Here is my final best list, with the comments I have written about them compiled in one place...I have 9 in total. The 10th spot will probably be the Zinman M10.
Mahler: Symphony No. 6
Gustav Mahler (Composer)
Mark Wigglesworth (Conductor)
Melbourne Symphony Orchestra (Orchestra)
Mark Wigglesworth's timings are just right, with tempo transitions and key passages phrased with nuance and elan, without losing the sense of urgency. I agree with a review from Amazon that describes this recording as "Disciplined and Passionate."
The Melbourne really shines, there's nothing I didn't enjoy in the execution. Details in the inner voices are very much appreciated!
Each movement seems to develop naturally from the next, as if caught in an inevitable progress. Wigglesworth has good sense not to rush the calmer, lyrical passages, such as the pastoral episodes in the faster movements. Somehow, he dwells on these passages without slowing down or holding up the urgent proceedings. The Andante doesn't sound dead in the water. There is a beautiful flowing consistancy, and doesn't feel like it takes forever to get to the finale.
While listening, I heard shades of Karajan, Sanderling, Boulez and Bertini, but Wigglesworth is definitely his own man, and I have to say, he shows that the M6 has a sensitive, gentle side too, without holding back on the climaxes. The stillness of the first trio in the scherzo is an excellant example of this effect.
Mahler: Symphony No. 9 [Hybrid SACD - DSD]
Gustav Mahler (Composer)
David Zinman (Conductor)
Zurich Tonhalle Orchestra (Orchestra) 
Zinman's M9 is simply a knock out! I'm crushed by such an emotional experience. It reminds me somewhat of Nott's recent account, but sounds like it was created on a bigger scale, or larger canvas. Nott's is perhaps a little more personal in tone, but Zinman's interpretation is both personal, AND cosmic. Indeed, it is like a mind meld between Lenny and Karajan! But don't get me wrong, Zinman is his own man here. AND he improves on his Aspen performance by MILES.
You can be rest assured about the climaxes...the sonics and orchestra are more than up to the challenge. As a matter of fact, Zinman's orchestra is the one element that puts him slightly ahead of Nott. Nott's M9 is like a sister to Zinman's account. I like both, and both are of the highest standard in playing, tone, and drama for an M9 of the 21st Century. I have a feeling you will be very impressed with the playing.
As you know, I still love the Rattle Berlin M9, but it can't compete in terms of sonics. Zinman, Nott, Oue, and Thomas are the creme of the crop in terms of sonics.
The third climax in the first movement may be the most impressive sonically, in terms of hearing all that is in the score here. The rusticity of the minuet will make you smile, again, I have to mention how fine the orchestra is, especially in dynamics.
The blooming crescendos in the Rondo will surprise you. AND the final climax in the Adagio will blow your mind. The sonics are perhaps the best of the cycle. Matching and perhaps exceeding his M3, M6 and M8 recordings.
The tempos, again, are like Nott, meaning that Zinman is patient, and there is no unnecessary rushing during any of the climaxes, thank God. I like how the climaxes in I. are not rushed. The tempos are treated with thought, and care, during the transitions all over the score. Energy is not wasted, and this brings huge dividends later as the score progresses movement to movement.
Mahler: Symphony 7 [Hybrid SACD - DSD]
Gustav Mahler (composer)
Residentie Orch the Hague (Orchestra),
Neemi Jarvi (Conducter) 
This Jarvi M7 IS FANTASTIC. Finally, I can hear the manic terror of the Nachtmusik movements and scherzo. I rarely listen to Scherchen these days (the bad sonics keep me away), but this recording is a good Scherchen-like replacement if you want an exciting alternative view of this work.
Jarvi's vision is very consistant here, and I never felt it was too fast...the M7 sounds great with a little power and drive added.
As much as I love Mahler's orchestration in this work, I like to move along too. I like the idea that this symphony is a "travelogue" of sorts. It's a Schuberterian work in many ways. Also, the early 20th Century modernity of the work reminds me of Joyce's Ulysses, in that each movement is almost a different style than the previous. Jarvi seems to highlight this Schubertian and Modernist quality in spades.
Mahler: Songs With Orchestra - Lieder eines fahrenden Gesellen, Ruckert-Lieder, Des Knaben Wunderhorn [Hybrid SACD - DSD, Import]
Susan Graham (mezzo-soprano)
Thomas Hampson (baritone)
Mahler (Composer)
Michael Tilson Thomas (Conductor)
San Francisco Symphony (Orchestra)
I return to this recording a lot (the iTunes download), and can happily express my joy and satisfaction over the experience. Especially The
Ruckert Lieder. Bravo to Susan Graham. Her voice is rich and expressive, with refinement and nuance. Kudos to Michael Tilson Thomas and the SFSO for letting the music sound so transparent and un-intrusive. For those with reservations for MTT's Mahler, I'm sure the
Ruckert Lieder will please very much.
I was also blown away by Thomas Hampson, but his mature voice is a mixed bag for some people. I happen to like his mature voice on this recording, as well as his other release with MTT, on
Das Lied von der Erde. He is in good form here.
I just wish the whole of
Das Knaben Wunderhorn was recorded! As it is, the selections here are very fine, and a joy to listen to over and over again.
Mahler:Symphony No 7 [Hybrid SACD - DSD]
Gustav Mahler (Composer)
David Zinman (Conductor)
Tonhalle Orchestra Zurich (Orchestra)
The Mahler 7 haunts my listening life. It's the last nut I haven't cracked with Mahler, and perhaps that's a good thing. Perhaps the whole work is really just social night music like Mozart's
Eine Kleine Nachtmusic? The music of the M7 reminds me of the rarefied air of Mahler's
Das Lied von der Erde, with each movement projecting a different objective picture with no subjectivity added; purely show and NO tell. This is how I hear Macal conduct Mahler's 7th; an intriguing concept and seems to work with the M7.
The M7 was the first work of Mahler I heard live and for many years the M7 was my favorite symphony. It's always been a mysterious work and perhaps I've been over anxious to get some answers and this is the cause for my frustration with the work the last few years. It is a very important and transitional work in Mahler's ouevre and I think for personal reasons I've been too hard on it. Perhaps I need to relax and just let the music wash over me like I once did.
In comparing Zinman to Bernstein's classic '60s account I have to say Lenny's is hard to beat in terms of drama, color and forward motion. ON the other hand, Zinman provides a cooler look into this score not heard in Lenny's account. By "cooler" I mean Zinman plays the M7 straight (but not boring). Because of this the spooky parts and romantic parts suddenly jump out you, surprising you and providing contrast with the straightforward tempos that serve to highlight the details of the score and harmonic progression. AND the sonics are among the most impressive for M7 on SACD. I'm glad to have these two different approaches on hand.
Mahler: Symphony No.3
Gustav Mahler (Composer)
Petra Lang (Contralto)
American Boy Choir
Alan Gilbert (Conductor)
New York Philharmonic (Orchestra)(Broadcast featured on iTunes and HD Tracks)
I'm amazed by this performance. Wow. The nuance and orchestral detail are special, and fun to hear. I don't think I've ever heard the 1st movement paced so well, with action and adventure at every turn. For me this is up there with the Abbado Berlin account on DG and Zinman's recent account on RCA.
The Gilbert Mahler 3 is among the best structured I've experienced, meaning, as each movement is heard there appears to be a flow and progress without the feeling of getting stuck or bored. The whole symphony glows with beautiful sound.
Mahler: Symphony No.9
Gustav Mahler (Composer)
Lorin Maazel (Conductor)
New York Philharmonic (Orchestra)(Broadcast featured on iTunes and HD Tracks)
I was overjoyed to hear the inspiration of the middle movements here...what character and detail! What humor and madness! Usually these movements are more or less a waystation between the first and last movements, but here they command my attention just as much.
In this performance the first and last movements are sublime. The string sound is as enjoyable as the recent Rattle and Oue...and the brass and percussion jump out...listen to those timpani!
I notice that Maazel's new M9 has a strong "line" of nuance and control that appears to connect the whole work, every ebb and flow makes sense and collects this huge structure together quite dramatically and convincingly (to me).
Mahler: Symphony No.6
Gustav Mahler (composer)
Lorin Maazel (Conductor)
New York Philharmonic (Orchestra)
(Broadcast featured on iTunes and HD Tracks)
The Mahler 6 from Maazel's new cycle is probably the best recorded 6th I've ever heard. And the performance, like the powerful 9th from this cycle, is a revelation in terms of detail and dynamics. This recording taught me more about this symphony than I've heard in a long time. It is amazing in terms of drama. It simply has to be heard to be believed. If anything, listen to how the instruments are lovingly captured in the sonics. I've never heard so much of the score as in this performance. The instumentalists were truly playing from inspiration here.
Even those who don't like 18 minute Andantes may love what he does in the other movements.
It is easily my top M6 right now. Just edging out Lenny's Vienna Phil. account on DG...yes, I am speaking the truth here! At least to my ear!
Mahler: Symphony No.2
Gustav Mahler (Composer)
Simon Rattle (Conductor)
Kate Royal and Magdalena Kožená (soloists)
Rundfunkchor Berlin (Chorus)(iTunes exclusive...official CD release in Feb 2011)
I've been listening to the Rattle/BPO M2 everyday almost, and find it amazing. I want to review it soon, but I will say, the sonics are probably the best that Rattle has had. It is truly beautifully recorded. The organ is great, so are the tamtam and strings; the whole performance is mind boggling. I had stopped buying M2 for awhile, the Fischer, MTT, and Macal were my recent favorites. But this Rattle is more powerful than those.
