# Mahler Symphony no 9



## DavidA

While some of us might find 8 off putting, we would all probably love no 9

Favourite recordings?


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## Brahmsianhorn

My favorite Mahler work and top 5 favorite among all symphonies.

Barbirolli IMO presents the best overall interpretation. His live 1960 RAI version is the one that captures his skills at their best. The BPO version is not quite as intense, but the newest Japanese transfer has really brought some brilliance and immediacy to the sound. This is my top recommendation in good sound. Bruno Walter's VPO version from the 30s is amazingly intense. However, his interpretation shortchanges the final adagio coda - you almost don't notice that suddenly it is over! Karajan's interpretation is pretty solid - this 1982 live effort is one of his greatest achievements. Klemperer's version is surprising strong in excellent sound, a top candidate for sure. Some consider Horenstein's live 1966 version the greatest of all. I don't hold it in quite that high regard, but it is still an excellent version. This was definitely a work that brought out the best of the great masters.

Essential recordings:

Sir John Barbirolli (1960) (IDIS, Archipel)
Sir John Barbirolli (1964) (EMI)
Bruno Walter (1938) (EMI, Dutton)
Herbert von Karajan (1982) (DG)
Otto Klemperer (EMI)
Jascha Horenstein (1966) (Music & Arts)

Additional listening:

Kirill Kondrashin (Melodiya)
Karel Ancerl (Supraphon)
Leonard Bernstein (1979) (DG)
Sir Simon Rattle (2007) (EMI)
Jascha Horenstein (1953) (Vox)
Bernard Haitink (Philips)
Bruno Walter (1961) (Sony)
Carlo Maria Giulini (DG)


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## Merl

Gielen, Guilini, Rattle (BPO), Karajan (my imprint on this symphony and arguably HVK's finest account of anything) , Norrington, Walter, Bertini, Dudamel very impressed with this) , Kondrashin & Neumann.


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## Kiki

Oh dear... No. 9 following No. 8? :lol:

These have casted a strong impression on me -

Karajan/BPO 79/80 - "Beauty of the soul".
Karajan/BPO 82 Live - Lean and mean!
Barbirolli/BPO 64 - Disheartening. Love it!
Chailly/Gewandhaus 13 Live - ice-cold and razor-sharp. So crude!
Walter/VPO 38 Live - Fast, definitely. Emotional, but perhaps I may be imagining things because of the circumstances under which this was recorded.

I like all the usual suspects, Haitink, Abbado, Rattle, Bernstein, Kubelik, Jansons etc. There is always something there worth listening to. 

Dudamel's glorious technicolor is a nice surprise. Sinopoli's (91, and SKD 97 Live) are glorious in their own right but be prepared for any sudden eccentricity. I think Abbado's best among his three is Berlin 99 Live. Lurcerne 10 Live has got a few glitches in the playing (also hate the light-dimming gimmick so I don't "watch" it).

I have a number of dark horses that I also enjoy very much. They sound so "right" to me, but probably they will not be on most people's lists. None of them is warm and humane. I still don't buy that in this symphony.

Kondrashin/Moscow 64 & Moscow 67 Live
Nott/Bamberg 08
Saraste/WDR 09 Live
Barenboim/SKB 09 Live


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## DavidA

I bought Bernstein's Amsterdam 9 and was horrified by the long drawn out last movement. Thankfully I was able to return the discs as they had a fault anyway! Anyone heard his account with the BPO? Is it any better?


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## Merl

Kiki said:


> ..... Nott/Bamberg 08
> ...


Oh, I forgot about that one. I like it a lot, too.


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## wkasimer

Brahmsianhorn said:


> Essential recordings:
> 
> Sir John Barbirolli (1960) (IDIS, Archipel)
> Sir John Barbirolli (1964) (EMI)
> Bruno Walter (1938) (EMI, Dutton)
> Herbert von Karajan (1982) (DG)
> Otto Klemperer (EMI)
> Jascha Horenstein (1966) (Music & Arts)
> 
> Additional listening:
> 
> Kirill Kondrashin (Melodiya)
> Karel Ancerl (Supraphon)
> Leonard Bernstein (1979) (DG)
> Sir Simon Rattle (2007) (EMI)
> Jascha Horenstein (1953) (Vox)
> Bernard Haitink (Philips)
> Bruno Walter (1961) (Sony)
> Carlo Maria Giulini (DG)


This is a great list. The only one of my favorites that isn't included is Bruno Maderna's:









And I love watching this one:


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## Reichstag aus LICHT

Karajan (Live), Bernstein (BPO), Chailly, Boulez, Ancerl.


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## Totenfeier

O.K., alphabetical order: Ancerl, Barbirolli, Boulez, Dudamel, Haitink, Klemperer, Walter.


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## Heck148

Giulini/CSO
Walter/ColSO
Boulez/CSO

I've heard this great work 3 times in live performance...
Abbado/BPO - superb conducting, CA's concept was excellent.....orchestra had some problems
Levine/BSO - well done..Levine let things get a bit too loud throughout, could have used more dynamic contrast
Salonen/CSO - great performance, really close to ideal...thrilling, so glad I got to hear it!!


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## starthrower

Love this too. I only know Bernstein NYP, Boulez, and Barbirolli on EMI. Barb, Bern, Boulez in order of preference.


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## mbhaub

There are chamber versions of Mahler's 4th and DLVDE. I really enjoy them for a change. This chamber version of the 9th is well worth listening to. Fine playing, amazing reduction. The young conductor really has something to say.


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## EdwardBast

DavidA said:


> While some of us might find 8 off putting, we would all probably love no 9


Actually no. I find it uninteresting and tedious.


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## Brahmsian Colors

Klemperer/New Philharmonia and Walter/Columbia Symphony.


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## wkasimer

mbhaub said:


> There are chamber versions of Mahler's 4th and DLVDE.


Believe it or not, there's also a chamber orchestra version of Mahler 2nd.


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## mbhaub

wkasimer said:


> Believe it or not, there's also a chamber orchestra version of Mahler 2nd.


Yes, Kaplan's THIRD version. Thanks for reminding me! It's still a pretty good sized orchestra, while the 4th and DLVDE are really small ensembles. Kaplan/Mathes uses 22 winds compared to the original 50. It IS a good alternative for smaller orchestras, community groups and such that can't muster 10 Horns, 4 bassoons etc. This version is kind of Resurrection for "normal" orchestras. Just wish Universal didn't charge so much for the rental! You can see the score HERE.


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## Kiki

DavidA said:


> I bought Bernstein's Amsterdam 9 and was horrified by the long drawn out last movement. Thankfully I was able to return the discs as they had a fault anyway! Anyone heard his account with the BPO? Is it any better?


Berlin is faster overall (but the Rondo-Burleske is slightly slower), sounds darker and feels more brutal in general. The Adagio is three and a half minutes shorter, but at 26+ mins it's still pretty slow compared to others.


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## Granate

I must be the only one in this forum that hates thoroughly Karajan's Live No.9. It's not that easy to enrage me with such a phrasing and orchestral playing for Mahler.

A very soft spot for the only Tennstedt LPO, but *Bernstein RCO* and specially *Giulini CSO* are absolute favourites.


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## Heck148

Granate said:


> I must be the only one in this forum that hates thoroughly Karajan's Live No.9. It's not that easy to enrage me with such a phrasing and orchestral playing for Mahler.


 You're not the only one!! HvK does nothing for me.:devil:



> A very soft spot for the only Tennstedt LPO, but *Bernstein RCO* and specially *Giulini CSO* are absolute favourites.


The Giulini/CSO is really special, a great performance....I've never heard the First mvt built, and paced so convincingly, with each climax gaining in power over the preceding....quite magical....great orchestra playing as well...


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## MaxKellerman

Heck148 said:


> You're not the only one!! HvK does nothing for me.:devil:


I'll join the crowd of dissenters. _Hate_ would be too strong a word, but I find the Karajan icy and aloof. As far as live recordings with the BPO on DG go, I prefer this more visceral performance:


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## MarkW

Barbirolli's BPO (EMI) was my first and remains a favorite. There's a ferocious internsity to Abbado's VPO account that I find exhilerating.


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## DavidA

Granate said:


> I must be the only one in this forum that hates thoroughly Karajan's Live No.9. It's not that easy to enrage me with such a phrasing and orchestral playing for Mahler.
> 
> A very soft spot for the only Tennstedt LPO, but *Bernstein RCO* and specially *Giulini CSO* are absolute favourites.


Interesting how we differ. I love the Karajan but find Lenny's RCO last movement hoplessly slow.


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## DavidA

Just lustening to Karajan's live Adagio. Miraculous!


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## CnC Bartok

I like the Karajan too, but prefer his studio recording from a year earlier.

I cannot think of a Ninth I have that I dislike, other than Bernstein's laster DGG recording. The Finale is indeed hopelessly slow (I'd say over-indulgently slow!) My favourites are from:

Karel Ancerl/Czech PO
Barbirolli in the studio
Solti's London recording
Haitink/Concertgebouw (his first recording thereof)


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## DavidA

I have Karajan's live 1982 performance which seems the best
Also Kubelik, Tennstedt, Barbirolli and Klemperer


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## Heck148

Robert Pickett said:


> I cannot think of a Ninth I have that I dislike,


Svetlanov/Russian StateSO - '92 - gawd, what a stinker, a real mess...recording balance is hopelessly skewed - trumpet I close-miked - right in your face - rest of the brass sounds like they're off-stage...tempi an hopeless shemozzle.....Svetlanov starts mvt II too fast, which screws up the rest of the movement, whenever the subsequent faster tempi are required...
Rondo-Burleske is worse yet - he starts off way too fast...really hashy and sloppy - it's already too fast, so when the staged accelerandi occur at movement's end, all hell breaks loose...the orchestra simply can't stay together, so we are treated to one of the greatest orchestral train wrecks I've ever heard - rivals Furtwangler's LvB #9 recording that totally derails in the closing pages...Svetlanov's trainwreck is cosmic, and hilarious...it was so bad, the CD flew out of my player and back into the cd case!!:lol::lol:


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## Brahmsianhorn

DavidA said:


> I have Karajan's live 1982 performance which seems the best


I am not going to go as far as others and call Karajan cold as ice, but I will say that with Barbirolli there is more heart


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## Granate

Karajan (and Maria Callas) were my introducers to the world of orchestral music, and I like a lot of their recordings, but I keep thinking that Mahler was Karajan's kryptonite. I remember that I saw the cover of the Live Mahler No.9 with indifference next to others like Schubert, Mozart and Haydn (I didn't know Bruckner's music either). That Live No.9 was the first Mahler recording I ever listened to, and it did nothing for me. I was just learning new composers, at that time, from the 20th century: Penderecki, Gorecki and Wieniawski, just because I liked the Antoni Wit recordings for Naxos.

Leonard Bernstein was I think the third conductor I ever tried to listen to. That was more or less just when I arrived to this forum, and almost everyone was talking about Mahler and him. Then I slowly started to discover the magic of his music, and made the first Mahler and Beethoven challenges by the end of Summer 2016.


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## realdealblues

One of Mahler's best! There are many fine recordings but to me the most essential ones are:

Walter/Columbia Symphony
Klemperer/Philharmonia Orchestra
Bernstein/New York Philharmonic
Ancerl/Czech Philharmonic
Karajan/Berlin Philharmonic (Live)


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## gHeadphone

One of the very greatest symphonies for me. I agree with a ,lot of the entries above though HVK is my ultimate.

I really enjoyed the version Daniel Harding recently with the Swedish Radio Symphony Orchestra, a worthy addition.


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## Enthusiast

Probably Mahler's greatest. Great(est) recordings? For me they include Walter ('38), Barbirolli, Klemperer, Ancerl, Maderna (BBC SO, Horenstein (Vienna SO), Boulez. And probably Haitink (RCO) and Jansons. But definitely not the DG Bernstein.


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## DavidA

Just lustening to recently purchased Abbado / BPO live. Superb!


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## DrSardonicus

What do people think of Solti's Chicago 9? So far I'm loving it, though I can't tell if I'm stunned by the recording quality (his whole CSO set sounds incredible), or performance, or both?


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## Heck148

DrSardonicus said:


> What do people think of Solti's Chicago 9? So far I'm loving it, though I can't tell if I'm stunned by the recording quality (his whole CSO set sounds incredible), or performance, or both?


it's a fine one, with a great Finale....I think there was some Decca knob-twiddling in the earlier mvts, not so noticeable in the later ones....


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## Konsgaard

Rattle/BPO and Karajan (desert island disc for me). I know I am the in the minority but I don't consider this to be Mahler's best composition (even though I do think the outer movements are among his finest achievements).


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## DavidA

Just listening to Bernstein's 9th with the BPO. It predates Karajan's recordings and might be seen as a final tune of the BPO to Mahler. It is a much better performance than his Amsterdam one as he keeps his finale in check


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## Adagietto

My favorites...
Bernstein/Amsterdam
Bernstein/Berlin
Levine/Philadelphia 
Sinopoli/Dresden
Karajan/Berlin (live)

Any opinions on Giulini/Swedish Radio Orchestra, or Bertini/Vienna? I like the Giulini/Chicago, and have ordered the Bertini/Cologne.


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## Larkenfield

Benjamin Zander's is an outstanding performance in excellent sound. It's not mentioned nearly enough IMO, and I believe it should not be overlooked: https://www.amazon.com/Mahler-Symphony-No-9-Gustav/dp/B00000I4E3


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## DarkAngel

Larkenfield said:


> Benjamin Zander's is an excellent performance in excellent sound. It's not mentioned nearly enough and I believe that it should not be overlooked: https://www.amazon.com/Mahler-Symphony-No-9-Gustav/dp/B00000I4E3


*Agree in general Zander is very good in Mahler*, perhaps too over hyped in Amazon USA reviews......
I was trying to get some comments on newest Zander M2 on Linn label (M2 thread) which is perhaps best sound quality I have heard on any M2 recording......

*I must praise TIDAL streaming*, I am listening to Leopold Ludwig M9 LSO (Everest label 1959) master series 24/96 quality, they list 114 total M9 for listening , some are duplicates with multiple releases but still close to 100 different M9 to choose from......this is essential service!


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## 89Koechel

VERY-interesting, are these discussions! … Well, knowing what Szell could achieve, with merely two parts of Mahler's 10th (Adagio & Purgatorio), it's MORE than interesting to listen to what the Czech/Cleveland could do, with a Mahler 9th, from 1969 (only 50 years ago). I'm sure it's expensive/difficult to find the old CD (Stradivarius label) that CONTAINED this exceptional and compelling (not hysterical) recording - nor veering-into a few criticisms that I've seen, about Herbert von K (and BOTH of his pretty-fine recordings, with the venerable BPO). Sure enough, after listening to BOTH of the H v K renditions, one can find EXCELLENT orchestral playing (naturally, from the BPO) … but also a bit of "coldness" that was mentioned-by certain posters, before. … There's a good amount of excellent orchestral playing, as one would expect, in the Szell version (it's on YouTube), and maybe a certain affinity with the Viennese man. As I listen, further and further, there's a certain emphasis on certain, inner climaxes, so to speak, w/o being hysterical or exaggerated … and each "section", even in the opening movement, is delineated and ACCLOMPISHED by Szell's Clevelanders, of the time, in a way that gives EVERY note, chord and cohesive-FLOW, a wonderful and definite character.


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## 89Koechel

Thanks, DarkAngel - well, is the Ludwig/Everest version ANY, true comparison to Szell, or Barbirolli, or Horenstein, et. al. … in performance?


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## DarkAngel

89Koechel said:


> Thanks, DarkAngel - well, is the Ludwig/Everest version ANY, true comparison to Szell, or Barbirolli, or Horenstein, et. al. … in performance?


Just by chance I went from Ludwig M9 to Barbirolli M9 and I do give the edge to Barbirolli, but Ludwig LSO still sounds great for little known version from 1959 that has slipped well below the radar screen, Everest was considered top sound quality in its day.....there is also a M5 on Everest label 1958 Schwarz LSO.......

I was not aware of a Szell M9 but do own M4, M6.......


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## DavidA

Barbirolli's Mahler 9 has had some stick from critics because of the playing of the BPO. Any comments?


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## Kiki

DavidA said:


> Barbirolli's Mahler 9 has had some stick from critics because of the playing of the BPO. Any comments?


No idea about that.... The only complaint I have about the Barbirolli M9 is that both the CD (I have the Japanese EMI press) and the high-res download contain a lot of annoying editing/mastering clicks (at the same places in both versions :lol: ). Beyond that, it is a wonderful performance.


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## wkasimer

Larkenfield said:


> Benjamin Zander's is an outstanding performance in excellent sound. It's not mentioned nearly enough IMO, and I believe it should not be overlooked: https://www.amazon.com/Mahler-Symphony-No-9-Gustav/dp/B00000I4E3


And this recording, like all of Zander's Mahler, includes a 70+ minute CD of discussion of the symphony by Zander.

I don't think that I'd choose any of Zander's Mahler symphony recordings as the "best", but they're all very good to excellent, and very well recorded.


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## Larkenfield

DavidA said:


> Barbirolli's Mahler 9 has had some stick from critics because of the playing of the BPO. Any comments?


I heard it once and once was enough though I loved his Mahler 5 and 6. But I found his ninth far too bleak and defeatist, Mahler as an emotional train wreck. I do not remember the orchestra playing badly; I thought it was a matter of the interpretation. But I will say that I do not think the BPO is the greatest Mahler orchestra in the world even if it's been better under Abbado and Simon Rattle, at least in the olden days. I 'm surprised to say that I even prefer HvK's ninth recording over Barbirolli's and I was not a fan of his fifth and sixth, to say the least. If I'm wrong about the Barbirolli, I apologize because I haven't heard it in years and that was my first impression. However, I think there's something about that recording that is a turn-off.

Bruno Walter's ninth is my favorite with the CSO. For me, it's just right. I was incredibly moved the first time I heard it and it's the recording I go back to the most. Walters performances of the first and second symphony and the ninth sound idiomatic to me even if it's hard for others to accept or understand exactly what that means. For me, it means that these recordings sound like Walter knew Mahler and the influence of that can be heard in his recordings, which incidentally he did know him, and Otto Klemperer can play Mahler anyway he wants though he knew Mahler too.


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## Brahmsianhorn

DavidA said:


> Barbirolli's Mahler 9 has had some stick from critics because of the playing of the BPO. Any comments?


I don't know where you read that it was because of the BPO. The 9th is a conductor's work. Barbirolli's is the greatest interpretation I know. Another poster says it is too bleak and emotional for his taste. We all see things differently. My favorite Barbirolli is the live Italian concert from 1960. Pretty decent sounding on the IDIS label. Barbirolli milks it, and I like it.


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## Merl

I'm currently listening to Abbado's 9th from the Mahlerfest set and although I'm not mad on some of Abbado's Mahler this one is very good. Only halfway through but I'm currently enjoying it.


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## 89Koechel

Thanks, Dark Angel! I'm sure the Ludwig M9 is of VERY-fine quality, and will try to find a copy. BTW, re: quality (of Everest recordings) - I still have an LP copy of Richter, in the Liszt Piano Concertos … yes, the ones that were recorded on 35MM master tape, of all things. In those days, it seems that Everest was truly-TRYING to make some strides in the recording processes, and even Mercury (in it's "Living Presence" series, guided-by C. Robert Fine) used this pioneering process, with limited success. Boy, there was a attention to GREAT detail, and overall substance, in those days - wasn't there?


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## DavidA

Brahmsianhorn said:


> *I don't know where you read that it was because of the BPO.* The 9th is a conductor's work. Barbirolli's is the greatest interpretation I know. Another poster says it is too bleak and emotional for his taste. We all see things differently. My favorite Barbirolli is the live Italian concert from 1960. Pretty decent sounding on the IDIS label. Barbirolli milks it, and I like it.


I remember the original Gramophone review (which was positive) saying that the reservation was the playing of the BPO were far less used to playing Mahler than our own orchestras in UK. Of course, this was true as by that stage they had only really performed Das Lied von der Erde. I don't know the live performance.


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## DavidA

Brahmsianhorn said:


> *I don't know where you read that it was because of the BPO.* The 9th is a conductor's work. Barbirolli's is the greatest interpretation I know. Another poster says it is too bleak and emotional for his taste. We all see things differently. My favorite Barbirolli is the live Italian concert from 1960. Pretty decent sounding on the IDIS label. Barbirolli milks it, and I like it.


I remember the original Gramophone review (which was positive) saying that the reservation was the playing of the BPO were far less used to playing Mahler than our own orchestras in UK. Of course, this was true as by that stage they had only really performed Das Lied von der Erde. I don't know the live performance.


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## Brahmsianhorn

DavidA said:


> I remember the original Gramophone review (which was positive) saying that the reservation was the playing of the BPO were far less used to playing Mahler than our own orchestras in UK. Of course, this was true as by that stage they had only really performed Das Lied von der Erde. I don't know the live performance.


I misunderstood your comment. I thought you meant something positive by "stick." Yes it is true that some criticize the BPO 9th for not enough familiarity with the music. The 1960 Italian performance sounds more committed despite some ensemble problems. Barbirolli and the orchestra sounded more of the same mind than the BPO version.


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## DavidA

Just listening to Karajan's recording. Yes this, together with Abaddo BPO represents the summit for me. The BPO reigns supreme!


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## jdec

DavidA said:


> Just listening to Karajan's recording. Yes this, together with Abaddo BPO represents the summit for me. The BPO reigns supreme!


These 2 happen to be my favorite versions of Mahler's 9th.


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## Merl

BTW, that Mahlerfest #9 from Abbado, I was listening to, went out with a whimper. After a promising start it sadly disappeared up its own backside. I was quite underwhelmed at the end.


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## Kiki

Merl said:


> BTW, that Mahlerfest #9 from Abbado, I was listening to, went out with a whimper. After a promising start it sadly disappeared up its own backside. I was quite underwhelmed at the end.


That's a pity. Maybe he hadn't discovered the light show gimmick and the silence trick to woo the audience yet, as he did in his Lucerne 9! :lol: (just sour grapes as I haven't got this set, yet)

Looks like there's going to be another Mahler Feest in 2020. I wonder if there will be a box set coming...


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## DavidA

Kiki said:


> That's a pity. Maybe he hadn't discovered the light show gimmick and the silence trick to woo the audience yet, as he did in his Lucerne 9! :lol: (just sour grapes as I haven't got this set, yet)
> 
> Looks like there's going to be another Mahler Feest in 2020. I wonder if there will be a box set coming...


The Mahler 9th with the BPO is tremendous


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## Kiki

DavidA said:


> The Mahler 9th with the BPO is tremendous


Yes it is. It is rich and magnificent and I like his DG Berlin account a lot more than his Lucerne and Vienna accounts.


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## DavidA

Kiki said:


> Yes it is. It is rich and magnificent and I like his DG Berlin account a lot more than his Lucerne and Vienna accounts.


I'm glad because I have the BPO!


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## Larkenfield

[from another Mahler thread...] Von Karajan in a badly misinterpreted and mischaracterized 5th and 6th and an excellent but not definitive 9th. Bruno Walter and a few others forgot more than von Karajan would ever know about Gustav Mahler, a Jewish composer banned for many years while HvK was conducting in German before and during the War. But I would still take his excellent 9th over Barbirolli's bleak performance. The grand prize to Bruno Walter whose 9th with the CSO sounds so completely natural and idiomatic to me. I was stunned and deeply moved when I first heard it. It seemed like the complete summation of Mahler's rich life at the time that the symphony was written. But of course, Mahler had one more great symphony up his sleeve that was more modern than anything he had ever done before. Abbado is fine. Benjamin Zander also recorded an excellent performance in outstanding sound on the Telarc label. It deserves to be better known. Also, Bruno Walter's performance of the 1st and 2nd sound entirely natural to me, almost as if he knew the composer, which as a matter of fact he did.


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## DavidA

Larkenfield said:


> [from another Mahler thread...] *Von Karajan in a badly misinterpreted and mischaracterized 5th and 6th and an excellent but not definitive 9th*. Bruno Walter and a few others forgot more than von Karajan would ever know about Gustav Mahler, a Jewish composer banned for many years while HvK was conducting in German before and during the War. But I would still take his excellent 9th over Barbirolli's bleak performance. The grand prize to Bruno Walter whose 9th with the CSO sounds so completely natural and idiomatic to me. I was stunned and deeply moved when I first heard it. It seemed like the complete summation of Mahler's rich life at the time that the symphony was written. But of course, Mahler had one more great symphony up his sleeve that was more modern than anything he had ever done before. Abbado is fine. Benjamin Zander also recorded an excellent performance in outstanding sound on the Telarc label. It deserves to be better known. Also, Bruno Walter's performance of the 1st and 2nd sound entirely natural to me, almost as if he knew the composer, which as a matter of fact he did.


I take your point about the ninth. Your assessment of the 5th and 6th leaves me baffled.


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## Granate

I very much prefer the Abbado Vienna 9th over the others. In fact, I've never been thrilled by the Berliner Philharmoniker as a Mahler orchestra. Abbado No.8, Barbirolli No.2 & No.9... some Haitink ones.


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## DavidA

Granate said:


> I very much prefer the Abbado Vienna 9th over the others. In fact, I've never been thrilled by the Berliner Philharmoniker as a Mahler orchestra. Abbado No.8, Barbirolli No.2 & No.9... some Haitink ones.


The 9th conducted by both Karajan and Abaddo has remarkable playing.


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## joen_cph

There is an early DG 9th with Karajan too, different from later one.


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## DavidA

joen_cph said:


> There is an early DG 9th with Karajan too, different from later one.


The first is studio, the second live


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## Clouds Weep Snowflakes

I'm actually going to listen to it in a concert on April, people under 35 get like 80% price off here!


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## Heck148

Clouds Weep Snowflakes said:


> I'm actually going to listen to it in a concert on April, people under 35 get like 80% price off here!


awesome.....enjoy it...it's a cosmic work...what orchestra?? conductor??


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## Clouds Weep Snowflakes

Heck148 said:


> awesome.....enjoy it...it's a cosmic work...what orchestra?? conductor??


Israeli Philharmonic Orchestra


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## ccar

Brahmsianhorn said:


> My favorite Mahler work and top 5 favorite among all symphonies.
> 
> Barbirolli IMO presents the best overall interpretation. His live 1960 RAI version is the one that captures his skills at their best. The BPO version is not quite as intense, but the newest Japanese transfer has really brought some brilliance and immediacy to the sound.
> 
> Essential recordings:
> 
> Sir John Barbirolli (1960) (IDIS, Archipel)
> Sir John Barbirolli (1964) (EMI)
> Bruno Walter (1938) (EMI, Dutton)
> Herbert von Karajan (1982) (DG)
> Otto Klemperer (EMI)
> Jascha Horenstein (1966) (Music & Arts)
> 
> Additional listening:
> 
> Kirill Kondrashin (Melodiya)
> Karel Ancerl (Supraphon)
> Leonard Bernstein (1979) (DG)
> Sir Simon Rattle (2007) (EMI)
> Jascha Horenstein (1953) (Vox)
> Bernard Haitink (Philips)
> Bruno Walter (1961) (Sony)
> Carlo Maria Giulini (DG)


Brahmsianhorn justly points out the Barbirolli's 1960 recording as one of the great Mahler Ninth recordings and I also feel both conductor and the orchestra take that moment to deliver a rare and passionate performance. To those who may not know it I also recommend to listen to the other live take of Barbirolli with the NYPO (1962) where he drives the orchestra where Mahler symphonies were also being led by two other giants - Walter and Mitropoulos.

This recollection made me listen again to the Mitropoulos's Ninth from the NYPO Mahler Festival 23 Jan 1960 concert (when Mitropoulos was already driven out by his former assistant and protégé). It was said that at the end of the concert there was a moment of silence before the audience and the orchestra joined in an endless ovation and the orchestra concertmaster - John Corigliano - couldn't stop the tears from flowing down his face. Mitropoulos' Mahler is sometimes too forgotten and I believe this recording more than deserves to be mentioned in this thread.


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## Larkenfield

The Mitropoulos’ Mahler 9th grabbed me emotionally by the heart strings from the very first note. He was a great conductor who had the disadvantage of mostly being in the mono era and not quite as much in the stereo era. I think he’s been forgotten for falling between the cracks, so to speak, and of course because of that talented fellow who followed him.


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## Granate

DavidA said:


> Just listening to Bernstein's 9th with the BPO. It predates Karajan's recordings and might be seen as a final tune of the BPO to Mahler. It is a much better performance than his Amsterdam one as he keeps his finale in check





DavidA said:


> Barbirolli's Mahler 9 has had some stick from critics because of the playing of the BPO. Any comments?


I'm now listening and rating great recordings of Mahler 9th and I concur with your thoughts. It's been really long since I didn't listen to any Bernstein Mahler, but this one on Spotify with the Berliner Philharmoniker won me over. Playing is at times faulty, but it's so full of noises, utter excitement and especially a hopelessly romantic take by the conductor (on the opposite of Klemperer or Barbirolli). Taking advantage of an Originals DG sale in Amazon france, I purchased the CD thus being the fourth recording of the No.9 to own (all of them spectacularly good). I'm not sure how much would I need this one since I would always go for Tennstedt or Giulini. But this Bernstein No.9 would be the first on a single CD.










I have also listened to Barbirolli BPO again, followed by the modern Rattle BPO which surprised me a lot this summer and I wanted to review it again. Even if I admire the conducting and overall structure of the work shown in Barbirolli, Rattle counts with a very similar performance with just slightly less "personality" but with huge improvements in Sound and Playing Quality. BPO was doing a great job here.


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## Brahmsianhorn

My ranked list of 9ths I have heard:

Barbirolli (1960) (IDIS) 
Barbirolli (EMI)
Walter (EMI, Dutton) 
Karajan (1982) (DG) 
Klemperer (EMI) 
Horenstein (1966) (Music & Arts) 
Kondrashin (Melodiya) 
Ancerl (Supraphon) 
Horenstein (1966) (BBC) 
Horenstein (1969) (Music & Arts) 
Bernstein (1971) (DG DVD) 
Bernstein (1979) (DG) 
Rattle (2007) (EMI) 
Haitink (Philips) 
Walter (Sony)
Giulini (DG) 
Mitropoulos (Archipel, Music & Arts, Andante) 
Karajan (1980) (DG) 
Szell (1969) (Stradivari) 
Abbado (2011) (Accentus DVD) 
Ludwig (Everest) 
Kubelik (Audite) 
Abbado (DG) 
Scherchen (1950) (Orfeo, Melodram) 
Maderna (BBC)


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## Guest

I am one of those who remains partial to Karajan's original studio recording of the 9th (1979) rather than the live recording made a few years later. I also admire Barbirolli, Haitink's Concertgebouw recording.


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## flamencosketches

I'm new to the Mahler 9th, and still trying to find the right recording for me. I reckon in the end there will be no one that I see as rising above the others, but rather maybe a handful of them that I appreciate. I've heard two: *Bernstein/New York*, on Sony-his first recording of the symphony, I believe-and then *Barbirolli/Berlin* on EMI. I liked both, but both had drawbacks. The Bernstein was a little on the nebulous side, almost lacking direction at times, especially in the inner movements; otherwise, it was powerful and lush and huge, universal and yet personal. The Barbirolli was more incisive, but still a hot blooded Romantic interpretation, but I tend to agree with another poster here who found it rather bleak. I am still trying to understand this symphony. As much as I do appreciate it, I feel like there is _something_ I am missing.

I'm in the process of listening to all the Mahler symphonies in order, one per day. It has been a revelatory quest so far, and interestingly, I'm finding that the four "Wunderhorn" symphonies have been the hardest hitting so far, with the middle/"Rückert" symphonies a little more elusive than usuall. In any case, when it comes time to listen to the 9th in a couple of days, I probably will try a new one. I have also the *Karajan* live, and that may end up being the one. I'm curious, though. I always see praise for Karajan's Mahler 9, but I've never heard someone try to articulate what it is they like about it. From the bits I've heard, I can tell it seems a more relaxed affair than the Bernstein or Barbirolli, yet with a steady pulse, as with everything Karajan seems to have done. I listened to the first movement of Karajan's Mahler 5 earlier and thought it was amazing, just massive. Perverse, perhaps, but to my ears it works.

Another one that has really piqued my interest is the *Riccardo Chailly/Royal Concertgebouw*. I watched a documentary on it a few days ago (it has since been removed from youtube on copyright claims... shame as it was excellent) in which Chailly rehearsed the 9th and Henry-Louis de la Grange talked about Mahler's life and the circumstances leading up to the 9th symphony. Chailly's performance sounded amazing, especially what was shown of the Ländler, which made more sense than ever.

Mahler's 6th and 9th are his two big, enigmatic symphonies that have directly to do with the human condition. I think they may be his two most challenging works and two sides of the same coin.


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## Heck148

flamencosketches said:


> I'm new to the Mahler 9th, and still trying to find the right recording for me. I reckon in the end there will be no one that I see as rising above the others, but rather maybe a handful of them that I appreciate.


Mahler 9 is one of the greatest of all symphonies, one of the greatest musical creations.....it is crucial, imo, that the performance presents the rise and fall of the first mvt coherently...there are for big climaxes, and some aftershocks....the 4th climax peaks with the opening "arrhythmia" motif presented full force by the low brass....this must be earth-shaking....the previous climaxes all lead to this moment...the conductor must build this judiciously....the other mvts all have crucial aspects, too, but for me, if the first mvt misfires, forget it. overall....
Walter/ColSO, and esp Giulini/CSO deliver powerful statements of the opening mvt...Giulini is esp convincing....


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## 89Koechel

IMO, that's a very-GOOD start, for listening to the many, varied versions of Mahler 9th. Well, you wanted specifics, as to why the von Karajan versions (and there are 2 of them) should garner certain respect. Well, one could begin with the 1st recording, from (I think) 1981, and it's available in diff. forms, from Amazon. One could begin with the exceptional PLAYING of the Berlin Phil of it's day; this is the Orchestra that Furtwangler developed, in it's sections, and von Karajan DID refine it's power and articulations, in certain ways. von K resists any temptation to distort the tempos, and lays-out a firm groundwork, in the entire work, movement-by-movement. Well, anyone can prefer Barbirolli, or Bernstein, or whoever (and Horenstein is a personal favorite), and will try to analyze the 2nd von Karajan rendition, also.


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## Enthusiast

There are quite a few excellent recordings of Mahler 9 and I am not sure that I know any that are awful, although Bernstein's second recording comes close for me (it is one example where I really do find him indulgent). However, some seem just a little bit more excellent to me (not that it can be that personal given that they are each very different). Although I rate Barbirolli and Haitink almost as highly, I could survive with Ancerl, Boulez, Gielen, Horenstein (Vienna SO), Jansons, Klemperer and Maderna. But they are all very different and if one were not allowed I would need to look for another that somehow played the same role for me.


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## joen_cph

In this thread, Kondrashin was briefly mentioned in #2. I like it, since - in spite of it being passioned - it also has a sort of concise classicism to it, if one is not in the mood for the overly tragic or sentimental versions.


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## 89Koechel

Really fine, "Enthusiast" ... and, in retrospect, maybe we could find a certain NUMBER of examples of Lenny B (in Mahler, or elsewhere, esp. in his Tchaikovsky interpretations) where this fine man did NOT find the "mark", so to speak. Thanks, also, for mentioning the "forgotten" Bruno Maderna, plus Ancerl, Gielen, Boulez ... and yes, Horenstein.


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## Kiki

I was just listening casually on the web of Kurt Sanderling's 1987 recording of Mahler 9 with the NDR Sinfonieorchester released by Profil - Did he make cuts? It certainly sounds like a cut in the Rondo-Burleske, at around the 5:22 mark. Or perhaps it was an editing error? Well I suppose these things do happen, but I just can't imagine a conductor making cuts to a Mahler symphony in 1987; while I don't hear the same cut/error in Sanderling's other recordings with the BerlinSO and the Philharmonia. I found one review on the web but it did not mention any cut/error either. Just feeling a little perplexed. I'll go watch football instead.


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## Knorf

Just my own preferences for Mahler 9, no claim to anything more:

I would be very unhappy to not have:
Abbado/Berliner Philharmoniker 
Bernstein/both NYPO and Concertgebuow
Boulez/Chicago Symphony
Fischer/Budapest Festival

I'm glad I have:
Walter/Columbia Symphony
Karajan/Berliner Philharmoniker (1982)

I'm glad I heard but am not sure I "need" (and might be wrong about that):
Barbirolli/Berliner Philharmoniker
Tennstedt/London Philharmonic
Klemperer/Philharmonia
Neumann/Leipzig Gewandhaus
Bernstein/Wiener Philharmoniker


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## Heck148

I've been doing a big M9 listening marathon of late...
so far-
Walter/ColSO
Bernstein/NYPO
Boulez/CSO
Giulini/CSO
Neumann/CzPO
Karajan/BPO
Solti/CSO
Barbirolli/BPO
I'll post my overall impressions when I'm done....interesting, quite a variety...


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## julide

Knorf said:


> Just my own preferences for Mahler 9, no claim to anything more:
> 
> I would be very unhappy to not have:
> Abbado/Berliner Philharmoniker
> Bernstein/both NYPO and Concertgebuow
> Boulez/Chicago Symphony
> Fischer/Budapest Festival
> 
> I'm glad I have:
> Walter/Columbia Symphony
> Karajan/Berliner Philharmoniker (1982)
> 
> I'm glad I heard but am not sure I "need" (and might be wrong about that):
> Barbirolli/Berliner Philharmoniker
> Tennstedt/London Philharmonic
> Klemperer/Philharmonia
> Neumann/Leipzig Gewandhaus
> Bernstein/Wiener Philharmoniker


What are your thoughts on the giulini? I have yet to to hear it but it's a very celebrated rendition from what i understand.


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## Heck148

julide said:


> What are your thoughts on the giulini? I have yet to to hear it but it's a very celebrated rendition from what i understand.


Giulini/CSO M9 is a GREAT recording!! a very special achievement...my overall top choice over fierce competition...has everything - great conducting, superstar orchestral playing, excellent recorded sound - up close, but well-balanced, not "phony" (ie spot miking, knob-twiddling)
more details when I do my survey review.


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## BachIsBest

Heck148 said:


> Giulini/CSO M9 is a GREAT recording!! a very special achievement...my overall top choice over fierce competition...has everything - great conducting, superstar orchestral playing, excellent recorded sound - up close, but well-balanced, not "phony" (ie spot miking, knob-twiddling)
> more details when I do my survey review.


Don't you find he drags a bit, especially in the finale? I own it, and it doesn't garner too much listening due to this fact.


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## joen_cph

It's been many years since I had the Giulini, but I found it long-drawn and very depressing back then.


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## Handelian

joen_cph said:


> It's been many years since I had the Giulini, but I found it long-drawn and very depressing back then.


I have it. Most disappointing for all the glowing reviews


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## Heck148

BachIsBest said:


> Don't you find he drags a bit, especially in the finale? I own it, and it doesn't garner too much listening due to this fact.


no, I don't...the finale is very good......


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## Heck148

joen_cph said:


> It's been many years since I had the Giulini, but I found it long-drawn and very depressing back then.


it's powerful stuff....it's not a happy piece, overall.


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## joen_cph

Heck148 said:


> it's powerful stuff....it's not a happy piece, overall.


Of course not, and taste varies. I'm well acquainted with the piece & own about 14 versions.

I'm not particularly fond of say Barbirolli/BPO, Karajan's late version, or Klemperer's either, but kept them.


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## joen_cph

joen_cph said:


> In this thread, Kondrashin was briefly mentioned in #2. I like it, since - in spite of it being passioned - it also has a sort of concise classicism to it, if one is not in the mood for the overly tragic or sentimental versions.


Should have mentioned though, that the orchestra isn't always that well-integrated in their playing.


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## Heck148

joen_cph said:


> I'm not particularly fond of say Barbirolli/BPO, Karajan's late version, or Klemperer's either, but kept them.


same here...Barbirolli is better than karajan, but neither are top level for me..
this is a very difficult work for conductor and orchestra. .the texture is so clear; virtually everything is audible....balance is crucial....so are tempo relationships...many difficult exposed solos, and balance in the big climaxes is vitally important and difficult to achieve.
my own recent survey also includes recollections from 3 live performances- Abbado/BPO, Levine/BSO, Salonen/CSO....
also the dreadful Svetlanov/USSR recording - the "how not to example"


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## Isaac Blackburn

My favorites- for each movement:

1. Andante Comodo







Powerful, precise, and positively dripping with emotion. The sound quality is unparalleled as well.

2. Im Tempo eines gemächlichen Ländlers.







Abbado brings out nicely the stamping, whirling intensity of this movement.

3. Rondo-Burleske.







Haven't heard a more perfect rendition of the Rondo-Burleske than MTT's. Tempo is balanced between slow strength (Klemperer) and rapid violence (Abbado). The counterpoint is stunningly clear, and the themes possess a ringing power.

4. Adagio







Rattle's Adagio speaks for itself.


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## mparta

I posted this yesterday on What are you listening to thread.

This is really very fine. I'm surprised to see so little mention of Haitink in many threads here. I have seen him conduct several times in the last few years, he is a profound interpreter, maybe more attuned to Bruckner than Mahler, but a really great musician and I see the players sit up straight when he comes to the podium. Should be more acknowledged but not a self promoter a la Bernstein and HvK. All about the music.


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## Heck148

Isaac Blackburn said:


> Rattle's Adagio speaks for itself.


I heard/saw Rattle/BPO perform this on TV- PBS "Great Performances" iirc....
it was ok, not bad....I loved that PBS televised this- really heavy duty music on network TV...very excellent....


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## HerbertNorman

I have recently started listening to all his symphonies in a way of exploring his music and getting some connection with it. This one along with the fifth take the biscuit for me. I liked both the Von Karajan recording and the Abbado...


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## Agamenon

Heck148 said:


> Giulini/CSO M9 is a GREAT recording!! a very special achievement...my overall top choice over fierce competition...has everything - great conducting, superstar orchestral playing, excellent recorded sound - up close, but well-balanced, not "phony" (ie spot miking, knob-twiddling)
> more details when I do my survey review.


Total. Giulini opens the way to heaven. No doubt!


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## Merl

The last recording of this work I listened to was Dohnanyi's M9 and its a very fine performance and recording. It was nice to revisit this one.


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## Reichstag aus LICHT

Merl said:


> The last recording of this work I listened to was Dohnanyi's M9 and its a very fine performance and recording. It was nice to revisit this one.
> 
> View attachment 148490


Dohnányi made some fine Mahler recordings with the Cleveland Orchestra. It's a shame that he didn't do more of them.


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## perdido34

It's also a shame that he didn't get to finish the Ring cycle that he started in Cleveland.


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## wkasimer

perdido34 said:


> It's also a shame that he didn't get to finish the Ring cycle that he started in Cleveland.


After Walküre, Dohanyi conducted a Siegfried in Cleveland which was broadcast, with Stig Anderson, Jane Eaglen, and Robert Hale. I thought that the broadcast was certainly better than the commercially issued Walküre, largely due to the change of Brünnhilde.


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## julide

Would anyone recommend me to buy abbado's bpo account.............


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## Simon23

My favorite M9:

Walter (Columbia),
Klemperer (EMI), 
Barbirolli (BPO),
Horenstein,
Solti (LSO).

The last discovery - Giulini. Very strong and beautiful.


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## Kiki

julide said:


> Would anyone recommend me to buy abbado's bpo account.............


Abbado's BPO 1999 Live M9 on DG is a fine account, that is, if you appreciate Abbado's natural, unforced, but taut music-making.

Another rare item, Abbado's BPO 1995 Live M9 from Radio Netherlands Worldwide's "Mahler Feest" CD set, is equally good, and IMO a bit more streamline. Personally I prefer DG's richer sound.


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## perdido34

Alan Gilbert and the Stockholm Phil recorded a beautiful performance for BIS, issued on multichannel/hybrid SACD. The Mch layer is particularly good at allowing the listener to hear a lot of inner lines that are typically buried in other performances.


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## Alfacharger

Larkenfield said:


> Benjamin Zander's is an outstanding performance in excellent sound. It's not mentioned nearly enough IMO, and I believe it should not be overlooked: https://www.amazon.com/Mahler-Symphony-No-9-Gustav/dp/B00000I4E3


I love the recording. The discussion disc is a must listen. Here is a link to that discussion on each movement.

https://www.benjaminzander.org/audios/mahler-symphony-no-9-discussion-disc/


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## Simon23

Can anyone compare and may be rank the three Bernstein' records: Sony, DG-BPO and DG-COA?


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## Heck148

I recently listened to a marathon of Mahler Sym #9 recordings:
Walter/ColSO Giulini/CSO
Neumann/CzPO Bernstein/NYPO
Karajan/BPO Boulez/CSO
Solti/CSO Barbirolli/BPO

I listened to all of these recordings intently - no distractions - lights out, volume up...sometimes several movements at once, sometimes just one movement - I also listened on repeat with the score to check out certain sections…It was most enjoyable...great piece.
These are all worthwhile performances - generally well-recorded, well-performed well-conducted…none are "bad"….Using a grading system. My range would be from B/B- to A/A+.

Mahler 9 presents a major challenge to conductor, orchestra and recording team. This symphony has a constant flow - and many instances of rising tension to climax, then release, repose, esp in mvt I, and IV…there are challenging tempo relationships as well - esp in mvts II and III. Mahler's orchestration is amazing - so clear, so transparent, even in the loud spots and huge climaxes…everything is audible, if done right, and recorded well. There are also many passages of chamber music setting, with just a few instruments interacting so exquisitely, with utmost clarity and exposure. The conductor faces a major challenge to address these issues - the orchestra faces huge challenges with difficult music, and the recording team must reproduce it accurately.

The "B" group consists of Neumann, Barbirolli, Karajan, Bernstein….Svetlanov/USSR?? gets an "F" - one wonders why such a mess was even released.
-*Neumann/CzPO* - ['82] Neumann is OK, he gets some very good solo playing from his principals, but it's just a bit too laid back…He doesn't generate the tension in mvt I, the Rondo is slow, and it never really gathers steam. Finale is ok…recording balance an issue - there is some spot miking of trumpet 1 [who's a fine player] - problem is, this usually means the rest of the brass is recessed excessively….this is a common problem with some other recordings as well…*B-*
*Bernstein/NYPO* ['65] - actually, he does a good job with the symphony, but for me, the recording is a problem….too distantly miked, a lot of juicy detail is lost, again, some spot miking of tpt 1, to the detriment of the rest of the brass section; and the climaxes don't really have the impact one would expect.* B+*
*Karajan/BPO* - ['82, I think - YouTube/Spotify]well-recorded, a decent performance, but I have issues with some of the orchestra playing, and Karajan's choice of tempi….HvK takes the Rondo [III] fast!!..too fast…and there is some scrappy playing, as the orchestra tries to get in their difficult licks as the tempo goes ripping by. Also - when this fast a tempo is taken, it leaves little room for the increased speed shifts at the end [these are immediate increases, not _accelerandi_]… In mvt I the trumpets are lacking, tpt 1 weak to non-existent on some of those lonely but crucial high Cs that must scream out over the top…in fact, I could use more sound from the brass throughout…I know HvK liked a string-dominated sound, smooth, round orchestra tone, but there are places where it just needs more oomph from the brass - ie- mvt II/tempo II, the 2nd _Landler_ - the low brass should really cut loose here - it's not "nice" - this is the foot-clomping, beer-swilling peasants having a rollicking good time…it's not polite!! *B/B+*
*Barbirolli/BPO*- my first exposure to the work when released in 1964…recorded sound is good, and Sir John does a good job with the score….He works up some fine frenzy in the first mvt climaxes, tho the precision and balance aren't quite there….and he delivers a very fine finale….the problem is, the orchestra, unfamiliar with the work, sounds tentative at times, and he is coaxing them along - the brasses may come in on an important line, too soft, almost inaudible, then begin to increase in projection as it progresses - as if Sir John is giving them the "_Come on, give me more!!_" wave. this happens rather frequently…also, some of the different, contrasting lines get badly entangled, with important parts obscured. Still, this is a good performance, and it is generally well-played, overall. *B+*

NOTE - Admittedly, I'm being very critical about the playing in all of these. For me - what I hear, what got played, what made it onto the recording is "where the rubber meets the road". Bernstein, Neumann, Barbirolli, Karajan all get good playing from their orchestras…none of these are "bad" or sub-standard, it's just that in Mahler #9, the competition is ferocious. The "A" group features some real powerhouse performances.


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## Heck148

The "A" group consists of: 
Walter/ColSO Solti/CSO
Giulini/CSO Boulez CSO

These are all very excellent recordings:
*Walter/ColSO *- oldie but goodie ['61] - recorded quite well - microphone placement is a little more distant than others, but the balance is very good [very important!!] and detail is good also…different lines, and parts come thru very well
Walter's LAPO group plays very well…Every movement is well done…a very fine, even effort by conductor and orchestra : *A*

*Giulini/CSO* ['76]- this is a phenomenal recording of a great symphony…great conducting, stellar orchestra performance, and excellent recording engineering. DG records more closely than CBS - but balance is excellent - clarity is outstanding…the big climaxes are quite shattering, and the exquisite chamber music passages are revealed with beautiful clarity and balance. Every movement is outstanding, with mvt I esp powerful and beautifully performed. *A+*

*Boulez/CSO* ['95] - this is superb also - a great effort that rivals Giulini's in the first 3 mvts…again, DG gets us up close, but balance and clarity are preserved…Orchestra work is exemplary. Like Giulini's, first mvt is powerfully delivered, mvts II and III are really outstanding - the tempo relationships and musical character presented most effectively…My only beef is the recording itself in the finale - the big climax comes off a bit congested….I don't know what happened with the engineering…it's ok, but not as effective as some others: *A+*

*Solti/CSO* - ['82] A fine effort - my main issue is with the recording itself - London/Decca seems to be doing a bit of fussing, knob twiddling, esp in mvts I and II…This performance picks up steam in the Rondo - fast tempo like Boulez, and Sir Georg whips up quite a storm by the end of the work…The finale is splendid, best I've heard….as always, Solti excels at the long crescendo with shattering climax - and here, as in mvt III, soundwise, there's not much evidence of spot-miking, knob-twiddling, phony-baloney that affects earlier mvts….Solti/CSO execute a terrific subito piano in the finale - a sudden huge drop in volume after big sonic buildup, without losing momentum and forward motion… *A-*

If I were to assemble a composite performance - best of the best - first off - Walter is terrific in every movement, if perhaps not the ultimate - but his is a very even, wonderfully led and performed version -
*Mvt I* - close contest between Giulini and Boulez….both achieve the rising/falling action most effectively - with each climax increasing in intensity and power….Giulini gets a slight edge with his tremendous 4th eruption - the truly stentorian blast of the _arrhythmia _motif from the low brass is most impressive!! Gawd, what a sound!! Also, Giulini sets up each rising action to the climaxes so remarkably well - the authoritative first horn entrance leading to climax #1, the delicious fully muted [_gestopfft_] horn note leading to the 2nd, etc…in fact, in both these recording, the CSO muted brass is truly outstanding - the _gestopfft_ horns delivering a wonderfully pointed, pungent, raspy tone that is just perfect…Very close contest, slight edge to Giulini. But Boulez is terrific also.
*Mvt II *- Landler - again, Boulez and Giulini are terrific, Walter excellent as well - they each get the tempo and character relationship between the different landler sections effectively - the 1st slower, perhaps calmer, graceful even, the 2nd quicker, and rougher…Walter really emphasizes the difference to great effect - the first is quite slow, elegant even, the 2nd much quicker, and much coarser, rougher…great contrast. Giulini benefits from some stellar chamber music work near the conclusion - the solo viola, horn, bassoon, contrabassoon passage is just magical - great playing [I often just replay this passage 2 or 3 times it is so remarkable]. Boulez is excellent, and I love his rough, gutsy contrast between the different sections. Toss-up - Boulez, Giulini
*Mvt III *- Rondo - this is a tough mvt. Basic ABA form- the tempo relationships are crucial - the conductor must remember that there are sharp increases in speed at the conclusion, after the middle section - _piu stretto_, then _presto_. Giulini and Walter start with a bit slower tempo - and then turn on the speed at the end - Giulini esp works up a pretty good lather here…Boulez and Solti are on the fast [not as fast as HvK] side, and they also turn on the jets most effectively….I've got to give it to Boulez here, here really whips up a storm, and the CSO is all over it….Giulini very excellent and Walter is fine also…Solti gets on the scoreboard, he gets it ripping along as well. Boulez with slight edge over Giulini….

*Mvt IV* Adagio - this is another great Mahler slow movement….which to me, sounds a lot like Farewell [I know, he still wrote much of #10] but this one sounds pretty final, and it is powerful…Walter and Giulini are very good, with beautiful lines building to a huge climax…lovely solo playing throughout… Boulez is good too, but as previously mentioned, the climax sounds congested, the lines blurred a bit…something with the engineering?? don't know why….but in this movement Solti takes the prize….he builds a beautiful long rising line to the ultimate climax which is delivered with shattering power….It must be mentioned that Barbirolli really delivers in the finale - his orchestra is fully in the groove and it comes off very effectively….Solti wins this one, for me….

This was a lot of fun - M9 is one of my favorite works, and, imo, one of the greatest works in all of music...hearing and comparing what great orchestras and conductors have done with it was most interesting and engaging...I also have been fortunate to hear this work performed live 3 times - Berlin, Boston, Chicago...I'm so glad it gets plenty of exposure...


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