are not there based on another interview with Thomas Hampson which says that Bernstein had solved for him "the Mahelr paradox" in the Songs of the Wayfarer *by saying that when you go to a Jewish wedding, there's always something who's sad among the merriness*.


I think Burnstein was perhaps being somewhat idealistic here. In any close family there is always a certain sadness at a wedding at losing a kid, especially the daughter. The Jewish weddings I've been to have been no different


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## Rogerx

My number one.


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## vincula

Lately I've listened quite a lot to Marjana Lipovšek/Ben Heppner with Gary Bertini/WDR. EMI Japan. Recorded live 16-17 November at Suntory Hall, Tokyo. An stunner. Mesmerizing sound too. I bought Bertini's complete symphonic cycle on EMI, which is an absolut bargain. _Das Lied von der Erde_ is in disc nr. 11.

Listening as I type these lines:angel:

Regards,

Vincula


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## wkasimer

vincula said:


> Lately I've listened quite a lot to Marjana Lipovšek/Ben Heppner with Gary Bertini/WDR. EMI Japan. Recorded live 16-17 November at Suntory Hall, Tokyo. An stunner. Mesmerizing sound too. I bought Bertini's complete symphonic cycle on EMI, which is an absolut bargain. _Das Lied von der Erde_ is in disc nr. 11.


This is a truly great dLvdE. Heppner is the only tenor in the same class as Wunderlich in this music, and this is one of Heppner's best recordings - early in his career before all of the Wagnerian wear and tear. He recorded it ten or so years later with Maazel, and it's not the same voice. The sonics of this recording are fabulous. This is also available outside the complete Bertini set:









There's also a MHS edition that sells for peanuts on Amazon Marketplace and eBay.


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## Barbebleu

vincula said:


> Lately I've listened quite a lot to Marjana Lipovšek/Ben Heppner with Gary Bertini/WDR. EMI Japan. Recorded live 16-17 November at Suntory Hall, Tokyo. An stunner. Mesmerizing sound too. I bought Bertini's complete symphonic cycle on EMI, which is an absolut bargain. _Das Lied von der Erde_ is in disc nr. 11.
> 
> Listening as I type these lines:angel:
> 
> Regards,
> 
> Vincula


I've got this set but I haven't got to Das Lied yet. Must stop acquiring and spend more time listening. Unfortunately this lockdown is getting me down and I have little appetite for concentrated listening. I seem to be doing desultory dipping in and out of various things with emphasis on stuff that requires little in the way of analysis of either the music or the musician.


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## vincula

Barbebleu said:


> I've got this set but I haven't got to Das Lied yet. Must stop acquiring and spend more time listening. Unfortunately this lockdown is getting me down and I have little appetite for concentrated listening. I seem to be doing desultory dipping in and out of various things with emphasis on stuff that requires little in the way of analysis of either the music or the musician.


I do understand the way you feel. Normally it's not easy to concentrate one's attention on anything any longer, but this lockdown has introduced a kind of dangerous uneasiness not unlike the music of Mahler 

Take the Bertini box and go straight to what you feel like sitting down and listen. Why not start with CD 11? Bertini's Mahler seems especially suited to a kind of luminous meditation, focusing on musical landscapes and purity of tone and timbre. You need to give it time. An alternative? If you want your Mahler no.2 chillin' and über-cookin', go for the Metha-Decca :lol:

Regards,

Vincula


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## BoHed

I would like to mention another excellent recording of this wonderful work, Kurt Sanderling conducting Berliner Symphoniker and singers Birgit Finnilä and Peter Schreier. I find it hard to decide which is the ultimate version, this one or the Kubelik live recording an Audite with Janet Baker and Waldemar Kmenntt. No one can compete with dame Janet in this work, especially at that recording for sure, but Birgit Finnilä is a worthy contender. Besides, Peter Schreier is rather more expressive in his singing than is Kmenntt, I find. But that is a matter of taste, obviously. I think both these recording are outstanding in the way that the two singers are balanced together.
I wouldn't do without any of them in my collection...


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