Mahler Syms (+ Das Lied) -- favoured recordings?

[Stlukesguild]

[Stlukesguild]

The Bruno Walter set with Kathleen wins hand down for Das Lied
von der Erde. It is not simply one of the best Mahler recordings
but one of the most gut-wrenching vocals ever put to tape or
disc. There is nothing that can equal Ferrier's vocals of Mahler's
Abscheid. This composition written by Mahler following the
medical exam that predicted the composer's early demise from
heart problems is sung in the shadows of death with such heart-
breaking emotion by Ferrier, who is herself dying and in full
recognition of this fact. An absolutely stunning performance.

Of course I would not be without the Christa Ludwig/Fritz
Wunderlich pairing with Klemperer:

[Chilperich]

I like Kubelik for Mahler. The right balance of passion and control.

[Herzeleide]

Klemperer for Das Lied.

[zoespeak]

I know Das Lied was written for orchestra (and voice, of course), but I heard the piano version first (Brigitte Fassbaender, Thomas Moser, Cyprien Katsaris) and I'm addicted to it - so hauntingly pure - a desert island disc for sure.

[grimke]

My wife and I went to a concert - which was an "experience". Yakov Kreizberg, conducting the Bournemouth Symphony Orchestra, Chorus and Soloists. The atmosphere was electric!! Especially where the men's section of the chorus start in hushed tones towards the end and gradually everything works up to an amazing crescendo of sound. A very rare occasion!

[autolycus]

Here's my list of favourites.

1. Horenstein [Unicorn]
2. Fried [first ever Mahler symphony recording]
3. F.Charles Adler [first I ever heard]; Kondrashin; Horenstein
4. Sejna [first I heard; most charming]
5. Walter; Mahler himself on a piano roll [1st movement]
6. Adler [my intro.]; Mitropoulos
7. Abbado; Bernstein [60s]; Horenstein
8. Horenstein [that crucial performance '59]
9. Walter; Horenstein [mid-60s Prom]

You might have spotted a pattern. Older performers are so full of character and took more risks. The Fried, recorded around 1924 and not for the faint-hearted], is the cheekiest. Imagine around 40 musicians gathering around a recording horn [no microphones] to record not a little work but one of Mahler's biggest.