Mahler recordings that haunt you

[Leo K]

It's interesting, but there are some recordings that I have only heard once, and didn't think I wanted to hear again, but yet...they return to my mind, like an impression or memory, and eventually I have to give in and listen.

For some reason, I have been thinking of Maazel's VPO M6, and today his M8.  I have this strong impression of his M6, which continues to grow in presence to my inner music memory, and for some reason I've been holding off on revisting...I think now that I have some time off I will have to listen to his full cycle, and I really love the VPO in this set (perhaps the sound of the VPO is the reason?).  I've had this experience with MTT's cycle, for instance his M3. I've also had this happen with Vonk's M2 from the Brilliance Box Mahler cycle, unfortunately I got rid of this some time ago. 

Anybody else have a lingering recording in their mind?


--Todd

[Jules]

There are two Mahler performances (M1 and Adagio from the M10) by Georg Tintner that were to appear in the context of the Tintner Memorial Edition on Naxos; they were even announced on the booklets of the cd’s… Unfortunately they have not come to light, since the original tapes are not in good conditions. Hopefully a new source will be found soon for these rare performances by a conductor who is not considered a mahlerian.

[john haueisen]

The first haunting performance that comes to mind for me is an Ozawa M2 I heard years ago.
At the time, I was not yet familiar with M2, but I heard what sounded like a sonic tsunami. 
Not yet well-acquainted with Mahler, I still immediately recognized this as a "very cool effect."
Later, after much reading, I know the sonic tsunami was Mahler's portrayal of the "end of days," the last judgment, or the opening of the graves and the resurrection of the dead.  No wonder a Mahler novice was haunted by such a dramatic moment in music.

Great topic suggestion, Todd!
I'm eager to hear what others find haunting, or of major personal significance.
--John H

[Don]

Ormandy's recording of the M10 Cooke I version. I was immediately overwhelmed by the work and the performance, which despite using the oldest, most incomplete Cooke version, still sounds good.

[barry guerrero]

.    .     .  " which despite using the oldest, most incomplete Cooke version, still sounds good".

Sounds great! So much so, that one could make the argument that Cooke should never have included the Matthews brothers additions to the score later on, minor as those additions may have been.