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Mahler: Das Lied von der Erde

Christian Gerhaher

Classical - Released May 5, 2023 | Sony Classical

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Mahler: Symphonies Nos. 2 "Resurrection", 4, 7, 9, Das Lied von der Erde & Other Lieder

Otto Klemperer

Classical - Released March 20, 2024 | Warner Classics

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Wanderer Without Words

Juliette Journaux

Classical - Released September 29, 2023 | Alpha Classics

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Mahler: Das Lied von der Erde (Live)

Robert Dean Smith

Classical - Released August 28, 2020 | PentaTone

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
Some divide recordings of Mahler's symphonic song cycle Das Lied von der Erde into "subjective" (Leonard Bernstein, and more recently, Simon Rattle) and "objective" (Pierre Boulez) readings. Perhaps conductor Vladimir Jurowski finds a middle road in this version, recorded live with the Rundfunk-Sinfonieorchester Berlin at the Philharmonie in 2018. Jurowski contributes an extended note in which he argues that Mahler found a new "lyrical" mode in Das Lied von der Erde, in contradistinction to a "heroic" Beethovenian mode, and his reading broadly reflects this view. Many fine points emerge in the score, but this is due to a relaxed mood and space for details rather than to any attempt to be microscopic about the work. In Jurowski's hands, Das Lied von der Erde is more an orchestral song cycle than a symphony, with each of the five movements taking on its own flavor. There's much more to be said about Jurowski, and much to be said in favor of tenor Robert Dean Smith, who confidently takes on the borderline singable first movement. The best of all here is Sarah Connolly's run in the epic "Der Abschied," which in its deliberate long line both fits well with Jurowski's overall concept and is just sensuously, tragically gorgeous on its own, likely destined to become one of the highlights of her later career. PentaTone's superbly clear live sound seals the deal on a very fine Das Lied von der Erde.© TiVo
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Mahler: Das Lied von der Erde

James King

Classical - Released January 1, 1967 | Decca Music Group Ltd.

Recorded at Vienna’s Sofiensaal in 1966, this version is one of the trademark recordings for Gustav Mahler’s ultimate lyrical symphony. The brilliant sound recording of Decca’s engineers does perfect justice to the flamboyant direction of “Lenny”, who managed to push Malher’s pathos to its very limits. The orchestral deflagration at the start of the cycle immediately sets the tone of this man’s version for tenor and baritone endorsed by the composer himself. The valour of James King’s Wagnerian Heldentenor (heroic tenor) works wonder, but more than anything, it’s the expressive power of Dietrich Fischer-Dieskau that truly stands out here. The long final Abschied (thirty-one minutes) effortlessly hits the hues of death before making its way towards eternity with a Bernstein going wild. Passionately infatuated with Mahler to the point of identifying almost obsessively with him, Leonard Bernstein left countless recordings behind, characterised by an expressive power taken to climax, if not outrageously. “When I direct the works of Mahler, I feel as if I’m playing some of my own”, he used to say. The career of Bernstein, genius conductor and composer, can indeed be compared in many ways to Mahler’s, if only for their common references to Judaism and their use of popular, almost trivial elements which they both used to incorporate in their compositions. © François Hudry/Qobuz
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Mahler: Das Lied von der Erde

Iván Fischer

Classical - Released September 4, 2020 | Channel Classics

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After Mahler Symphonies Nos. 1-7 and 9, conductor Iván Fischer and the Budapest Festival Orchestra now release Mahler's 'Das Lied von der Erde'."The long, endlessly stretched crescendo on the single note “e” (filled with so much desire) leads to thefinal part of Abschied,which I can only describe with the word ‘cosmic’. The voice is surrounded by floating meteors, objects, particles or stars, whichmove in various directions and speeds. We have left the atmosphere and look back on the beautiful green and blue planet.‘Die liebe Erde’, the lovable Earth that will stay and flourish in the spring (while we have less than 100 years to enjoyit), is the subject of Mahler’s adoration, the friend, to whom it is so painful to say farewell. This adoration of nature bringsMahler closer to Tao and Spinoza than to various religions he flirted with earlier. While saying farewell to the world, he foundhis true love and his true friend – planet Earth."- Iván Fischer
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Mahler: Das Lied von der Erde (Live)

Stuart Skelton

Classical - Released August 31, 2018 | BR-Klassik

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Mahler's Das Lied von der Erde came after a difficult period in his life when his daughter died from a childhood disease, he was forced out of his opera conducting position by anti-Semitism, and he was diagnosed with a serious congenital heart condition. He seems to have put his symphonic ideas into song, as it were, as a kind of personal response to these problems, and the work, for all its gigantism and its half-hour finale, has a peculiarly intimate quality. This is well-captured by the Bavarian Radio Symphony Orchestra in live performances from the Herkulesssaal in Munich, and conductor Sir Simon Rattle, who keeps the dynamics moderate and the instrumental details clear. His reading dovetails nicely with the presence of Czech mezzo soprano Magdalena Kožená, who has a somewhat lighter voice than Mahler imagined: he specified an alto and tenor, and if that wasn't available, a tenor and baritone. But the composer does not have the last word, and the text comes through here with unusual clarity and intensity. Sample the finale, Der Abschied, where Kožená and Rattle keep control over the giant Mahlerian arcs. Australian tenor Stuart Skelton, by contrast, is a more usual type of Mahlerian/Wagnerian heldentenor, and he forms quite a contrast to Kožená. Whether this enlivens the music or disturbs its balance will be a matter of individual taste, but this is certainly a Das Lied von der Erde to be reckoned with, and perhaps even to compete with the great Rafael Kubelik reading recorded in the same space.© TiVo
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Mahler: Das Lied von der Erde

Jonas Kaufmann

Classical - Released April 7, 2017 | Sony Classical

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Gustav Mahler's Das Lied von der Erde is a symphony of six songs, usually performed by a tenor and a mezzo-soprano or baritone, as specified in the score. This 2017 Sony Classical release features superstar tenor Jonas Kaufmann as the soloist throughout, so the expected alternation of singers is replaced with one artist's unified interpretation. Joined by Jonathan Nott and the Vienna Philharmonic, Kaufmann displays a phenomenal tessitura that enables him to sing the tenor songs with great intensity while losing little of that power in his lower range. Even so, there is a qualitative difference between Kaufmann as tenor, where his tone is penetrating and heroic, and Kaufmann as baritone, where his voice is much rounder, warmer, and intimate. Listeners may be surprised to find both qualities side by side in "Der Einsame im Herbst," "Von der Schönheit," and most significantly, in "Der Abschied," a baritone song that Kaufmann has long wished to make his own. This is an innovative approach to performing Das Lied von der Erde that may unsettle traditionalists and purists, but Kaufmann's passionate singing and Nott's insightful direction make this an important recording of the work, quite apart from considerations of the composer's intentions.© TiVo
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Mahler: Das Lied von der Erde

Eiji Oue

Classical - Released August 17, 1999 | Reference Recordings CD

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Mahler: Das Lied von der Erde (Song of the Earth)

Alice Coote

Vocal Music (Secular and Sacred) - Released April 24, 2013 | PentaTone

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Marc Albrecht's PentaTone release of Gustav Mahler's Das Lied von der Erde is among the finest modern recordings of this work, both for the depth of the interpretation and for the exceptional audiophile sound quality. This is Albrecht's first recording of a Mahler work, and though he is known as a specialist in the operas of Richard Strauss, this clearly works to his advantage in Das Lied, which lies stylistically between a symphony, a song cycle, and an opera. The wonderfully seraphic Alice Coote and the intensely ardent Burkhard Fritz are highly dramatic in their delivery, and the vocal parts give the performance a theatrical air, especially because of the spacious acoustics around the voices make them seem almost operatic in the multichannel recording. The playing of the Netherlands Philharmonic Orchestra is marvelously shaded and vivid, providing a subtle accompaniment that reinforces Mahler's ever-changing expressions and giving Das Lied a richly burnished tone. The only problem with this recording is a trace of what seems like humming in Das Trinklied vom Jammer der Erde, which unfortunately was picked up in the highly sensitive DSD recording. Other than that flaw, this is an exceptional presentation that Mahler fans should eagerly seek out. © TiVo
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Mahler: Das Lied von der Erde (1970)

Rafael Kubelik

Classical - Released January 1, 2002 | Audite

Distinctions The Qobuz Ideal Discography
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Mahler: Das Lied von der Erde

San Francisco Symphony

Classical - Released September 9, 2008 | SFS Media

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Mahler: Das Lied von der Erde (Version for Voice and Piano)

Cyprien Katsaris

Vocal Music (Secular and Sacred) - Released May 18, 1990 | Warner Classics International

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Das Lied von der Erde: Mahler's Autograph Piano Version

Claudia Huckle

Classical - Released January 20, 2023 | Champs Hill Records

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The idea of Das Lied von der Erde in a version for voices and piano sounds like a joke, but consider these factors. First, the chamber version of the orchestral song cycle by Schoenberg is widely known; clearly, Mahler's younger contemporaries saw value in this kind of exercise, and listeners of the composer's day without recourse to recordings certainly would have welcomed this version if it had been available. Second, this version is by Mahler himself; it is not a set of sketches but a fully realized piano version that contains all the essential music in the orchestral score. Third, to hear this version is to realize how, for all the textural encrustations present in the orchestration of the gigantist Mahler, the "bones" of the music are persuasive in themselves; underneath all the histrionics lay a strict contrapuntist (which was one reason Mahler was such an excellent conductor). Lastly, the performances here are very strong. The project was conceived during the COVID-19 pandemic by contralto Claudia Huckle, who feared for the future of orchestral concerts. She has an extremely rich lower register where so much of Mahler's music resides, and one wants to hear her in the full score. Tenor Nicky Spence makes an admirable foil for her, although his voice has a slightly spectral quality in the recording by the Champs Hill label. Both singers effectively scale down their voice production to match the current setting, and the accompaniment by pianist Justin Brown suggests the dimensions of the music nicely. This is more than a niche specialist recording, and it made classical best-seller charts in early 2023.© James Manheim /TiVo
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Mahler Das Lied von der Erde

Richard Lewis

Classical - Released November 25, 2022 | Editions Audiovisuel Beulah

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Mahler: Das Lied von der Erde, 3 Rückert Lieder (1952)

Kathleen Ferrier

Classical - Released January 1, 1952 | Decca Music Group Ltd.

Distinctions Diapason d'or
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Mahler : Das Lied von der Erde - Busoni : Berceuse élégiaque

Susan Graham

Lieder (German) - Released March 7, 2014 | RCA Red Seal

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Gustav Mahler : Das Lied von der Erde

Royal Concertgebouw Orchestra

Classical - Released January 1, 1963 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Das Lied von der Erde; Drei Rückert Lieder

Julius Patzak

Classical - Released June 25, 2021 | Archipel

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Mahler: Das Lied von der Erde (Live)

George Szell

Classical - Released December 3, 2021 | Urania Records