This is a sound attitude to take with a composer whose musical voice plumbs the depths and rises to the heavens without any extra help.
What has impressed me most about this box set is the consistency of the performances which makes it easy to play through the entire set and hear how Mahler developed his art.
All Mahler fans have their own favourite performances of individual symphonies and there is always more that can be brought out in an individual performance. While the performances of symphonies 2 5 and 7 here are good and telling on their own terms there are certainly other conductors who have brought out more from these scores.
When it comes to symphony No 7 Tennstedt has chosen the usual modern timings for the movements which means that he takes 15 minutes for the 4th movement, a little faster than some but nowhere near Mahler's own timing of 12 minutes at the premier. I must say I prefer Mahler's own speed. Simon Rattle's performance with the City of Birmingham Symphony Orchestra, also on EMI, takes Mahler's lead and is worth investigating. The effect is to lighten the spirits of the whole work and make sense of Mahler's comment that it was a 'happy' symphony.
What are the high points to the Cycle ? Symphonies 3 and 8 here are often singled out, but they are actually simply up to the high overall standard.
The set does end on a high note with a clear persuasive reading of Symphony number 9 and the beggining Adagio movement of the unfinished 10th Symphony. The performance of the 9th Symphony has the majestic sweep of a master summing up his musical achievement and is entirely right and satisfying at the end of this high quality cycle. Tennstedt's master stroke is the way in which the final movement of the 9th fades, only for the music to be reborn in the Adagio of the 10th. By handling it in this way Tennstedt acknowledges both the end of the cycle of completed symphonies and the promise of further triumph's had Mahler lived, that the 10th represents.
My only regret after listening to the 10th's Adagio here is that Tennstedt did not record a performing version of the whole symphony, as I fond his approach more suited to the music than those of others who have recorded it so far.
These are good quality recordings from the beggining of the digital era. They are generally excellent and clear with the London Philharmonic Orchestra aquitting themselves well, as do the various Choirs and solo singers. There is perhaps a little too much brightness in the higher frequencies, especially in the brass. There is also a very wide dynamic range so that if you want to hear everything in the quietest passages you make find yourself overwhemed by the sound coming out of your speakers a few minutes later. This may be an accurate representation of the performances, but doesn't make for the easiest listening.
Overall a fine set. These are in no way Budget Price Performances, so at this price snap them up!
