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Boulez Conducts Mahler - Complete Recordings


Release Date: 11/19/2013 
Label:  Deutsche Grammophon   Catalog #: 001931702   Spars Code: DDD 
Composer:  Gustav Mahler
Performer:  Johan BothaDorothea RöschmannAnna LarssonChristian Gerhaher,   ... 
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic OrchestraVienna State Opera Chorus KonzertvereinigungCleveland Orchestra,   ... 
Number of Discs: 14 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

Pierre Boulez’s Mahler cycle, which started almost 20 years ago with the recording of the Sixth Symphony in 1994, has now reached its conclusion with the release, this year, of songs from Des Knaben Wunderhorn and the Adagio from the Tenth Symphony.

Without a doubt, this Pierre Boulez’s Mahler cycle – with two of the symphony recordings receiving Grammy Awards (Nos. 3 and 9).

The complete cycle of symphonies and songs is now presented for the first time in a single set of 14 CD at budget price. This is a non-limited edition.
The set features the top orchestras: Chicago Symphony Orchestra (Nos. 1 and 9), the Wiener Philharmoniker (Nos. 2, 3, 5, 6, Das Lied), The Cleveland Orchestra (Nos. 4, 7, 10), and
Read more the Staatskapelle Berlin (no. 8). The earlier version (Totenfeier) of the first movement of the Second Symphony is also included.

It also includes Das Lied von der Erde, Lieder eines fahrendes Gesellen, Rückert-Lieder and Kindertotenlieder – all with top soloists such as Christine Schäfer, Anne Sofie von Otter, Juliane Banse, Magdalena Kozena, Thomas Quasthoff, Violeta Urmana, Michael Schade.

The accompanying booklet includes a new essay by Wolfgang Stähr and the sung texts and English translations of all works (with the exception of Das Lied).

R E V I E W: 3754650.zzhf_MAHLER_Symphonies_Nos_1.html

MAHLER Symphonies Nos. 1;1 2;2 3;3 4;4 5;5 6;6 7;7 8;8 9.9 Symphony No. 10: Adagio10. Totenfeier.11 Das klagende Lied.12 Des Knaben Wunderhorn.13 Lieder eines fahrenden Gesellen.14 Rückert-Lieder.15 Kindertotenlieder.16 Das Lied von der Erde17 Pierre Boulez, cond; 1,9Chicago SO; 2,3,5,6,12,14,15,16,17Vienna PO; 4,7,10,13Cleveland Orchestra; 8Staatskapelle, Berlin; 2,3Wiener Singverein; 3Wiener Sängerknaben; 8Chor de Deutschen Staatsoper, Berlin; 8Rundfunk Chor, Berlin; 8Aurelius Sängerknaben Chor; 2Christine Schäfer, 4Juliane Banse, 8Twyla Robinson, 8Erin Wall, 8Adriana Queiroz, 12Dorothea Röschmann (sop); 2,8Michelle de Young, 3,16Anne Sophie von Otter, 12Anna Larsson, 13Magdalena Kožená, 15,17Violeta Urmana (mez); 8Simone Schröder (cont); 8,12Johan Botha, 17Michael Schade (ten); 8Hanno Müller-Brachmann, 8Robert Holl, 13Christian Gerhaher (bar); 14Thomas Quastoff (bs-bar) DG 477 9528 (895:12) 14 CDs.


Boulez recorded his integral set of Mahler (containing everything but one of the various completions of the unfinished 10th Symphony) between 1994 and 2011, although the bulk of the sessions took place from the late 1990s to mid-2000s. If there was one thing to learn from his approach, it was that there is more than one way to conduct this music. Boulez avowedly discovered Mahler by working backwards from Berg and Schoenberg, and it shows in the calculated clarity of his performances. This Mahler is incontrovertibly of the 20th century, an early Modernist to rank with Debussy and Stravinsky. Among conductors this makes Boulez the antithesis of Leonard Bernstein, who chartered a blatantly emotional course, convincing himself that he and the composer were one spirit. Mahler is enough of a colossus to withstand both extremes. Critics and music-lovers who initially found Boulez cool because he shunned Bernstein’s interpretative stance soon came to realize that the Frenchman was as fully committed in his own way, that is, on an intellectual and analytical level. These performances are superbly balanced and almost always well paced. Primarily, Boulez’s sense of structure is unerring, in symphonies that are longer and more episodic than most. His level of concentration never falters––unlike Gergiev, whose attention seems to wander unpredictably in his live LSO set.


Boulez is far from uninflected. Listen, for instance, to the delicacy of the “Bimm bamm” movement of the 3rd Symphony, or the touching introversion of its Finale (and how glowingly the climax of this movement opens up). While Boulez seems to have more rapport with his Viennese musicians, all four orchestras play brilliantly for him. He is also blessed with the finest Mahler singers of their generation: Banse’s sweet soprano in No. 4, de Young and Schäfer perfectly balanced in the Second, Von Otter searching and also at her vocal peak in the Third and the Kindertotenlieder. By concentrating exclusively on the composer’s many tempo indications and dynamics––nothing more nor less––Boulez conveys the essential grandeur of the “Symphony of a Thousand” (No. 8) in a stunningly recorded performance with the Berlin Staatskapelle. (Soloists include de Young, Johan Botha, and a slightly too stentorian Robert Holl.) The conductor’s detachment serves to emphasize the Chinese origin of the poems in Das Lied von der Erde, in a highly successful performance with the Vienna Philharmonic, exquisitely sung by the comparatively light-voiced Schade and Urmana (compared, that is, to Fritz Wunderlich and Christa Ludwig for Klemperer, Jon Vickers for Colin Davis or Maureen Forrester for Reiner). Again, the Pointillist delicacy of Mahler’s scoring has never been more telling. In the accompanying interview, Boulez says he prefers Mahler’s orchestration in the song cycles to that of the symphonies.


What do not concern him at all are the extra-musical connotations. If it’s not on the page, it’s not on the stage: That would seem to be his thinking. So there is not a skerrick of the kletzmer band to be heard in the First Symphony’s third movement: In his hands, that episode suggests a brisk march by Bizet. The sense of mystery in the central “Nachtmusik” movements of the 7th Symphony is more fully conveyed under Abbado; here it is absent. Nor is Boulez deeply in tune with the rustic vibe of the 1st Symphony’s second movement––taken far too swiftly for dancing––or the earthy Knaben Wunderhorn songs, which are nevertheless impeccably sung by Gerhaher and Kožená.


Having said that, this traversal is greater than the sum of its parts. Primarily, it is an intensely musical experience. I would urge interested readers to refer to the Fanfare reviews of these recordings on their first appearance: Christopher Abbott and William Youngren particularly wrote very highly of them. If you swear by Bernstein, Solti, Tennstedt, or Tilson Thomas, this set is still a fascinating alternative view––a Modernist view, if you like––and worth hearing for that reason alone. Music making of this caliber belongs in the Hall of Fame without question.


FANFARE: Phillip Scott
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Works on This Recording

1.
Das klagende Lied by Gustav Mahler
Performer:  Johan Botha (Tenor), Dorothea Röschmann (Soprano), Anna Larsson (Alto)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra,  Vienna State Opera Chorus Konzertvereinigung
Period: Romantic 
Written: 1880/1899; Austria 
2.
Des Knaben Wunderhorn by Gustav Mahler
Performer:  Christian Gerhaher (Baritone), Magdalena Kozená (Mezzo Soprano)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Cleveland Orchestra
Period: Romantic 
Written: 1892-1898; Hamburg, Germany 
3.
Symphony no 10 in F sharp minor/major: 1st movement, Adagio by Gustav Mahler
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Cleveland Orchestra
Period: Romantic 
Written: 1910; Austria 
4.
Lieder eines fahrenden Gesellen by Gustav Mahler
Performer:  Thomas Quasthoff (Baritone)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1883-1896; Germany 
Date of Recording: 06/2003 
Venue:  Gorsser Saal, Musikverein, Vienna 
Length: 16 Minutes 51 Secs. 
Language: German 
5.
Rückert Lieder (5) by Gustav Mahler
Performer:  Violeta Urmana (Mezzo Soprano)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1901-1902; Vienna, Austria 
Date of Recording: 06/2003 
Venue:  Gorsser Saal, Musikverein, Vienna 
Length: 19 Minutes 36 Secs. 
Language: German 
6.
Kindertotenlieder by Gustav Mahler
Performer:  Anne Sofie von Otter (Mezzo Soprano)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1901-1904; Vienna, Austria 
Date of Recording: 06/2003 
Venue:  Gorsser Saal, Musikverein, Vienna 
Length: 24 Minutes 41 Secs. 
Language: German 
7.
Das Lied von der Erde by Gustav Mahler
Performer:  Violeta Urmana (Mezzo Soprano), Michael Schade (Tenor)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1908-1909; Vienna, Austria 
Date of Recording: 10/1999 
Venue:  Golden Hall, Musikverein, Vienna 
Length: 60 Minutes 31 Secs. 
Language: German 
8.
Symphony no 1 in D major "Titan" by Gustav Mahler
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Chicago Symphony Orchestra
Period: Romantic 
Written: 1888/1896 
Date of Recording: 05/1998 
Venue:  Orchestra Hall, Chicago, Illinois 
Length: 52 Minutes 47 Secs. 
9.
Symphony no 2 in C minor "Resurrection" by Gustav Mahler
Performer:  Christine Schäfer (Soprano), Michelle DeYoung (Mezzo soprano)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra,  Vienna Singverein
Period: Romantic 
Written: 1888/1896; Germany 
Language: German 
10.
Symphony no 3 in D minor by Gustav Mahler
Performer:  Anne Sofie von Otter (Mezzo Soprano)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra,  Vienna Singverein Women's Chorus,  Vienna Boys' Choir
Period: Romantic 
Written: 1893-1896; Hamburg, Germany 
Date of Recording: 02/2001 
Venue:  Great Hall, Musikverein, Vienna, Austria 
Length: 95 Minutes 23 Secs. 
Language: German 
11.
Symphony no 4 in G major by Gustav Mahler
Performer:  William Preucil (Violin), Juliane Banse (Soprano)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Cleveland Orchestra
Period: Romantic 
Written: 1892-1900; Vienna, Austria 
Date of Recording: 04/1998 
Venue:  Masonic Auditorim, Cleveland, Ohio 
Length: 53 Minutes 32 Secs. 
Language: German 
12.
Symphony no 5 in C sharp minor by Gustav Mahler
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1901-1902; Vienna, Austria 
Date of Recording: 03/1996 
Venue:  Great Hall, Musikverein, Vienna, Austria 
Length: 72 Minutes 17 Secs. 
13.
Symphony no 6 in A minor "Tragic" by Gustav Mahler
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1904/1906; Austria 
Date of Recording: 05/1994 
Venue:  Large Hall, Musikverein, Vienna 
Length: 79 Minutes 22 Secs. 
14.
Symphony no 7 in E minor by Gustav Mahler
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Cleveland Orchestra
Period: Romantic 
Written: 1904-1905; Vienna, Austria 
Date of Recording: 11/1994 
Venue:  Masonic Auditorium, Cleveland 
Length: 74 Minutes 53 Secs. 
15.
Symphony no 8 in E flat major "Symphony of A Thousand" by Gustav Mahler
Performer:  Michelle DeYoung (Mezzo Soprano), Twyla Robinson (Soprano), Johan Botha (Tenor)
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Berlin Staatskapelle Orchestra,  Berlin Radio Chorus,  Berlin State Opera Chorus  ... 
Period: Romantic 
Written: 1906; Vienna, Austria 
Length: 85 Minutes 16 Secs. 
16.
Symphony no 9 in D major by Gustav Mahler
Conductor:  Pierre Boulez
Orchestra/Ensemble:  Chicago Symphony Orchestra
Period: Romantic 
Written: 1908-1909; Austria 
Date of Recording: 12/1995 
Venue:  Medinah Temple, Chicago, Illinois 
Length: 79 Minutes 46 Secs. 

Sound Samples

Symphony No.1 In D: 1. Langsam. Schleppend
Symphony No.1 In D: 2. Kräftig bewegt
Symphony No.1 In D: 3. Feierlich und gemessen, ohne zu schleppen
Symphony No.1 In D: 4. Stürmisch bewegt
Symphony No.2 In C Minor - "Resurrection": Totenfeier
Symphony No.2 In C Minor - "Resurrection": 1. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
Symphony No.2 In C Minor - "Resurrection": 2. Andante moderato. Sehr gemächlich
Symphony No.2 In C Minor - "Resurrection": 3. Scherzo: In ruhig fliessender Bewegung
Symphony No.2 In C Minor - "Resurrection": 4. "O Röschen rot! Der Mensch liegt in grösster Not!" (Sehr feierlich aber schlicht) Text from Des Knaben Wunderhorn: "Urlicht"
Symphony No.2 In C Minor - "Resurrection": 5. Im Tempo des Scherzo - Langsam misterioso
Symphony No.3 In D Minor / Part 1: 1. Kräftig. Entscheiden
Symphony No.3 In D Minor / Part 2: 2. Tempo di minuetto. Sehr mäßig
Symphony No.3 In D Minor / Part 2: 3. Comodo. Scherzando. Ohne Hast
Symphony No.3 In D Minor / Part 2: 4. Sehr langsam. Misterioso: "O Mensch! Gib acht!" 'O Mensch! Gib acht'
Symphony No.3 In D Minor / Part 2: 5. Lustig im Tempo und keck im Ausdruck: "Bimm Bamm. Es sungen drei Engel"
Symphony No.3 In D Minor / Part 2: 6. Langsam. Ruhevoll. Empfunden
Das Klagende Lied / Part 1: Beim Weidenbaum, im kühlen Tann
Das Klagende Lied / Part 1: Ein Spielmann zog einst des Weges daher
Das Klagende Lied / Part 1: Ach Spielmann, lieber Spielmann mein!
Das Klagende Lied / Part 2: Von hohen Felsen erglänzt das Schloß
Das Klagende Lied / Part 2: Was ist der König so stumm und bleich
Das Klagende Lied / Part 2: Ach Spielmann, lieber Spielmann mein!
Das Klagende Lied / Part 2: Auf springt der König von seinem Thron
Das Klagende Lied / Part 2: Ach Bruder, lieber Bruder mein!
Symphony No.4 In G: 1. Bedächtig. Nicht eilen - Recht gemächlich
Symphony No.4 In G: 2. In gemächlicher Bewegung. Ohne Hast
Symphony No.4 In G: 3. Ruhevoll (Poco adagio)
Symphony No.4 In G: 4. Sehr behaglich: "Wir genießen die himmlischen Freuden"
Symphony No.5 In C Sharp Minor: 1. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich schneller. Leidenschaftlich. Wild - Tempo I)
Symphony No.5 In C Sharp Minor: 2. Stürmisch bewegt. Mit größter Vehemenz - Bedeutend langsamer - Tempo I subito
Symphony No.5 In C Sharp Minor: 3. Scherzo (Kräftig, nicht zu schnell)
Symphony No.5 In C Sharp Minor: 4. Adagietto (Sehr langsam)
Symphony No.5 In C Sharp Minor: 5. Rondo-Finale (Allegro)
Symphony No.6 In A Minor: 1. Allegro energico, ma non troppo. Heftig aber Markig
Symphony No.6 In A Minor: 2. Scherzo (Wuchtig)
Symphony No.6 In A Minor: 3. Andante moderato
Symphony No.6 In A Minor: 4. Finale (Allegro moderato)
Symphony No.7 In E Minor: 1. Langsam - Allegro
Symphony No.7 In E Minor: 2. Nachtmusik (Allegro moderato)
Symphony No.7 In E Minor: 3. Scherzo
Symphony No.7 In E Minor: 4. Nachtmusik (Andante amoroso)
Symphony No.7 In E Minor: 5. Rondo - Finale (Allegro ordinario - Allegro moderato ma energico)
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": Veni, creator spiritus
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": "Imple superna gratia"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": "Infirma nostri corporis"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": Tempo I. (Allegro, etwas hastig)
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": "Infirma nostri corporis"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": "Accende lumen sensibus"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": "Veni, Creator...Da gaudiorum praemia"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part One: Hymnus "Veni creator spiritus": "Gloria sit Patri Domino"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": Poco adagio
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": Più mosso (Allegro moderato)
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Waldung, sie schwankt heran"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Ewiger Wonnebrand"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Wie Felsenabgrund mir zu Füßen"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Gerettet ist das edle Glied" - "Hände verschlinget"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Jene Rosen, aus den Händen"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Uns bleibt ein Erdenrest"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Ich spür' soeben" - "Freudig empfangen wir"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Höchste Herrscherin der Welt"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Dir, der Unberührbaren" - "Du schwebst zu Höhen"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Bei der Liebe" - "Bei dem Bronn" - Bei dem hochgeweihten Orte"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Neige, neige, du Ohnegleiche"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Er überwächst uns schon" - "Vom edlen Geisterchor umgeben"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Komm! hebe dich zu höhern Sphären" - "Blicket auf zum Retterblick"
Symphony No.8 In E Flat - "Symphony Of A Thousand" / Part Two: Final Scene From Goethe's "Faust": "Alles Vergängliche"
Symphony No.9 in D: 1. Andante comodo
Symphony No.9 in D: 2. Im Tempo eines gemächlichen Ländler. Etwas täppisch und sehr derb - Poco più mosso subito - Ländler, ganz langsam
Symphony No.9 in D: 3. Rondo. Burleske (Allegro assai. Sehr trotzig - Presto)
Symphony No.9 in D: 4. Adagio (Sehr langsam)
Songs From "Des Knaben Wunderhorn": Der Schildwache Nachtlied
Songs From "Des Knaben Wunderhorn": Verlor'ne Müh
Songs From "Des Knaben Wunderhorn": Trost im Unglück
Songs From "Des Knaben Wunderhorn": Wer hat dies Liedlein erdacht?
Songs From "Des Knaben Wunderhorn": Das irdische Leben
Songs From "Des Knaben Wunderhorn": Revelge
Songs From "Des Knaben Wunderhorn": Des Antonius von Padua Fischpredigt
Songs From "Des Knaben Wunderhorn": Rheinlegendchen
Songs From "Des Knaben Wunderhorn": Lied des Verfolgten im Turm
Songs From "Des Knaben Wunderhorn": Wo die schönen Trompeten blasen
Songs From "Des Knaben Wunderhorn": Lob des hohen Verstandes
Songs From "Des Knaben Wunderhorn": Der Tamboursg'sell
Symphony No.10 In F Sharp (Unfinished): Adagio
Lieder eines fahrenden Gesellen: Wenn mein Schatz Hochzeit macht
Lieder eines fahrenden Gesellen: Ging heut' morgen übers Feld
Lieder eines fahrenden Gesellen: Ich hab' ein glühend Messer
Lieder eines fahrenden Gesellen: Die zwei blauen Augen von meinem Schatz
Rückert-Lieder: Blicke mir nicht in die Lieder
Rückert-Lieder: Ich atmet' einen linden Duft
Rückert-Lieder: Liebst du um Schönheit
Rückert-Lieder: Ich bin der Welt abhanden gekommen
Rückert-Lieder: Um Mitternacht
Kindertotenlieder: Nun will die Sonn' so hell aufgeh'n
Kindertotenlieder: Nun seh' ich wohl, warum so dunkle Flammen
Kindertotenlieder: Wenn dein Mütterlein
Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen
Kindertotenlieder: In diesem Wetter
Das Lied von der Erde: Das Trinklied vom Jammer der Erde
Das Lied von der Erde: Der Einsame im Herbst
Das Lied von der Erde: Von der Jugend
Das Lied von der Erde: Von der Schönheit
Das Lied von der Erde: Der Trunkene im Frühling
Das Lied von der Erde: Der Abschied

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