Mahler Symphony No 1. Lieder eines fahrenden Gesellen

Record and Artist Details

Composer or Director: Gustav Mahler

Genre:

Orchestral

Label: The Originals

Media Format: CD or Download

Media Runtime: 67

Mastering:

ADD

Catalogue Number: 449 735-2GOR

Mahler Symphony No 1. Kubelik

Tracks:

Composition Artist Credit
Symphony No. 1 Gustav Mahler, Composer
Bavarian Radio Symphony Orchestra
Gustav Mahler, Composer
Rafael Kubelík, Conductor
Lieder eines fahrenden Gesellen, 'Songs of a Wayfarer' Gustav Mahler, Composer
Bavarian Radio Symphony Orchestra
Dietrich Fischer-Dieskau, Baritone
Gustav Mahler, Composer
Rafael Kubelík, Conductor
This distinguished coupling has already been available at bargain price so its appearance in The Originals livery comes as something of a surprise. That said, the packaging is first-rate and the notes interesting and thoughtful. On the first appearance of the symphony in 1968, Deryck Cooke observed that Rafael Kubelik was “essentially a poetic conductor and he gets more poetry out of this symphony than any of the other conductors who have recorded it”. Bruno Walter was, he felt, Kubelik’s only rival in this regard and he was much taken with the “natural delicacy and purity” of the interpretation. Unlike Walter, Kubelik takes the repeat of the first movement’s short exposition. Strange, then, that he should ignore the single repeat sign in the Landler when he seems so at ease with the music. Notwithstanding a fondness for generally brisk tempos in Mahler, Kubelik is never afraid of rubato here, above all in his very personally inflected account of the slow movement. This remains a delight. The finale now seems sonically a little thin, with the trumpets made to sound rather hard-pressed and the final climax failing to open out as it can in more modern recordings. The orchestral contribution is very good even if absolute precision isn’t guaranteed. In the first movement we do not get genuinely quiet playing from the horns at 9'30''ff whereupon the active part of the development is rather untidily thrust upon us.
Dietrich Fischer-Dieskau’s second recording of the Lieder eines fahrenden Gesellen has worn rather less well, the spontaneous ardour of his earlier performance (with Furtwangler and the Philharmonia – EMI, 6/87) here tending to stiffen into melodrama and mannerism. There is of course much beautiful (if calculated) singing and he is most attentively accompanied, but the third song, “Ich hab’ ein gluhend Messer”, is implausibly overwrought, bordering on self-parody. By contrast, Kubelik’s unpretentious, Bohemian approach to the symphony remains perfectly valid. A corrective to the grander visions of those who conduct the music with the benefit of hindsight and the advantages of digital technology? Perhaps.'

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