Gustav Mahler: The Complete Symphonies - Klaus Tennstedt, London Philharmonic Orchestra

Gustav Mahler: The Complete Symphonies

Klaus Tennstedt, London Philharmonic Orchestra

Studio Recordings 1977-1986

11 CDs, Released: 1998 
EMI Classics ‎– 5729412

The London Philharmonic Orchestra

Conductor: Klaus Tennstedt
The London Philharmonic Choir (tracks: 2-1 to 2-4, 8-2 to 9-12)

Southend Boys' Choir (tracks: 3-1 to 4-1

Tiffin School Boys' Choir (tracks: 8-2 to 9-12) 
Alto Vocals: Ortrun Wenkel (tracks: 3-1 to 4-1)

Baritone Vocals: Jorma Hynninen (tracks: 8-2 to 9-12)

Bass Vocals: Hans Sotin (tracks: 8-2 to 9-12)

Contralto Vocals: Nadine Denize (tracks: 8-2 to 9-12), Trudeliese Schmidt (tracks: 8-2 to 9-12)

Mezzo-soprano Vocals: Doris Soffel (tracks: 2-1 to 2-4)

Organ: David Hill (tracks: 8-2 to 9-12)

Soprano Vocals: Edith Mathis (tracks: 2-1 to 2-4), Edith Wiens (tracks: 8-2 to 9-12), Elizabeth Connell (tracks: 8-2 to 9-12), Felicity Lott (tracks: 8-2 to 9-12)

Tenor Vocals – Richard Versalle (tracks: 8-2 to 9-12)

Tracklist:

Symphony No. 1 In D Major
CD 1-1 I Langsam, Schleppend
CD 1-2 II Kraftig Bewegt
CD 1-3 III Feierlich Und Gemessen
CD 1-4 IV Sturmisch Bewegt

Symphony No. 2 In C Minor "Resurrection"
CD 1-5 I Adagio Maestoso
CD 2-1 II Andante Moderato
CD 2-2 III In Ruhig Liessender Bewegung
CD 2-3 IV Urlicht
CD 2-4 V Im Tempo Des Scherzo

Symphony No. 3 In D Minor
CD 3-1 I Kraftig, Entschlieden
CD 3-2 II Tempo Di Menuetto
CD 3-3 III Comodo, Scherzando
CD 3-4 IV Sehr Langsam
CD 3-5 V Lustig Im Tempo
CD 4-1 VI Langsam, Ruhevoll, Empfunden

Symphony No. 4 In G Major
CD 4-2 I Bedachtig
CD 4-3 II Im Gemachlicher Bewegung
CD 4-4 III Ruhevoll
CD 4-5 IV Sehr Behaglich

Symphony No. 5 In C Sharp Minor
CD 5-1 I Trauermarsch
CD 5-2 II Sturmisch Bewegt
CD 5-3 III Scherzo
CD 5-4 IV Adagietto
CD 5-5 V Rondo - Finale

Symphony No. 7 In E Minor
CD 6-1 I Langsam
CD 6-2 II Nachtmusik 1
CD 6-3 III Scherzo
CD 6-4 IV Nachtmusik 2
CD 7-1 V Rondo - Finale

Symphony No. 6 In A Minor
CD 7-2 I Allegro Energico
CD 7-3 II Scherzo
CD 7-4 III Andante Moderato
CD 8-1 IV Finale

Symphony No. 8 In E Flat Major
CD 8-2 Veni Creator Spiritus
CD 8-3 Imple Superna Gratia
CD 8-4 Infirma Nostri Corporis
CD 8-5 Accende Lumen Sensibus
CD 8-6 Veni Creator Spiritus
CD 8-7 Gloria Patri Domino

Symphony No. 8 In E Flat Major
CD 9-1 Waldung Sie Schwankt Heran
CD 9-2 Ewiger Wonnebrand
CD 9-3 Wie Felsenabgrund Mir Zu Fußen
CD 9-4 Gerettet Ist Das Edle Glied
CD 9-5 Uns Bleibt Ein Erdenrest
CD 9-6 Hier Ist Die Aussicht Frei
CD 9-7 Hochste Herrscherin Der Welt
CD 9-8 Dir, Der Unberuhrbaren
CD 9-9 Bei Der Liebe, Die Den Fußen
CD 9-10 Neige, Neige, Du Ohnegleiche
CD 9-11 Blicket Auf Zum Retterblick
CD 9-12 Alles Vergangliche

Symphony No. 9 In D Minor
CD 10-1 I Andante Comodo
CD 10-2 II Im Tempo Eines Gemachlichten Landlers
CD 10-3 III Rondo- Burleske
CD 11-1 IV Adagio

Symphony No. 10 In F Sharp Minor
CD 11-2 I Adagio

From Ralph Moore review:

Tennstedt's Mahler is of the old school; no "Mahler lite" here. The word which repeatedly came into my head while listening was "majestic". His tempi are indeed often slow but by no means necessarily the slowest in comparison with other successful versions and his sense of the music's architecture invariably means that he eschews any tendency to drag. The quality most associated with his interpretation is massiveness, a sense of great blocks of sound being manipulated into position to form a mighty edifice.

This studio cycle was recorded over a period of nine years from 1977 to 1986 and I would say right away that the sound is remarkably good. At first sight, EMI's decision to remaster only some symphonies is puzzling but in fact is quite straightforward: only those symphonies recorded in analogue between 1977 and 1981 have been deemed in need of remastering, which was done between 2000 and 2002 - with the exception of no. 2, which was recorded in very early digital in 1981 and thus presumably too glassy or in some way unsatisfactory owing to inexperience with the technology. Otherwise, the remaining nos. 4, 6, 7, 8 and "Das Lied von der Erde" were all recorded in digital sound and EMI have presumably deemed it unnecessary to remaster them.

...

Tennstedt called the London Philharmonic Orchestra "the best orchestra for Mahler in the world" and when listening to certain passages, such as those featuring the flutes and oboes in the "Abschied" from "Das Lied", I can only concur; there is a great deal of wonderful solo artistry, especially from the woodwind and horns, and invariably a gorgeous sheen on the sound of the orchestra as a whole. The best performances here are, I think, the Third and the Eighth, but the set as a whole represents an extraordinary bargain and an indispensable survey of Tennstedt's special gifts in Mahler, suitable either for the seasoned collector or the novice wanting to be introduced to the glories of Mahler's symphonic world.

Given Tennstedt's penchant for grandeur, the opening of the First Symphony is a model of delicacy and restraint: over a gentle ppp the horns intone their motto suggestive of "faery lands forlorn", then the trumpet fanfare injects a note of urgency, the orchestra building to the most stirring climax possible. As throughout this cycle, the brass and horns are marvellous, often whooping with Straussian verve. The only disappointment here comes with the rather diffident manner the trumpets adopt for the passage at 10:38. Time and again one is struck by Tennstedt's sense of pace and timing, his artful use of rubato, his ability to recapture the momentum having once relaxed. With Tennstedt, one must always take the long view, but occasionally - and most damagingly, perhaps, in the Ninth - a lack of emphasis and punch such as Bernstein or Solti can bring to crucial moments is apparent in Tennstedt's "slow burn" demeanour.

The "Resurrection" is the longest of many a recording, making Klemperer look positively brusque, but Doris Soffel copes admirably with the etiolated tempi, sustaining a rich, steady line and Tennstedt justifies his choice of beat, securing terrifying energy and commitment form the London Philharmonic Choir and steering the work home to an ending of overwhelming opulence and majesty. A great recording, not perhaps, as all-embracing as his live LPO version, but nonetheless a success within the context of the recorded cycle.

The Third, as I have already said, is one of the best of all and also in the best sound. I still think that Levine is the most satisfying of all in the way he combines brooding mystery with dark purpose but both he and Tennstedt capture the ironic, faux-naif deliberateness the opening movement demands. Movement by movement, I find that his rivals sometimes surpass Tennstedt: in the second, both Kubelik and Levine manage to bring more charm to the tripping bucolic dance and in the third alto Ortrun Wenkel is very ordinary alongside Horne and Podles, but then nor do Bernstein (Martha Lipton) or Kubelik (Marjorie Thomas) have the best singers and they are still front-runners in this symphony. Tennstedt is just a tad too voluptuous compared with Bernstein, Wit and Kubelik in the "Sehr langsam. Misterioso" fourth movement, his boy trebles lean into the "Bim-bams" rather coyly - the direction is "keck", not winsome - but this performance is greater than the sum of its parts and I find it the most successful after the Eighth, Both Bernstein and Levine take considerably longer than Tennstedt over the sixth movement and have been accused of taking an overblown approach, and although it is difficult to see how it is possible to overdo the intensity of such music, Tennstedt somewhat more restrained and refined interpretation also eschews to some degree the unwelcome sentimental association of the melody with "I'll be seeing you again" uneasily melded with strains of "Also sprach Zarathustra".

The Fourth Symphony here is a gloriously open, lyrical, warm-hearted performance. Tennstedt's tempi can be daringly extreme but they work; this is a tender, poised account which succeeds in transporting us heavenward. Soprano soloist Lucia Popp is perfect; her honest, direct singing is all Viennese charm without a hint of schmaltz.

I have already indicated that the Fifth is a great success. It created a stir on its appearance and remains a tour de force both of orchestral playing and interpretative cohesiveness; the central Scherzo, in particular, is striking in the virtuosity of the LPO horns and brass and the passion of Tennstedt's direction. The Sixth is a dense, doom-laden trudge, the slowest recording of all, yet Tennstedt's wonderful control of dynamics and sense of overall shape weaves a magical spell, preferable to Yoel Levi's almost panic-stricken haste, Szell's steely, frenetic urgency or Levine's crisp, clipped drive. It is in fact closest in mood to Bernstein's weighty grandeur and those two remain my two favourite versions. The live recording is even slower, but still hangs together. Similarly, both performances of the Seventh look leisurely on paper but are immensely compelling.

In the monumental Eighth, Tennstedt inspires his forces - somewhat smaller than normal but certainly not lacking in power or gravitas - to produce one of the finest recordings of this great but unwieldy and uneven work.

I have read criticisms elsewhere of some supposed inadequacy in the soloists and a slackening of tension in Part 2. I certainly hear nothing of the kind: the singers are wonderful, especially Edith Wiens as Una Poenitentium, and the climax to the whole piece is breath-takingly majestic. The sound is very fine and the reduction in choir members is all to the good as it allows Tennstedt to achieve greater clarity but without loss of weight. His tempi are finally judged, if occasionally idiosyncratic - but he does everything for good reason and clearly has a broad, over-arching vision of how the music should go, such that he manages to bridge some of the bare patches and potential longueurs when Mahler's inspiration flags somewhat. I found both the London Philharmonic Choir and the Tiffin School Boys to be thrilling, with intonation secure even in the upper reaches of the voices.

I agree with previous commentators that the Ninth is perhaps the least successful symphony here. It is a big, grand, gloomy account which lacks Bernstein's élan and often simply goes slack. Rhythms lose the pulse and despite some glorious playing and impressive moments, the conception is too diffuse and the momentum stalls.

The Adagio from the Tenth brings compensation for that disappointment; the sound is superb and Tennstedt has recovered the spontaneity missing in the Ninth; the intensity of the psychomachia depicted here is riveting, such that one gives nary a thought to the exceptionally long duration of the movement that Tennstedt demands.

This box set is a wonderful testament to the devotion to Mahler of a conductor who came late to the composer but brought to his music the mature fruits of his own mental and bodily suffering. It is not flawless but evinces an integrity and honesty of response, in harmony with a technical proficiency, which secure Tennstedt's place amongst the greatest interpreters of Mahler.