You will probably be as incredulous as I was to learn that the greatest cycle of Mahler symphonies comes not from any of the usual suspects - Abbado, Bernstein, Chially, Haitink, Kubelik, Rattle, Sinopoli, Solti, Tennstedt - but from the unsung Gary Bertini, who spent the better part of his career as music director of the Cologne Radio Symphony Orchestra. Unlike any of those more publicized sets, each of which includes a misfire or two, Bertini is consistently successful from first to last; his performance of each of these works can stand comparison with the very best available.
A native of Munich, Karl Amadeus Hartmann (1905-1963) was without a shadow of a doubt the greatest symphonist in the Central European tradition since Bruckner and Mahler. The sketches and early versions of six of his eight symphonies had their origins in one of the darkest periods in world history – from 1933 to 1945 – when the Nazis were in power and Hartmann gradually withdrew completely from public life. This period, which culminated in Hartmann’s own ‘Innere Emigration’ (inner emigration), represented a decisive turning point in his creative development…
Fans of Gustav Mahler's joyous Symphony No. 4 in G major will relish this buoyant performance by Ivan Fischer and the Budapest Festival Orchestra, featuring soprano Miah Persson, for it is wholly in keeping with the light tone and merry spirit of the score and is as delightful as any other recording on the market.
Claudio Abbado was an Italian conductor. One of the most celebrated and respected conductors of the 20th century, particularly in the music of Gustav Mahler, he served as music director of the La Scala opera house in Milan, principal conductor of the London Symphony Orchestra, principal guest conductor of the Chicago Symphony Orchestra, music director of the Vienna State Opera, founder and director of Lucerne Festival Orchestra, music director of European Union Youth Orchestra and principal conductor of the Berlin Philharmonic orchestra.
This is a reissue of Mahler performances delivered in Cologne in 1992 and 1993, and Thomas Quasthoff, just on the verge of international fame, was in phenomenal voice. The upper extension of his beautiful, expressive bass-baritone is thrilling, in perfect control. Artistically, he only grew stronger, as evidenced by his searing reading of 'Lieder eines fahrenden Gesellen' under Boulez (DG), but this earlier interpretation comes close, and there's no comparison so far as vocalism is concerned. The WDR orchestra plays well under the rather prosaic leadership of the late Gary Bertini (a native Russian who emigrated to Palestine as a child in the 1930s)– both are good enough, and the recorded sound is excellent. In all, this is a shattering reading by Quasthoff that should be heard by every lover of Mahler.
Bold, lush, and exquisite piano quartets by Mahler, Schumann, and Brahms, this core classical album presents some of the finest pieces written in the romantic era. For this chamber music album, Daniel Hope has put together a stellar cast, including CMS Artistic Directors David Finckel and Wu Han, as well as viola legend Paul Neubauer.