Gielen's DLVDE/Hanssler

[John Kim]

Has anybody heard this recording?

John,

[Freddy van Maurik]

I bought it, but haven't found the time to listen to it, yet.

It's somewhat strange: they compiled this disc from 2 different recordings. Parts 1, 3 and 5 are with Siegfried Jerusalem, in a recording from November 1992 - parts 2, 4 and 6 are with Cornelia Kallisch, in a recording from November 2002. They are 10 years apart!

When I've listened to it, I'll report back.

Cheers!
Freddy

[John Kim]

I bought it, but haven't found the time to listen to it, yet.

It's somewhat strange: they compiled this disc from 2 different recordings. Parts 1, 3 and 5 are with Siegfried Jerusalem, in a recording from November 1992 - parts 2, 4 and 6 are with Cornelia Kallisch, in a recording from November 2002. They are 10 years apart!

When I've listened to it, I'll report back.

Cheers!
Freddy

That's quite bizarre indeed

I read a rave review posted on amazon.com and that's how I got interested in this recording.

I like Jerusalem's singing in Barenboim and Levines versions, so my expectation is pretty high here.

Gielen's generally objective, cool approach may work out pretty well for the piece that is full of high emotions.

I'd wait for your review.

Thanks.

John

[ChrisH]

I've listened to it multiple times. I'd put this toward the top of the heap. The orchestra plays the pants off of this. Siegfried Jerusalem hits all of the right note for myself. He really adds character to this, he's not quite Sheier from the Sanderling recording, but very close. I'm still undecided on what I think of Kallisch. Perhaps a shade to much vibrato for me.

If you like Gielens' work, I think you should enjoy this.

Oh, yeah, the recording quality is top notch.

I wouldn't hesitate to pick this one up.

[John Kim]

I've listened to it multiple times. I'd put this toward the top of the heap. The orchestra plays the pants off of this. Siegfried Jerusalem hits all of the right note for myself. He really adds character to this, he's not quite Sheier from the Sanderling recording, but very close. I'm still undecided on what I think of Kallisch. Perhaps a shade to much vibrato for me.

If you like Gielens' work, I think you should enjoy this.

Oh, yeah, the recording quality is top notch.

I wouldn't hesitate to pick this one up.

Do you find a consistency between the odd & even numbered movements that were recorded 10 years apart?

Thanks. for the heads up.

John,

[ChrisH]

Do you find a consistency between the odd & even numbered movements that were recorded 10 years apart?

Thanks. for the heads up.

John,

Honestly I had no idea about this the first few times I listened.The 10 year span between the soloists. So, I would have to say yes, it sounds consistent to my ears, played on my stereo. I'm sure engineering helped with this though.

This recording surely works as a whole. Everything fits together. It doesn't feel or sound piecemeal at all. But, I would love to hear the other parts that were swapped. It'd be interesting to hear the full performances of which this disc was put together. Hell, half the orchestra could have been different too. 

[John Kim]

Vehemence,

Thanks.

It sounds like the version I've been waiting for all these years .

I also like Gielen's  recordings of M3rd, M6th, M7th (possibly the best all around version).

His second go at the M9th is also excellent, but I wish the sound were less 'flat' and had more depth.

I'll put an order for this DLVDE today.

John,

[sperlsco]

My quick take, as I bought this a couple of months ago.  Gielen and the orchestra are absolutely top notch.  There is an excellent amount  of orchestral detail and Gielen conducts with excellent flow throughout.  As an example, the "horse scene" from Of Beauty gives the impresssion of her heart racing with the stallions.  The tam-tam in the finale is perfect.   I quite like Jerusalem, but am less thrilled by Kallisch.  Only the female soloist keeps this from being a top choice.  I would never have known that the parts were recorded 10 years apart. 

[barry guerrero]

Guys and gals,

A really good, RECENT "DLvdE" is the one on Exton with Lilli Paasikivi/Stuart Skleton/V. Ashkenazy/Sydney S.O.  Of course, it would cost you more money than the Gielen. Paasikivi sounds great! Then again, you could just buy yourself the Bertini Mahler box (EMI), and then you'd get a truly great "DLvdE" with Marjana Lipovsek and Ben Heppner. Sorry, but I'm staying away from the Gielen. 

[John Kim]

My quick take, as I bought this a couple of months ago.  Gielen and the orchestra are absolutely top notch.  There is an excellent amount  of orchestral detail and Gielen conducts with excellent flow throughout.  As an example, the "horse scene" from Of Beauty gives the impresssion of her heart racing with the stallions.  The tam-tam in the finale is perfect.   I quite like Jerusalem, but am less thrilled by Kallisch.  Only the female soloist keeps this from being a top choice.  I would never have known that the parts were recorded 10 years apart. 

Thanks. Could you elaborate why you're less thrilled by Kallisch?

John

[John Kim]

OK, what about Krips/Dieskau/Wunderlich/VSO/DG DLVDE from the early 60s?

Has  anybody heard it?

John

[barry guerrero]

John,

I haven't tried it but a few people I know have said that they really like it. I don't think I'll bother because, well, I'm happy with Wunderlich on the Klemperer recording; and, I'm happy with F-D. on the Bernstein/VPO recording. I don't feel a need to combine the two.

[John S]

John,

I haven't tried it but a few people I know have said that they really like it. I don't think I'll bother because, well, I'm happy with Wunderlich on the Klemperer recording; and, I'm happy with F-D. on the Bernstein/VPO recording. I don't feel a need to combine the two.

When Wunderlich enters on the first song of the Klemperer, it is most thrilling, not just in all of Mahler but in all of music.

It should be noted, in light of the above conversation, that the Klemperer recording was disjointed by time.  The recording sessions ended up spanning twenty-nine months in two locations -- Kingsway Hall and Studio 1, Abbey Road.  In light of this, the sense of unity on this recording is extraordinary.

[barry guerrero]

"In light of this, the sense of unity on this recording is extraordinary."

Agreed. Then again, Klemperer wasn't exactly the type to change his 'interpretations' (hate that word) from day to day. 

[sperlsco]

My quick take, as I bought this a couple of months ago.  Gielen and the orchestra are absolutely top notch.  There is an excellent amount  of orchestral detail and Gielen conducts with excellent flow throughout.  As an example, the "horse scene" from Of Beauty gives the impresssion of her heart racing with the stallions.  The tam-tam in the finale is perfect.   I quite like Jerusalem, but am less thrilled by Kallisch.  Only the female soloist keeps this from being a top choice.  I would never have known that the parts were recorded 10 years apart.  

Thanks. Could you elaborate why you're less thrilled by Kallisch?

John

Simply put, I am not a fan of her voice.  Perhaps her voice is not as self-assured or stable as a Baker or Ludwig -- it is hard to put my finger on it.  However, she knows how to sing the piece well.  As an example, she controls her volume very appropriately in the Farewell.

As an FYI, the Ashkenazy (and Gielen too) is available as a download from eMusic if you are interested.  It is very economical and possibly a different performance than the Exton release (the download is not listed as an Exton release nor does it share its artwork).  I can't say that I enjoyed the Ashkenazy as much as the Gielen one, as it is not nearly as well played or conducted.  Ashkenazy has the better Mezzo though.