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Symphonieorchester Des Bayerischen Rundfunks Mahler: Lieder eines fahrenden Gesellen; 4 Rückert-Lieder; Kindertotenlieder

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Mahler: Lieder eines fahrenden Gesellen; 4 Rückert-Lieder; Kindertotenlieder

Symphonieorchester Des Bayerischen Rundfunks

Classical - Released July 1, 1985 | Deutsche Grammophon (DG)

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Mahler Songs

Joseph Middleton

Vocal Music (Secular and Sacred) - Released July 28, 2023 | Signum Records

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The art song might seem to present Mahler's style in miniature, but actually song pervaded his output. Some of the vocal movements in his symphonies use his songs directly, and beyond this, his interests in and treatments of German poetry set the tone for a major strand of his work, in general. Consider the grim Kindertotenlieder ("Songs on the Deaths of Children"), setting texts by Friedrich Rückert. Mezzo-soprano Sarah Connolly, recently recovered from cancer surgery when this recording was made in 2021, seems to find resonance in these, and her voice, always persuasive in Mahler, has a rather uncannily fragile quality in these quiet songs. In the bigger songs from the Rückert-Lieder and Lieder eines fahrenden Gesellen sets, Connolly has to apply a lot of vibrato by this time; listeners' reaction to this will vary, but she is nowhere less than emotionally honest and engaged here. Sample Wenn dein Mütterlein from the Kindertotenlieder, truly heartbreaking in Connolly's hands. Joseph Middleton, always a top-notch accompanist, outdoes himself here, introducing hints of the hidden psychological currents that make these songs so absorbing. A fine entry in Connolly's late-career turn toward Mahler specialization, this made classical best-seller lists in the summer of 2023.© James Manheim /TiVo

(Dame) Janet Baker Mahler: Kindertotenlieder & Lieder eines fahrenden Gesellen

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Mahler: Kindertotenlieder & Lieder eines fahrenden Gesellen

(Dame) Janet Baker

Classical - Released January 1, 1968 | Warner Classics

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Mahler: Song Cycles

Alice Coote

Vocal Music (Secular and Sacred) - Released July 1, 2017 | PentaTone

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There are plenty of recordings of these three Mahler song cycles, but this one by mezzo-soprano Alice Coote stands out from the crowd. It may seem extreme, but it might equally be regarded as simply having the kind of direct emotional commitment that classical performances used to have before the genre got too decorous. A symphonic counterpart might be Leonard Bernstein's Mahler recordings, and one guesses that Mahler would have loved both. Coote is really powerful in the Kindertotenlieder, the Songs of Dead Children, and she's one of the few singers who really enter into the texts of Rückert. She can blaze in the higher ranges and take it down to an extremely uncanny echolike effect in the midrange: sample "Ging heut' morgen über's Feld," the piece that furnished the thematic material for the first movement of the Symphony No. 4 in G major, starting about three and a half minutes in, when Coote seems to fade into the background. Conductor Marc Albrecht keeps the Netherlands Philharmonic Orchestra largely out of Coote's way, although all the details are there, and are captured by Pentatone's precise engineering. A fine set of Mahler song cycles.© TiVo

Sara Mingardo Mahler: Kindertotenlieder & Lieder eine Fahrenden Gesellen

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Mahler: Kindertotenlieder & Lieder eine Fahrenden Gesellen

Sara Mingardo

Classical - Released March 5, 2012 | Eloquentia

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"New release of Mahler chamber music" sounds like a headline from the classical edition of the U.S. satirical weekly The Onion, but the arrangements on this album by Italian group Musici Aurei are quite a bit more authentic than one might think. For one thing, the arrangement of the songs from Mahler's Lieder eines fahrenden Gesellen were done by Arnold Schoenberg, a short generation after Mahler, and the other arrangements, by Schoenberg's student Erwin Stein and even the later rendering of the Kindertotenlieder by Reiner Riehm, follow more or less in Schoenberg's mold. Making chamber arrangements of orchestral music was still a common way of hearing and studying it in the era before LP recordings. And perhaps the best reason to hear Mahler this way is to experience his vocal works as sung by Sara Mingardo, a contralto usually oriented toward the Baroque. She's a force of nature, with a rather chilling effect as she climbs into the near soprano range, and though it would be worth hearing her with a full orchestra, the versions here give her more room to maneuver. The Kindertotenlieder, or Songs on the Death of Children, are emotionally shattering here, and they have the unity Mahler intended for the whole set. Further, the distinction between the Riehm and the Schoenberg arrangement is interesting and speaks to how Schoenberg heard Mahler's music: although the same ensemble of about 15 players is used, Schoenberg strips Mahler's language down to its gestures, while Riehm replicates more of the range of orchestral effects in the Kindertotenlieder. Bonuses include the early and rarely recorded Quartettsatz (a genuine piece of Mahler chamber music), and the Stein arrangement of Busoni's Berceuse élégiaque, a work not often programmed with Mahler but that fits with it in all kinds of unexpected ways. In short, Mahlerians preparing to be irritated by this should think again. © TiVo

Christa Ludwig Mahler: Symphony 6, Rückert Lieder, Kindertotenlieder

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Mahler: Symphony 6, Rückert Lieder, Kindertotenlieder

Christa Ludwig

Classical - Released January 1, 1978 | Deutsche Grammophon (DG)

Kathleen Ferrier Mahler: Kindertotenlieder

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Mahler: Kindertotenlieder

Kathleen Ferrier

Classical - Released October 30, 2020 | Warner Classics

Christian Gerhaher Mahler: Orchestral Songs

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Mahler: Orchestral Songs

Christian Gerhaher

Classical - Released April 16, 2013 | Sony Classical

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Based solely on the excellence of Christian Gerhaher's singing and his highly expressive interpretations of Gustav Mahler's lieder, this album is required listening for all fans of the singer and the composer. But this 2013 Sony release is also essential for Mahler scholars and collectors because it presents the original orchestrations of Lieder eines fahrenden Gesellen, Kindertotenlieder, and Rückert-Lieder, which receive their first recordings here. Kent Nagano and the Orchestre symphonique de Montréal accompany Gerhaher with subtlety and warmth, and the playing is as smooth and rich as Gerhaher's baritone voice, which makes the melodies inviting and moving. The performances on this CD were recorded on two concert dates early in 2012, so the best takes were used, notwithstanding coughs and other audience noises that can be heard occasionally. Even so, the sound is slightly variable in the mixing, so close listening reveals differences that could be due to studio enhancement. However, because the musicianship is so high, and Gerhaher's delivery is so appealing, this recording is definitely worth having, even with its few imperfections.© TiVo