Repertoire: The BEST Mahler Das Klagende Lied
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- Опубликовано: 21 ноя 2024
- This early masterpiece--the work in which Mahler's unmistakable voice first appears--exists in two versions: originally in three parts, later revised in two parts, but the one we most usually hear is actually a mixture of both. Here's the bottom line on the various versions, performances, and recordings. Check out the video on Michael Gielen's recent Orfeo release too. It may be the best yet!
Wow, i recorded this piece and i was hoping against hope that it wasn’t among your dont care for versions. Then listening to your recommendations I wasn’t sure if you were going to recommend it or it didnt even make the consideration. Thankfully you liked it. From a grateful member of the San Francisco symphony chorus
Reminds me that I once had the first Boulez version. I liked it alot. The sound was glorious. The chorus so magical. And I loved the record jacket. Memories...
Thanks for reminding me of Das klagende Lied. I haven’t listened to it for quite a while (a few years ago I think!). I have Chailly’s recording and will have to get it out soon.
This is the way to describe opera! Great ! Thank you so much
Well, along with various GM symphonies from Scherchen, Rosbaud, Adler, Kubelik, Schwartz, I grew up with Das klagende Lied from Fritz Mahler and the Hartford SO. (1960 I believe). As a result, ALL subsequent recordings of DkL were real ear-openers, but that recording is of course fondly remembered. Gustav and Fritz- père distant cousins I believe.
I just get Das klagende lied by MTT in my hand ordered on momox only 2 euros. Cd is on super quality only need to change the plastic cover. 😅 , I have a record by B. Haitink and now will discover MTT . Thanks Dave.
Thank you so much, Dave, for your extremely informative analysis of “Das Klagende Lied”, its different versions and its recordings! I can share most of your findings about the music, but I do have some reservations on what you had to say about the plot, which you qualified as neglectable. I believe that Mahler chose Bechstein’s tale for the very good reason that he wanted to address the never-ending query of coming up with one’s past, a question that should haunt every Austrian of my generation, who witnessed how hesitant our society came about in unveiling its own Nazi past. In that sense, I regard Mahler’s choice as prophetic, as were his “Wunderhorn Lieder” when it comes to the suffering of soldiers and their families.
OK, but that's your POV, which is fine for you but hardly relevant to Mahler's intentions, especially as regards historical events that had not happened when the music was composed.
That's correct, but coming up with one’s past has always been a serious and valid issue, in Bechstein's time as in Mahler's.
The conjecture I've heard for what Mahler's primary reason for getting rid of Waldmärchen was is that there is more tension if the listener doesn't know the story of the murder until the flute tells it. I think that makes sense, but I usually listen to all three parts anyway just because it's nice to have more music. I like having Blumine around by the same token, though preferably not actually inserted into the first symphony.
While not a symphony, I am surprised that this (and Das Lied to a lesser extent) aren't included more often in recorded cycles. Only 5 major Mahler conductors having done it along with the symphonies?!?! Too bad, as I agree it's a terrific work and should be explored more by Mahler's best proponents. Can you imagine a Klemperer or Bernstein Klagende? Maybe Mehta could turn out a great one since he is so good in early Mahler and opera generally, or Levine or Solti back in the 70s? Thanks as always for a fun discussion, Dave.
Great overview. I know a few of your recommendations and I can add another excellent one: Rozhdestvensky with the BBC Symphony Orch, soloists featuring Janet Baker and Robert Tear. A live recording issued on ICA Classics. The conductor was not young, but he leads a very lively and musically satisfying performance of the 3-part version (revised, I think).
That story is the very same one as told in the British folk song "Cruel Sister." Only with the Brit song, the dark-haired sister drowns the blond, beautiful one to marry the handsome prince. And an itinerant musician finds the victim's bones and makes a harp using what was her rib cage as the frame and strands of her hair as the strings. And, of course, the harp starts playing itself at the crucial moment and sings, lamentably, of the murder. No castle collapse, though.
I only have the DG Boulez version, which I really enjoy (more than the first version). And I find it not at all lacking in colour or atmosphere... As for the piece, for an early work I find it as rewarding as other early Mahler.
Yes, the "DKL" is MTT's best Mahler recording from S.F. I also like the recording of the complete first version with Kent Nagano.
A question for you, David: Why are so many of the great conductors dead (or likely to be so sooner than later)? Put more delicately, can you discuss at some point the quality of contemporary conductors and who is likely to be considered as great as the late great ones...Thanks...and keep talking and I'll keep listening...
Well, I don't think that's true as a basic point--take a moment to consider your own historical perspective, but thank you for the suggestion. I will give it some thought too.
Thanks for the recs, Dave. This is one of the few Mahler works that I listen to infrequently, so I need to catch up. I was wondering if you've ever reviewed film scores? Or if you have a favorite film score composer, or scores that you enjoy the most?
Thanks again!
I've already made a couple of videos reviewing film scores, and will certainly do more.
I think the title of this somewhat neglected work is a pun: it might be translated 'The complaining Song' too, which is exactly what the bone flute plays. Thank you, and take care...
Dave, I noticed one for a mere $1.99 as a download with the Prague Symphony under Herbert Ahlendorf. I didn't know that version was out there. Was it not good enough to make the review...or was it one you hadn't heard? I figured it might be kinda interesting, if only because of the Czech forces.
Kinda interesting about describes it.
Hi dear dave.noticed that on the Dvorak surveys,you ignored the jiri belohlavec decca cycle.knowing your taste,i figured you find him dull?
Biingo! He IS dull. Painfully so.
I like the Wyn Morris with Janet Baker version on Nimbus