Mahler First Symphony Titan – Best versions – 2-4/4

1st movement with 100 versions
I will make a final selection after hearing movements 2 & 3.

2nd movement

1952 – Jasha Horenstein – Wiener Symphoniker
Lacks of some rhythmic rebound, but the ‘trio’ is so delightfully Viennese. 8,5

1954 – Rafael Kubelík – Wiener Philharmoniker
Same comments, just a better orchestra. 8,5
Here are some backstage moments of the recording.

1958 – Adrian Boult – London Philharmonic Orchestra
It is written “doch nicht zu schnell”, Boult didn’t care (5’54” instead of an average of a little more than 7’…). It has the merit to be original though a little shaky sometimes. The nonsense appears with the trio. 7,5

1961 – Bruno Walter – Columbia Symphony Orchestra
Sound is a little thick. Impression of relentless, powerful and dramatic, no peace with the trio. 8,5

1962 – Erich Leinsdorf – Boston Symphony orchestra
Almost 8′ this time… Very well balanced, the trio makes almost you forget the return of the scherzo, maybe he speeded up at the end. 8

1967 – Rafael Kubelik – Symphonie-Orchester des Bayerischen Rundfunks
Having probably listened to it for more than on hundred times, I feel almost disappointed… but the trio is a must (strings). 8,5

1969 – Jacha Horenstein – London symphony orchestra
I find the tempo a little slow, but the musical flows very well, horns a little be loud before the trio, which is a marvel of animation, tunes, body, shape, rhythm… 9

1977 – Seiji Ozawa – Boston Symphony Orchestra
Quel orchestre ! Maybe less characterized than Kubelik or Horenstein, strings driven, virtuoso, maybe too much before the trio, which ends rather superficially, but a good account altogether. 8

1980 – Rafael Kubelik – Symphonie-Orchester des Bayerischen Rundfunks
Very similar to the DG studio. 8,5

1989 – Claudio Abbado – Berliner Philharmoniker
Very detailed, brisk, text somehow solicited, but beautiful atmospheres and an extraterrestrial orchestral. 8

1992 – Evgeni Svetlanov The Russian State Symphony Orchestra
8’30″… Time to detail all interventions but it lacks of some nerve, a dreamy but also languishing trio. 7,5

1995 – Riccardo Chailly – Koninklijk Concertgebouworkest, Amsterdam
8’30” also. A rather distant lecture lacking of rhythm. 7,5

2007 – Mariss Jansons – Symphonieorchester des Bayerischen Rundfunks
8’24”, but it sounds much slower. Rather dull. 7

2013 – Zubin Mehta – Australian World Orchestra
Slow tempo again, lacks of rhythm, animation and ‘second degré’. Stylish trio. 7,5

2014 – Thomas Hengelbrock – NDR Sinfonieorchester
6’10” this time. Really original conducting, we could think there are many idiosyncrasies if the whole wasn’t conducted with a relentless musical flow. Dreamy but lively trio. The surprise of this survey. He is associate conductor at the Orchestre de Paris; I read a French critic saying he should keep with the baroque répertoire, wrong again… 8,5

A lecturer was astonished I did not like Steinberg in the 1st movement “the best Mahler interpreter for Anna Mahler”. A slow 2nd movement, very Viennese, but too much for my taste – for me it should be played more “Feet in clay”, enjoyable anyway.

3rd movement

1952 – Jasha Horenstein – Wiener Symphoniker
Probably one of the first bass solo of the repertoire ? A slow lecture, more inexorable than vivid… 8

1954 – Rafael Kubelík – Wiener Philharmoniker
Funny enough, the Naxos reissue isn’t entirely available on Qobuz, but the Decca is… Beginning is really pp, superb oboe, strings in n° 6 sound like bones, phrasing more characterized than Horenstein, better orchestra and sound again. 9

1958 – Adrian Boult – London Philharmonic Orchestra
Very fast again, bass a little out of tune. It is then very lively, but we search “Mit Parodie” at 6… Dynamic indications not always followed, enjoyable though. 8

1961 – Bruno Walter – Columbia Symphony Orchestra
We finally hear the flutes at 3. Sonorous recording. He respected the “ziemlich langsam” at 5. N° 10 may be a little too much retained. 8,5

1962 – Erich Leinsdorf – Boston Symphony orchestra
Nothing much to say: good tempo, indications respected, splendid orchestra, no thrilling though. 8

1967 – Rafael Kubelik – Symphonie-Orchester des Bayerischen Rundfunks
A little less characterized than in Vienna, but such a warm reading, evident for me. 9

1969 – Jacha Horenstein – London symphony orchestra
A good version but lacking of some relief, a little low tension. 8

1977 – Seiji Ozawa – Boston Symphony Orchestra
First class bassist… No parodie here, just a great orchestra. 7,5

1980 – Rafael Kubelik – Symphonie-Orchester des Bayerischen Rundfunks
Maybe less glissandi than with Wienna. Kubelik having in his youth difficulties with the 7th asked advice to Erich Kleiber who said: “just breathe”. That is exactly my feeling here. 9

1989 – Claudio Abbado – Berliner Philharmoniker
Such instrumentalists… Every thing sounds perfect. Except with Barbirolli, i always thought the Berlin Philharmonic was almost too much beautiful and clean for Mahler, but you are obliged to succumb. 9

1992 – Evgeni Svetlanov The Russian State Symphony Orchestra
One of the slowest. Dark start, a real funeral march, no parodic element here. Old Russian masters have often been underrated in the austro-german repertoire (he made great Brahms for example). An original, taking but a little univoque approach. 8,5

1995 – Riccardo Chailly – Koninklijk Concertgebouworkest, Amsterdam
Orchestra too much mellow? 4: he makes harps really sounding, superb balance all along anyway. But you do not feel really concerned. 7,5

2007 – Mariss Jansons – Symphonieorchester des Bayerischen Rundfunks
It is rather dull, accelerating at 6 do not bring any Parodie. 7,5

2013 – Zubin Mehta – Australian World Orchestra
Sound like there are more than one bass… A good lecture, not really taking. 7,5

2014 – Thomas Hengelbrock – NDR Sinfonieorchester
The fastest. This brisk tempo allows him to give an overall second degré impression. Imaginative, vivid and so well done. 8,5

I will keep 7, skipping one Kubelik, for a quick conclusion.

4th movement

1952 – Jasha Horenstein – Wiener Symphoniker
Stunning beginning, lacks a little bit of power at the end of 5. Still not the best orchestra, 22 not really maddening,
Altogether an authentic mahlerian lecture, just rather old sound and an average orchestra to say the least.

1954 – Rafael Kubelík – Wiener Philharmoniker
Singing strings, maybe no powerful enough, marked rhythms as we like, This is altogether a very fine account of this work, with a correct sound and of course a top class orchestra.

1961 – Bruno Walter – Columbia Symphony Orchestra
Big sound, powerful version, more than 65 years later, it is still one of the best!

1967 – Rafael Kubelik – Symphonie-Orchester des Bayerischen Rundfunks
Such vitality, investment, too bad the DG sound chain gave us a narrow image and a lack of extreme bass. It is still for me the best complete Mahler set, except for the 6th. I listened to the entire movement once again…

1969 – Jacha Horenstein – London symphony orchestra
Thunderstorms and panic at the beginning… For sure an engaged interpretation. Sound less refined than the previous but with more impact. One of the best versions.

1989 – Claudio Abbado – Berliner Philharmoniker
Everything is well arranged here, but It sounds a little exterior.

2014 – Thomas Hengelbrock – NDR Sinfonieorchester
Original again, beginning driven by the strings, rather fast, less univoque than the older conductors, vivid and taking though.

New releases : François-Xavier Roth – Les Siècles – 2019
First release on ‘period’ instruments. Superb ambiance in the 1st movement, as in the 3rd, which lacks of some drive at the end. Wonderful 4th movement, you just miss some drive again, some effects (in the good sense of the word) like… I let you guess. Great conducting anyway. 8

Conclusion

All these hours to find out my preferred versions are by Horenstein Kubelik & Walter! But the discovery of the Hengelbrock issue pays for it (but I forgot Ken-Ichiro Kobayashi).

I would like to recall here the edition of Das Klagende Lied by Kubelik.