Mahler Lieder
View record and artist detailsRecord and Artist Details
Composer or Director: Gustav Mahler
Label: Classics
Magazine Review Date: 9/1990
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: 791114-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (5) Rückert-Lieder |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Des Antonius von Padua Fischpredigt |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Rheinlegendchen |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Lied des Verfolgten im Turm |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Revelge |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Der Tamboursg'sell |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder und Gesänge, Movement: No. 10, Zu Strassburg auf der Schanz (wds. Das Knaben Wunderhorn) |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder und Gesänge, Movement: No. 13, Nicht wiedersehen! (wds. Das Knaben Wunderhorn) |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
Composer or Director: Gustav Mahler
Label: Classics
Magazine Review Date: 9/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 791114-4
Tracks:
| Composition | Artist Credit |
|---|---|
| (5) Rückert-Lieder |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Des Antonius von Padua Fischpredigt |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Rheinlegendchen |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Lied des Verfolgten im Turm |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Revelge |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Der Tamboursg'sell |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder und Gesänge, Movement: No. 10, Zu Strassburg auf der Schanz (wds. Das Knaben Wunderhorn) |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
| Lieder und Gesänge, Movement: No. 13, Nicht wiedersehen! (wds. Das Knaben Wunderhorn) |
Gustav Mahler, Composer
Gustav Mahler, Composer Siegfried Jerusalem, Tenor Siegfried Mauser, Piano |
Author:
This is not only an exceptionally well sung and admirably recorded Mahler recital, it is also intelligently planned in its selection of seven settings of poems from Des Knaben Wunderhorn. Siegfried Jerusalem begins with two of the folk-song-like settings, the ever-popular ''Rheinlegendchen'' and the ''Fischpredigt'' which Mahler used as the basis of the second movement of the Second Symphony. These are followed by the relatively rare ''Nicht wiedersehen!'' published as the fourth song in Book III of Lieder und Gesange in 1892. This impassioned song of love for a dead sweetheart is prophetic of so much that was to come, especially in Kindertotenlieder and Das Lied von der Erde.
The ''Lied des Verfolgten im Turm'' is a dialogue between the prisoner in the tower of the title and his girl; so much more effective when sung by one voice instead of two, as frequently happens in public performance. The last three songs in this group are examples of 'military' songs—Mahler's preoccupation with soldiers sentenced to death for desertion or cowardice. ''Revelge'' and ''Der Tamboursg'sell'' are well-known and are Mahler's last Wunderhorn settings. ''Zu Strassburg auf der Schanz'' comes from the early songs—like ''Nicht wiedersehen!'' it exists only in a piano version—but is scarcely a degree less riveting and intense than its successors.
Jerusalem, who is poetically accompanied by Siegfried Mauser—voice and piano ideally balanced for the recording—sings marvellously throughout and crowns an outstanding disc with the fiveRuckert Lieder. He has a baritonal timbre that adds depth and power to his interpretation and ensures that ''Revelge'', for example, achieves its proper gravitas. The performance of the last of the Ruckert settings, the wonderful ''Um Mitternacht'', is a superb example of vocal art. Jerusalem imparts a striking dramatic insight to his delivery of the texts—the savagery, for example, of the line ''Man hort da gar kein Kindersgeschrei'' in ''Lied des Verfolgten'' and the near-hysteria at ''Tambour von der Liebkompanie!'' in ''Der Tamboursg'sell''. This is noble singing, and particularly noble singing of Mahler.'
The ''Lied des Verfolgten im Turm'' is a dialogue between the prisoner in the tower of the title and his girl; so much more effective when sung by one voice instead of two, as frequently happens in public performance. The last three songs in this group are examples of 'military' songs—Mahler's preoccupation with soldiers sentenced to death for desertion or cowardice. ''Revelge'' and ''Der Tamboursg'sell'' are well-known and are Mahler's last Wunderhorn settings. ''Zu Strassburg auf der Schanz'' comes from the early songs—like ''Nicht wiedersehen!'' it exists only in a piano version—but is scarcely a degree less riveting and intense than its successors.
Jerusalem, who is poetically accompanied by Siegfried Mauser—voice and piano ideally balanced for the recording—sings marvellously throughout and crowns an outstanding disc with the five
Mahler Lieder
Mahler Lieder
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