MAHLER Das Lied von der Erde • Simon Rattle, cond; Peter Seiffert (ten); Thomas Hampson (bar); City of Birmingham SO • EMI 88668 (63:32)

When Simon Rattle was recording his Mahler symphony series, I considered it the “alternative” one. It seemed a well-merited characterization: after all, he began with a recording of the Cooke completion of No. 10; later recordings featured a Sixth with the Andante-Scherzo sequence; a Fourth that reversed the tempos of the opening measures of the first movement; and a Third that reintroduced the glissandos in the English horn and oboe in the fourth movement; even his Second isolated the first movement on the first disc to honor Mahler’s instruction that there be at least a five-minute break between that movement and the rest of the symphony. So it was hardly surprising that he chose to record the alternate version of Das Lied.

All of which is not meant to diminish Rattle’s achievement: I still consider his first Tenth, his Second, and his Sixth to be among the few exceptional Mahler recordings from the last years of the 20th century. For Das Lied von der Erde in 1995, he had two seasoned Mahler interpreters in Seiffert and Hampson, and in the CBSO he had an orchestra well on the way to establishing an impressive Mahler legacy. With only a handful of performances of this version readily available (including Bernstein’s 40-year-old Decca recording and Salonen’s more recent Sony one) this new budget release (in the “Encore” series) is practically self-recommending. What’s more, the performance sounds fresher, the orchestra fuller, deeper, and more detailed than in its initial release; though there is no indication on the CD, I presume that the recording has been re-mastered.

Seiffert’s “Das Trinklied vom Jammer der Erde” is spirited and full-voiced—there is no sense of strain which mars many performances (I’m thinking here especially of Domingo/Salonen and Heppner/Maazel); he becomes wistful and spirited by turns as he describes the young ones in their green pavilion in “Von der Jugend”; and then impersonates the tippler to perfection in “Der Trunkene im Frühling.”

As perhaps the preeminent Mahler interpreter on the scene, Hampson’s contributions are all one would expect. His higher register entreats, while his lower tones speak of deep sorrow, in “Der Einsame in Herbest”; his narration of the ladies and lads in “Von der Schönheit” is nuanced and spirited. All of the aforementioned, and more, is audible during “Der Abschied.” The final “Ewig . . . ewig” speaks of both resignation and acceptance.

One can’t neglect the contribution of Rattle: his orchestra is a partner in each song, never overshadowing or overwhelming the singers, but providing commentary as well as accompaniment. His tempos are perfect, and the orchestra responds as one. The only minor drawback is the absence of any texts for the songs, but at this price ($7.99 at ArkivMusic.com) that’s hardly surprising (and texts are easily accessible online).

Anyone seriously interested in the baritone version of this work must hear either of the recordings with the incomparable Dietrich Fischer-Dieskau: the Decca is prime Bernstein, full of exaggeration and impulse, while the EMI version conducted by Paul Kletzki—recently reissued at budget price—is the safer bet; of the more recent recordings, Rattle’s receives my highest recommendation, and now it’s a bargain as well.

FANFARE: Christopher Abbot