# Mahler symphonies - No 1



## DavidA

I've really got into Mahler a lot more recently. I wondered whether we could give our favourite recordings of each symphony (and why) starting with no 1. I know we might have done this before but new recordings are constantly coming up.


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## Granate

Yeah. I wish I had more time to bring out No.1 performances I like, but most of them are included in cycles where the other symphonies share the style of the No.1 (I mean performance-wise). I can only think of the Kubelík DG No.1 as a stand-out in the cycle, but these would get the most of my listens for conducting or sound quality:


































I'm yet to listen to the Fischers. I think I shouldn't do this with all the symphonies, because I have to do the Final Mahler challenge next summer and so far my two favourites are always the same.


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## mbhaub

I'm going to approach this differently: which historical recording would I choose? Yes, Mahler sounds best in modern, hi-fi sound. How can older mono recordings compete? Well - they can. Once you get past the limited dynamic range, the narrow sound field, and some surface distortion, you realize that we didn't suddenly wake up and hear Mahler thanks to Bernstein and his generation. Mahler was quite well known long before and for every one of the symphonies there's are some terrific recordings that you should seek out. So...my choice for number 1:









Too bad there's no one like Mitropoulos alive today. This is one of the great Mahler 1sts - long before the "critical edition". Thrilling and just so right all the way. If this thread continues on through the Mahler works, this conductor's name will appear more than this time.


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## Becca

I will toss out another from the pre-Mahler boom era, 1957, this one in early stereo. Of the various recordings that I have and have heard, it is the one I go to most frequently.


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## david johnson

So many good ones, but one I always enjoy is with Leinsdorf/Boston. The triple-tongued trumpet arpeggios at the end come out better in that recording than in most others. Try any mentioned here and you will be pleased.


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## Alfacharger

I've been enjoying this early (1893) version of the "Tone Poem in the form of a Symphony, Titan". The orchestration is smaller than the final symphony. A dramatic reading by de Vriend and Netherlanders.


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## Manxfeeder

Any thoughts on Benjamin Zander? That's the one I cut my teeth on, and so naturally, it's what sounds right to me.


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## Brahmsian Colors

Bruno Walter---either his mono N.Y. Philharmonic and/or stereo Columbia Symphony performance.


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## DavidA

I have 

Kubelik - the best version of all imo - just right

Bernstein - pretty good

Mehta - a bit behind the other two


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## CnC Bartok

I'll back you up on Kubelik! First choice!

I would also add that I like the Blumine movement. Not necessarily within the symphony itself, as it screws up the overall balance, but it's a pretty piece, and quite magical. I also have a recording of the 1893 Titan tone poem, on Hungaroton, by an obscure western Hungarian orchestra, and mine's the Weimar, not Hamburg, version. Worth hearing, indeed for its lighter orchestration. I wonder what it'd be like with a really good orchestra?

Of the more mainstream recordings, I'd recommend Solti's earlier London recording, Bertini, And The Ivan Fischer recording (Hungaroton again!), which has Blumine.


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## MarkW

Don't have an asolute favorite (although I think the Horenstein pretty good). But the landler of the First was the first Mahler I had ever heard (never even heard of the composer previously) on an inexpensive Columbia Bruno Walter sampler LP in the early-to-mid-1960s. It was last number on side two, listened to the recording casually, and when it came on I had never heard anything even approaching its style, tunefulness, orchestration, etc. Played it a second and third time, read the label -- "Mahler?" -- looked him up in the Schwann Catalogue (indispensible music reference at the time), discovered a short recordings list -- mostly nine symphonies of which an inordinate number required double-album sets, no more than one or two recordings of each. Went to the public library, found a newly issued recording by my home orchestra (Leinsdorf/BSO), listened to it, and was hooked.

I vaguely remember a recording from the 1960's by a major label that had a remarkable cut in the last movement -- as if no one would notice.


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## Larkenfield

Granate said:


>


Speaking only from my own experience, I found this a most remarkable live recording, unforgettable as a Mahler 1st. (I also love the Anton Nanut with the Ljubljana Symphony.) Why the Tennstedt? Because about the first four minutes start out so unexpectedly ragged and unpromising-the strings are unfocused and struggling to find their pitch (excruciating), the winds are slightly out of tune with the strings (as if their instruments were cold), the winds do not come in precisely (such as the bass clarinet), and just about everything sounds disjointed and the orchestra uncomfortable in their skins... But from those humble & unpromising beginnings, the performance gets better and better and better, more focused as it goes along, and finishes triumphantly with a great sense of warmth and richness of feeling... This remarkable performance (that's also well-recorded) shows just how far an orchestra sometimes has to travel to pull itself together after a cold start, and I have never forgotten how human and illuminating this is, not to mention how inspiring... because the orchestra rose to the challenge and overcame its initial beginnings-a very real, human & memorable performance that also sounds well-paced and unforced. Just wow at the end and thunderous applause.


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## Gallus

Kubelik's Mahler 1 was (I think) the first ever Mahler recording I listened to, and it's still one of my favourite of any symphony. Beautiful work.


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## Merl

I've got more Mahler 1sts than any other Mahler symphony (as it's my favourite) This one's my favourite account:









Followed by:






























Then Horenstein, Kubelik (studio), Leinsdorf, Jansons, Tennstedt (live), Bernstein (DG) ..... Loads of very good ones but Honeck whups them all for me.

The absolute worst for me are Kegel and Solti (CSO) . I find Solti's 1st totally wrong and Kegel's utterly unbearable. Not keen on Rattle's first one with the CBSO either but he made up for it with the BPO account. Never been mad on Barbirolli's weedy strings in his version with the Halle, either.


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## Guest

My first was Bernstein's DG recording, and I still really enjoy it, but like others, my favorite recording is Kubelik's live recording on Audite. It is wonderful. His live recording of Das Lied von der Erde, also on Audite, is also great!


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## Merl

Oh and this is a cracker too (as long as you miss out boring Blumine).

View attachment 110941


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## Joe B




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## Kiki

I find Mahler 1 so amicable in every way. Don't really have a favourite recording. Big name star stick wavers have all done it brilliantly IMHO. In fact, there isn't even one that I dislike...... so let me throw one on the table that's rather unusual, Svetlanov 1992 with the Russian State Symphony Orchestra. Some may enjoy the idiosyncrasy. For some others, it might ruin your festive mood.


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## Brahmsianhorn




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## perdido34

david johnson said:


> So many good ones, but one I always enjoy is with Leinsdorf/Boston. The triple-tongued trumpet arpeggios at the end come out better in that recording than in most others. Try any mentioned here and you will be pleased.


I just listened to the Leinsdorf BSO Mahler 1 today. The sound quality leaves something to be desired. For example, the bass drum at the beginning of the last movement is distorted--probably overloaded on the master tape.


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## Judith

What about Muti and Philadelphia Orchestra? Another conductor that never lets me down


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## Malx

Judith said:


> What about Muti and Philadelphia Orchestra? Another conductor that never lets me down


Sadly Judith one of the few Mahler recordings I have had that found its way to the charity shop.
It is well recorded, from memory, well enough played but I'm not sure if Muti was/is a natural Mahlerian, nothing really wrong but nothing to mark it out as special imo.


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## Malx

Merl said:


> Oh and this is a cracker too (as long as you miss out boring Blumine).
> 
> View attachment 110941


I'm interested as to which recording you are referring to Merl - the attachment won't open for me!


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## Merl

Malx said:


> I'm interested as to which recording you are referring to Merl - the attachment won't open for me!


Sorry, dodgy link. Jurowski's is a decent version but the finale is a bit of a let down and you have to turn it up a bit (low volume) but when you do it sounds really good.









And even if Jansons aint your cup of tea this is some recording. Terrific sonics and the RCO sound brilliant.


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## starthrower

I like Tennstedt from the EMI box, and Ozawa's 1988 digital recording.


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## Heck148

perdido34 said:


> I just listened to the Leinsdorf BSO Mahler 1 today. The sound quality leaves something to be desired. For example, the bass drum at the beginning of the last movement is distorted--probably overloaded on the master tape.


Leinsdorf/BSO Mahler recordings - 1,3,5,6 - were disasters....stodgy, pedestrian conducting, muddy, lackluster playing, and muddy, lackluster sound reproduction..I can never understand why they were even issued on CD....

My favorite Mahler 1sts are:

Giulini/CSO
Walter/ColSO
Solti/ CSO


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## DavidA

starthrower said:


> I like Tennstedt from the EMI box, and Ozawa's 1988 digital recording.


I have the Tennstedt box and no 1 is superb.


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## Totenfeier

Kubelik, Tennstedt, Walter, Horenstein are tops.

Boulez is quite, quite good.

Also, surprisingly, Mehta with NYPO.


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## Brahmsianhorn

This is one of the few Mahler Horensteins that I am not as fond of. For me the interpretation lacks forward direction. It feels a little aimless.


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## Holden4th

Just found this thread. Walter (either stereo or mono). For something more ethereal Solti LSO.


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## Ulfilas

I will vote for Muti, unexpected but full of freshness and fabulously played. A sleeper.

David Hurwitz suggested that DG almost had a monopoly on this, which I can kind of see: Boulez, Ozawa, Kubelik.

I don't rate Bernstein (too exaggerated for me) or Haitink (too plain).

I also like Yoel Levi on Telarc (he includes the Blumine movement), and Suitner in Dresden (Eterna recording from the 60s). That, Kubelik and Ozawa (either DG or Philips) would be my analogue choices.


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## Eclectic Al

I have Mackerras with the Royal Liverpool PO, and have always liked it. (I haven't listened to that many alternatives though to be fair.)

Indeed, whenever I have a Mackerras recording of anything I tend to like it, but never find it mentioned in discussions like this. He seems like someone who turned out a string of good performances while garnering little attention.

Perhaps the thing is that although I might like a performance where a conductor puts his stamp on a piece and does so convincingly, I more like the idea of a conductor who executes a mainstream interpretation of a piece well. Hence, with notable exceptions, I am likely to favour recordings which are in good sound, and executed well in terms of playing standards, but which are not controversial in terms of interpretation. The best performance may often be the most middle-of-the-road in terms of interpretive choices - that's kind of what you would expect: the "reference version" if you like. IMO, of course. 

In another genre I might point to Gilels and the Grieg Lyric Pieces. There you have a great virtuoso, who could doubtless beat the hell out of those pieces, and take your breath away with his daring this or that. but he takes the pieces for what they are, and therefore makes the most of them beautifully. There's little that annoys me more than a performer taking an unassuming piece of music, and beating it about the head to show what they can do. "Look I can play really fast while staying very quiet indeed. I'll bet you can't do that."

Anyone got any opinions re Mackerras in this work?


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## Merl

That Mackerras / RLPO is a real sleeper. I return to it every couple of years and it gets right under my skin again. It's an excellent account but Mackerras rarely did anything badly. Good call, indeed, Al. Listen to Mackerras' pacing on that version, btw. It's superb. Like his Sibelius 2 and Mahler 5, he nails it.


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## Kiki

I haven't heard the Mackerras 1st, and it sounds like it's worth investigating…. I do have a Mackerras 6th CD with the BBCPO. It's sparkling clean and non-sensationally exciting; more like an ophthalmologist shining his handheld halogen lamp into your dilated pupil, rather than for a moment of madness looking into the bombast of your new 1000W garden floodlight.


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## wkasimer

This may be of interest:


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## Merl

Wow, that's the first time I've nearly fully agreed with Hurwitz. He hit all my faves. My only differences would be I'd leave Solti out (never rated that one) and replace it with Linrtu, Jurowski, Abbado (live with BPO) or Nezet-Seguin. Thankfully he doesn't rate that awful Kegel one either (ugh). Also Kubelik's best 1st is the Audite live one, IMO.


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## Ulfilas

Merl said:


> Wow, that's the first time I've nearly fully agreed with Hurwitz. He hit all my faves. My only differences would be I'd leave Solti out (never rated that one) and replace it with Linrtu, Jurowski, Abbado (live with BPO) or Nezet-Seguin. Thankfully he doesn't rate that awful Kegel one either (ugh). Also Kubelik's best 1st is the Audite live one, IMO.


And Hurwitz has rated both the Abbado and Nezet-Seguin highly on classicstoday.com


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## annaw

Merl said:


> Wow, that's the first time I've nearly fully agreed with Hurwitz. He hit all my faves. My only differences would be I'd leave Solti out (never rated that one) and replace it with Linrtu, Jurowski, Abbado (live with BPO) or Nezet-Seguin. Thankfully he doesn't rate that awful Kegel one either (ugh). *Also Kubelik's best 1st is the Audite live one, IMO.*


Listened to it just quite recently. Indeed, it was a very enjoyable recording! I like Kubelik's DG recording a lot as well and its sound quality is a treat. Hmm, now I want to do a comparison listening this weekend...

Otherwise, I've been recently in awe of Boulez's recording. I think it's tastefully brisk, in wonderful sound, and a perfect example of Boulez's skill to achieve great orchestral clarity. It has been a real eye-opener.


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## Merl

Another one to consider is the Linton / RPO 1st which I think is as exciting as hell. I mentioned it in Hurwitz's comments box as well.


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## Simplicissimus

Lots of talk about excitement from this symphony, but I prefer an interpretation that is relaxed and graceful above all. Noticing strong criticism earlier in this thread against the account that is my favorite, Leinsdorf/Boston from 1962 on Living Stereo, I played it a couple of times last night back-to-back with two recordings in my collection that I think can fairly be described as exciting, Ozawa/Boston from 1977 and Gielen/SWR from 2002. I enjoyed them all, but I still prefer Leinsdorf. And I find the engineering and sound quality to be very good, typical of Living Stereo. Oh well, there’s my take on it. After listening to this symphony four times in one sitting, I think I won’t listen to it again for a year or so.


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## Merl

Simplicissimus said:


> Lots of talk about excitement from this symphony, but I prefer an interpretation that is relaxed and graceful above all. Noticing strong criticism earlier in this thread against the account that is my favorite, Leinsdorf/Boston from 1962 on Living Stereo, I played it a couple of times last night back-to-back with two recordings in my collection that I think can fairly be described as exciting, Ozawa/Boston from 1977 and Gielen/SWR from 2002. I enjoyed them all, but I still prefer Leinsdorf. And I find the engineering and sound quality to be very good, typical of Living Stereo. Oh well, there's my take on it. After listening to this symphony four times in one sitting, I think I won't listen to it again for a year or so.


I like excitement in the final movement but elsewhere a strong sense of forward momentum is necessary for a successful reading. For me, rhythms are very important, especially in the scherzo, for a good first but I can live with more relaxed versions too. I rate Leinsdorf's first like you . Its a fine account and if you like that one, Simpy, then I urge you to try out Jurowski's lovely 1st which is very much in the Leinsdorf's vein. It's live and beautifully recorded but there's some glorious detail in there. He includes the Blumine movement but if you don't want to hear it (I nearly always miss it out in recordings that contain it) just skip it.


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## BlackAdderLXX

I am loving this thread right now. Is the Mackerras out of print?


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## annaw

Merl said:


> Another one to consider is the Linton / RPO 1st which I think is as exciting as hell. I mentioned it in Hurwitz's comments box as well.


Listening to this at the moment on streaming. Really stunning! I would say it's not similarly über Romantic as, say, Bernstein's (but then whose is?!) but it's really brisk and I love that. The quick passages and the whole 2nd movement, particularly, are crazy exciting and Mahler's colourful orchestration really comes through. Thanks for mentioning it, Merl!

EDIT: The last movement is thunderous too.


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## Merl

Eschenbach is a great effort too, a bit more romantic than others but great rhythms and there's some thump on the last movement. Yeah, the Mackerras is probably OOP, Blackadder. And yes the Linton is definitely one of the brisker, more high-octane ones, annaw, but that's why I like it so much.


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## Brahmsianhorn

Barbirolli gets overlooked in this symphony. It’s a perfect interpretation, my favorite stereo version. 

Best overall is Walter’s 1939 live recording with the NBC Orch. Bruno was on fire that day.


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## Joachim Raff

There are only two versions that I really like. I want a version that does not drags its heals particular in the funeral march but also the other movements. The sonics need to hold up as well. Solti's LSO is a let down in this department. The beginning of the finale sorts out a lot of the recordings. It needs to be exciting but there needs to be control. The modern versions are just too weedy and thin sounding.

1st Choice:
Chicago Symphony Orchestra
*Pierre Boulez*
Recorded: 1998-05-02 (DG)

2nd Choice:
Concertgebouworkest Amsterdam, *Leonard Bernstein*
Recorded: 1987-10-10
Label: DG


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## Geoff48

It’s surprising that no one has mentioned either of the versions conducted by Paul Kletzki. Kletzki is a sadly underrated conductor but one who rarely gave a bad performance. He recorded the symphony twice, the first in mono with the Israel Philharmonic, the second in early stereo with the Vienna Philharmonic. Unfortunately the work is cut in both versions but they are both very good. And the Vienna Philharmonic seems to have a special connection with Mahler who spent a while as their chief conductor. Both are worth listening to.
Another I like is Giulini with the Chicago Symphony which is included in the EMI complete Mahler collection. Everyone raves about his ninth but his first is pretty good also. And this was recorded before Giulini slowed down most of his interpretations.


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## brucknerian1874

A couple of more recent efforts worthy of more attention IMHO.


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## vincula

What a wonderful thread this is. I'm very fond of Mahler's no.1. I got introduced to the work listening to Solti/Chicago SO many moons ago.









I own quite a few. The ones I return to more often are Tennstedt's/LSO and Kubelik's live recording on Audite.

Regards,

Vincula


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## mparta

Totenfeier said:


> Kubelik, Tennstedt, Walter, Horenstein are tops.
> 
> Boulez is quite, quite good.
> 
> Also, surprisingly, Mehta with NYPO.


why surprisingly on Mehta? I think he's a much underrated conductor, having heard him with the NYPO and in Munich at the opera. Hearing the NYPO is always an ordeal, I used to go yearly just to convince myself (successfully, unfortunately) every year that you couldn't really hear the orchestra in that awful hall and that they probably couldn't really hear each other. But I heard a Gurrelieder that was breathtaking (be quite an achievement to make it dull) and a magnificent Brahms concert with Brendel in the first concerto (they did get a bit at cross purposes) and 1st symphony. The thing that impressed me most was the Mehta has a conception of sound, his Brahms sounded like his and no one else's.

My Mahler 1 remains:








The BSO just plays the bejesus out of it. Great recording, beautiful, great orchestra and Ozawa doesn't get in the way. Really, BSO here, world beating.


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## mbhaub

And for anyone like myself who wants great SACD Surround Sound and great performances, these two. Thanks Merl.
















The opening is very special and the sense of space, the vastness, you get from these two is wonderful.


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## arkadinho

Becca said:


> I will toss out another from the pre-Mahler boom era, 1957, this one in early stereo. Of the various recordings that I have and have heard, it is the one I go to most frequently.
> 
> View attachment 110881


Yep, it's between that and Horenstein with Vienna Symphony for me


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## Superflumina

As usual with Mahler for me Kubelik is king here.


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## Ned Low

Superflumina said:


> As usual with Mahler for me Kubelik is king here.


Exactly. It's been my favourite ever since the day i listened to it, though i like Abbado(Berlin) and Boulez.


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## Varick

Judith said:


> What about Muti and Philadelphia Orchestra? Another conductor that never lets me down


This is what I love about music. To me, Muti is almost the opposite. He almost always lets me down. I find his Beethoven slogging, boring, and muted, and almost everything else he does just sounds lifeless (Mehta, Barenboim, and often Ozawa are on that side of the ledger as well). He did do a great job with Carmina Burana though. Different strokes for different folks! What a boring world if we all agreed with each other.

V


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## Varick

mparta said:


> why surprisingly on Mehta? I think he's a much underrated conductor, having heard him with the NYPO and in Munich at the opera. *Hearing the NYPO is always an ordeal, I used to go yearly just to convince myself (successfully, unfortunately) every year that you couldn't really hear the orchestra in that awful hall and that they probably couldn't really hear each other. *


It really is a shame about Avery Fisher Hall. After going there many times because the artists I managed performed there, once I was out of music mgmt, I never went back because of the HORRIFIC acoustics. The sound was dead after the first 10 rows or so. Since moving out of NYC about 17 years ago, I haven't stayed current on Lincoln Ctr. Have they done ANYTHING to try to improve it? There are so many great performers, concerts, and recitals there, but damned if I'll go. I'll give it another shot if they've done some major renovations.

For now, my NYC classical music performances are kept to Carnegie Hall, 92nd St Y, and Frick Museum.

V


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## Marc

I like it when the 1st is played lyrical and refined.

Therefore, these recordings come to mind...

SO des Bayerischen Rundfunks / Kubelik (DG):










Boston SO / Seiji Ozawa (DG):










Florida PhO / James Judd (Harmonia Mundi):


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## staxomega

Brahmsianhorn said:


>


Just wondering if you know what the recording date of this is? Trying to figure out if he recorded it more than once with Halle. Thank you.


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## Allegro Con Brio

^1957, I believe (stereo). I also think it has been recently released on Warner/EMI for the first time.


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## Becca

^^ Correct, 1957, and the only time he recorded that. I don't even know of any available broadcast concerts of the 1st as there are of (e.g.) the 2, 3, 4 etc.

FWIW, it's very high on my list for the 1st.


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## PuerAzaelis

Ozawa BSO was always my favorite Mahler 2nd also.


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## Merl

PuerAzaelis said:


> Ozawa BSO was always my favorite Mahler 2nd also.


Try Ozawa with the Saito Kinen Orchestra it's much better.


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## Azol

Merl said:


> Try Ozawa with the Saito Kinen Orchestra it's much better.


It's exceptional! The March of the Dead maybe a bit on the lighter/faster side, but other than that this is a performance firing on all cylinders.


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## staxomega

Allegro Con Brio said:


> ^1957, I believe (stereo). I also think it has been recently released on Warner/EMI for the first time.





Becca said:


> ^^ Correct, 1957, and the only time he recorded that. I don't even know of any available broadcast concerts of the 1st as there are of (e.g.) the 2, 3, 4 etc.
> 
> FWIW, it's very high on my list for the 1st.


Wonderful, thank you. Just wanted to double check as I associate that label with broadcasts, and I'm trying to compile a discussion on pre-LP era recordings of Mahler.


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## PuerAzaelis

Will do thank you V M


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## Granate

Anybody can tell if this Mahler No.1 is really great? It's a rare Salzburg performance outside streaming platforms and really inexpensive in my country.


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## vincula

I'd pull the trigger without hesitation!

Regards,

Vincula


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## Kiki

We all have difference taste, but I'd say Solti's Salzburg #1 is as good as his LSO recording made 6 months earlier. No fooling around, clean and sharp. Better than his Chcago remake IMO. Mind you, the sound is thin, certianly no match for the LSO recording on Decca.


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## SixFootScowl




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## vincula

Kiki said:


> We all have difference taste, but I'd say Solti's Salzburg #1 is as good as his LSO recording made 6 months earlier. No fooling around, clean and sharp. Better than his Chcago remake IMO. Mind you, the sound is thin, certianly no match for the LSO recording on Decca.


Between CSO and LSO I do prefer Solti's LSO '64 too. Got the Decca Legends edition. Beautiful sound and presentation. Easy to find used at bargain prices on the usual sites.









Regards,

Vincula


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## Granate

Thank you. If that's the case I think I'll pass.


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## Merl

I don't like any of Solti's Mahler 1sts. I've got at least 50 Mahler 1sts that are better.


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## Malx

Merl said:


> I don't like any of Solti's Mahler 1sts. I've got at least 50 Mahler 1sts that are better.


I must dig it out and listen again - I think I have it on a Decca 'Double Decca' twofer with his Symphony No 2, which I rate pretty highly IIRC, but it has been a while since either has graced the CD machine.


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## HenryPenfold

vincula said:


> Between CSO and LSO I do prefer Solti's LSO '64 too. Got the Decca Legends edition. Beautiful sound and presentation. Easy to find used at bargain prices on the usual sites.
> 
> View attachment 157943
> 
> 
> Regards,
> 
> Vincula


That's my favourite M1. One of the few Solti things I really rate. He was at his peak in the early 1960s in London with the Decca boys.


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## Heck148

Granate said:


> Anybody can tell if this Mahler No.1 is really great? It's a rare Salzburg performance outside streaming platforms and really inexpensive in my country.


I've not heard it, but I'll bet it's very fine.....Solti/VPO is a pretty dependably high quality combo....


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## Malx

A grey miserable day allowed me the time to dig out my Solti/LSO Mahler 1 (as suggested in post #73) I also gave a listen to Jansons live Concertgebouw recording and Seiji Ozawa's Boston SO effort on DG.

My conclusions are that whilst I don't think Solti is a bad as Merl may indicate in post #72 he came across as producing the least effective perfomance of the three I listened to this afternoon. My major concern was his tendency to pull tempos around or at least to accelerate and decelerate too abruptly, which affected the flow of the music most noticeably in the second movement, for my taste.
I found both Jansons and Ozawa to be fine efforts, both of which I enjoyed immensely. I marginally favoured the Jansons - but that may be down to my current liking for live recordings, the feeling of an event as well as a recording which can sometimes just add a touch of something special.


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## Merl

Malx said:


> A grey miserable day allowed me the time to dig out my Solti/LSO Mahler 1 (as suggested in post #73) I also gave a listen to Jansons live Concertgebouw recording and Seiji Ozawa's Boston SO effort on DG.
> 
> My conclusions are that whilst I don't think Solti is a bad as Merl may indicate in post #72 he came across as producing the least effective perfomance of the three I listened to this afternoon. My major concern was his tendency to pull tempos around or at least to accelerate and decelerate too abruptly, which affected the flow of the music most noticeably in the second movement, for my taste.
> I found both Jansons and Ozawa to be fine efforts, both of which I enjoyed immensely. I marginally favoured the Jansons - but that may be down to my current liking for live recordings, the feeling of an event as well as a recording which can sometimes just add a touch of something special.


I didn't say I hated Solti's Mahler just that I wasn't much of a fan of it. Like you, Malx, I didn't mind his 60s Decca recording initially but as I listened more, at the time, I just felt it was all a bit disjointed and he kinda lost the plot. Tbf, I've not listened to it in years but I'd certainly agree that Ozawa and Jansons impress me more. It's strange that you mention that Jansons live RCO recording, Malx. Most critics were positive but a little cool on it yet I really rate it and everyone I know who has heard it likes it a lot, too.


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## fbjim

This has always been my favorite Mahler symphony - not sure what that says about me. Not particularly adventrous in the recordings I like - Kubelik - DG, with Bernstein - DG and Haitink - Philips as second place.


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## vincula

Listening to this no.1 with Tennstedt/CSO. I still prefer his recording with the LPO.









Regards,

Vincula


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## Heck148

vincula said:


> Listening to this no.1 with Tennstedt/CSO. I still prefer his recording with the LPO.
> 
> View attachment 158055


I picked up the Tennstedt/CSO disc quite recently, and it has become one of my very favorites...big, bold and brassy....Walter/ColSO, Solti and Giulini, both with CSO are favorites, too...
Tennstedt with Chicago was a good combination - they did a fine, powerful Bruckner 7 (archival set CSO in 20th Century)....


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## JohnP

This symphony has faired quite well on record. Horenstein and Kubelik have always been very well received. I'll take Kubelik, especially the Audite version; it's probably my favorite of them all. But I also enjoy Bernstein (RCO), Chailly, Levine, and Walter.


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## Malx

Heck148 said:


> I picked up the Tennstedt/CSO disc quite recently, and it has become one of my very favorites...big, bold and brassy....Walter/ColSO, Solti and Giulini, both with CSO are favorites, too...
> Tennstedt with Chicago was a good combination - they did a fine, powerful Bruckner 7 (archival set CSO in 20th Century)....


Off topic but I suspect you would like Diana Dors - she was big bold and brassy


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## vincula

This is a beautiful rendition of Mahler's no.1 by Horenstein & the VPO, which deserves many more listeners out there. Nice studio sound for '53. Sounds glorious on YouTube.






Regards,

Vincula


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