The Best Mahler 3?

[Barbirollians]

It is, indeed. There is a story (I don't know how/if accurate) that at the start of one of the recording sessions, Deryck Cooke brought the news that Barbirolli had died overnight, and that Horenstein decided to record the last Movement as tribute.

There is something quite Barbirolli like about it so sounds credible .

This symphony can suffer so much from unsubtle conducting and Horenstein's recording sounds just right . The first movement can sound all crash bang wallop in some hands and he brings out so much in the score that I had not heard before .

[richardfinegold]

There is something quite Barbirolli like about it so sounds credible .

This symphony can suffer so much from unsubtle conducting and Horenstein's recording sounds just right . The first movement can sound all crash bang wallop in some hands and he brings out so much in the score that I had not heard before .

Bernstein and Horenstein are my two favorites. I'd give the later Bernstein the nod over the 60s because of the superior recording but otherwise the two performances are about equal. Both Conductors treat the sprawling I as a series of separate tales that coalesce, or perhaps more accurately, as movements within a movement.
The Barbirolli story is interesting because I always have thought that Horenstein's finale was particularly poignant

[ferneyhoughgeliebte]

Bernstein and Horenstein are my two favorites.

- except that I prefer younger Lennie: the exciting spirit of adventure and discovery there wins for me over the ever-so-slightly sense that I get of "let's make it more spiritual" approach in the later version. The two 'steins between them give pretty-nigh complete idea of this great work - and then the Barbirolli reveals that there's even more to it!

Of more recent versions, I was impressed by the Honneck/Pittsburgh - but severely let down (for me) by the Contralto; I would have added the discs to my collection if not for her.

[Bryn]

- except that I prefer younger Lennie: the exciting spirit of adventure and discovery there wins for me over the ever-so-slightly sense that I get of "let's make it more spiritual" approach in the later version.

Just a pity that the New York Lenny and the Horenstein recordings both pre-date the Rattle/Gielen et al interpretation of Mahler's hinaufziehen instruction for oboe and cor anglais.

[Nimrod]

I too like the Horenstein recording and both the Barbirolli ones, Halle and Berlin Philharmonic. I was lucky enough to hear Horenstein and the LSO live in the RFH (31/05/1970), a stupendous performance and I shall never forget the sight, at the start of the recapitulation in the first movement after figure 55 where Mahler calls for a cymbal crash of triple forte, of not one, not two but three pairs of cymbals held aloft and shimmering! I still have the programme, autographed by JH and reviews, one of which says "In sum, an unforgettable occasion". I haven't forgotten!

[Barbirollians]

I prefer the Halle to the Berlin PO Barbirolli account but the latter is also worth having .

[visualnickmos]

I seem to have acquired the recording of 1998, with Andrew Litton and the Dallas Symphony Orchestra. Rather enjoyable, and very well-engineered recorded sound. Gets a 'thumbs up' from me

As for a best Mahler 3; how does one decide which is best ? I have a few - and I enjoy them all - but best - don't ask me....

[mahlerei]

Iván Fischer (Channel) is a must hear; he challenges one's expectations at every turn. Exceptional sonics, too. And having heard his older brother Ádám in the Fourth and Seventh (C-Avi) I look forward to his Third.

[Stanfordian]

In Mahler 'Symphony 3' from my collection I find it hard to choose between this half dozen:

Bernard Haitink - Symphonieorchester des Bayerischen Rundfunks
Gerhild Romberger (contralto)
Augsburger Domsingknaben,
Frauenchor des Bayerischen Rundfunks
Recorded live 2016 Philharmonie, Munich
BR Klassik

Claudio Abbado - Berliner Philharmoniker
Anna Larsson (contralto)
London Symphony Chorus, City of Birmingham Youth Chorus
Recorded live 1999 Royal Festival Hall, London
Deutsche Grammophon.

Leonard Bernstein - New York Philharmonic
Martha Lipton (mezzo-soprano)
Women's Chorus of the Schola Cantorum, Boys' Choir of the Church of the Transfiguration
Recorded 1961 Manhattan Center, NYC
CBS now Sony.

Leonard Bernstein - New York Philharmonic
Christa Ludwig (mezzo-soprano)
New York Choral Artists, Brooklyn Boys Chorus,
Recorded 1987 Avery Fisher Hall, NYC
Deutsche Grammophon,

Rafael Kubelik - Symphonieorchester des Bayerischen Rundfunks
Marjorie Thomas (contralto)
Chor des Bayerischen Rundfunks, Tölzer Knabenchor
Recorded live 1967 Herkulessaal, Munich
Audite

Claudio Abbado - Lucerne Festival Orchestra
Anna Larsson (contralto)
Vienna Arnold Schoenberg Choir, Tolzer Knabenchor
Recorded live 2007 Lucerne
Medici Arts DVD/Blu-ray.

[richardfinegold]

In Mahler 'Symphony 3' from my collection I find it hard to choose between this half dozen:

Bernard Haitink - Symphonieorchester des Bayerischen Rundfunks
Gerhild Romberger (contralto)
Augsburger Domsingknaben,
Frauenchor des Bayerischen Rundfunks
Recorded live 2016 Philharmonie, Munich
BR Klassik

Claudio Abbado - Berliner Philharmoniker
Anna Larsson (contralto)
London Symphony Chorus, City of Birmingham Youth Chorus
Recorded live 1999 Royal Festival Hall, London
Deutsche Grammophon.

Leonard Bernstein - New York Philharmonic
Martha Lipton (mezzo-soprano)
Women's Chorus of the Schola Cantorum, Boys' Choir of the Church of the Transfiguration
Recorded 1961 Manhattan Center, NYC
CBS now Sony.

Leonard Bernstein - New York Philharmonic
Christa Ludwig (mezzo-soprano)
New York Choral Artists, Brooklyn Boys Chorus,
Recorded 1987 Avery Fisher Hall, NYC
Deutsche Grammophon,

Rafael Kubelik - Symphonieorchester des Bayerischen Rundfunks
Marjorie Thomas (contralto)
Chor des Bayerischen Rundfunks, Tölzer Knabenchor
Recorded live 1967 Herkulessaal, Munich
Audite

Claudio Abbado - Lucerne Festival Orchestra
Anna Larsson (contralto)
Vienna Arnold Schoenberg Choir, Tolzer Knabenchor
Recorded live 2007 Lucerne
Medici Arts DVD/Blu-ray.

I've managed to acquire two Haitinks: with the CSO, circa 2008, and the BR Klassik that is referenced aove. Two stupendous Orchestras, with a different house sound; the interpretations are very similar otherwise.
Haitink for me in this work represents the opposite tack of what I stated earlier distinguished the Bernstein and Horenstein approaches. In I, he tends to downplay the sectionalization of the score, deephasizing the contrasts, attempting to weave the disparate elements into one coherent whole. I state this as an observation, not a judgement. Mahler can withstand various approaches and BH makes case very convincingly.
I also have the Levine, and in fact the lps (noisy mid 70s RCA pressings) were my introduction to the piece and for years my only exposure to the it. on CD one can hear so much more detail than the lps ever revealed, and the CSO of the 1970s is magnificent, and fun to compare with the CSO 30 years later for Haitink. Levine comes off as a bit brash, imo, but that could be the CSO brass of Solti in their testosterone laden glory coloring the proceedings; and in general Horenstein and Bernstein find more nuance in the score, but Levine is pretty potent

[Stanfordian]

I've managed to acquire two Haitinks: with the CSO, circa 2008, and the BR Klassik that is referenced aove. Two stupendous Orchestras, with a different house sound; the interpretations are very similar otherwise.
Haitink for me in this work represents the opposite tack of what I stated earlier distinguished the Bernstein and Horenstein approaches. In I, he tends to downplay the sectionalization of the score, deephasizing the contrasts, attempting to weave the disparate elements into one coherent whole. I state this as an observation, not a judgement. Mahler can withstand various approaches and BH makes case very convincingly.
I also have the Levine, and in fact the lps (noisy mid 70s RCA pressings) were my introduction to the piece and for years my only exposure to the it. on CD one can hear so much more detail than the lps ever revealed, and the CSO of the 1970s is magnificent, and fun to compare with the CSO 30 years later for Haitink. Levine comes off as a bit brash, imo, but that could be the CSO brass of Solti in their testosterone laden glory coloring the proceedings; and in general Horenstein and Bernstein find more nuance in the score, but Levine is pretty potent

Hiya richardfinegold,

You mention the Mahler 3 from James Levine with Chicago Symphony Orchestra on RCA. I don't know it that recording too well. I have the Levine box (containing 8 of the 10 symphonies) and will be certain to play it soon.

[BBMmk2]

Hiya richardfinegold,

You mention the Mahler 3 from James Levine with Chicago Symphony Orchestra on RCA. I don't know it that recording too well. I have the Levine box (containing 8 of the 10 symphonies) and will be certain to play it soon.

That sounds rather an enticing project, Stan!! Let us know about it. I might investigate that myself, as well.

[Tony Halstead]

It is, indeed. There is a story (I don't know how/if accurate) that at the start of one of the recording sessions, Deryck Cooke brought the news that Barbirolli had died overnight, and that Horenstein decided to record the last Movement as tribute.

Yes that is indeed correct. I was playing 'bumper' (assistant principal) horn on those Horenstein/ LSO sessions and I remember Barbirolli's death being reported, and JH's tribute.
On the same day, 29th July 1970, Jonel Perlea died. https://en.wikipedia.org/wiki/Jonel_Perlea) and then on the next day, George Szell died. https://en.wikipedia.org/wiki/George_Szell.
All three deaths during the Mahler 3 recording!

[Cockney Sparrow]

Apropos of thread drift (sorry if it offends, just a passing comment) I heard 5 Wagner Tubas and 4 full time Horns (plus the other brass) in full flight on Sunday at a concert performance of Gotterdamerung. Love the sound of Horns and the Brass generally in Mahler and Wagner.
Semi pro players on Sunday (I think) - and enjoyed hearing it "out of the pit". Good performance (and able to follow the libretto with character names and stage instructions (although there were surtitles)). https://saffronhall.com/calendar/saf...tterdammerung/

[HighlandDougie]

Just a pity that the New York Lenny and the Horenstein recordings both pre-date the Rattle/Gielen et al interpretation of Mahler's hinaufziehen instruction for oboe and cor anglais.

As someone who has never been entirely convinced by Rattle's attempt to interpret the hinaufziehen marking - it's just too strident - I found this short audio clip to be interesting:

http://fugato.com/pickett/mahler3-4.shtml

For me, Gielen (SWR SO) isn't quite such aural assault and, heresy of heresies, no doubt, given the instruction in the score, it was quite a relief to discover that Bernie H hadn't succumbed to fashion in his most recent live Munich recording.