Search - Gustav Mahler, Klaus Tennstedt, London Philharmonic Orchestra :: Mahler: Symphonies Nos. 3 & 4

Two highlights from Tennstedt's cycle

Paul Bubny | Maplewood, NJ United States | 12/11/2002

(5 out of 5 stars)

"Symphonies 3 and 4 may present a great contrast to one another, temporally speaking--the Fourth is shorter than average for a Mahler symphony, while the Third is the longest symphony in the standard repertoire--but they're a logical coupling (and not only because in many cases the finale of the Third and the whole of the Fourth can be squeezed onto a single CD). Both are products of Mahler's so-called "Wunderhorn" period, both share some thematic material, and both express a (relatively) untroubled viewpoint. I'm surprised that this coupling isn't done more often (as Symphonies 1 and 2 are)--but if Tennstedt's is the only one available, you won't go wrong picking it up.This two-disc set couples two of the finest performances from the late German maestro's 1977-1986 Mahler symphonic cycle. Both performances are appropriately fresh and outdoorsy, yet imbued with an equally apt undercurrent of nervous tension. Tennstedt is the only conductor I know of who manages to succeed with a faster tempo (20 minutes and 41 seconds overall) for the adagio finale in the Third, and while it may not sit well with those who prefer the verrryyyy slow pace of James Levine (26-and-a-half minutes) or Leonard Bernstein (28 in his DG remake), Tennstedt's more animated approach is just as valid. Jascha Horenstein's hard-to-find 1970 recording with the London Symphony may be the Mahler Third that sets the pace for all others, but this performance manages to place even if Horenstein comes in first. And as big a Horenstein fan as I am, I have to say his Fourth (with the same orchestra) comes in well behind Tennstedt's.Sonically, these early-digital productions outclass the sound given to Horenstein in his recordings of both works--the Third by a very comfortable margin. In fact, for immediacy and "presence," I think the recording on this Third Symphony surpasses the much-praised sonics of Esa-Pekka Salonen's version (ironically, Tennstedt's Third was taped before his Second and Seventh Symphonies--which suffer from the most unappealing sound in the series).This is one of the real bargains in the Mahler discography--which, with new releases and new re-releases, is growing larger all the time."

What the Nature, Angels, and Love tell me

hsu kui-shu | Boston, MA USA | 04/30/2004

(5 out of 5 stars)

"Yes, the title above is my impression about this fabulous Third.
This is my first Mahler Third ever. While I also have 3 other versions more, this one and Lenny's Sony are the ones that I always come back, especially this one. People always say that Horenstein's recording is the best, but I think this one can top any so-called best recordings.
The first movement is the best I ever heard. Just listen to the horns! The stunning opening horns promise that you are going to be in an exquisite field trip to the wild. The woodwinds here are just swinging all the way through, and so everybody together sound like they are having a vulgar good time! As I said the horns here are just out of this world.
There are 3 other impressive and lovely places in this recording, which I'm gonna write now. There are more, but I'll keep it short.
The posthorn in the third movement is the best I ever heard, and I think no other recordings can give me such a satisfying effect. It doesn't just sound far away, but atmospheric and dreamy. If other recordings sound as played in a hill far away, this one comes from heaven, and thus fills the room! Just sweet and satisfying.
The short song is gorgeously sang by the kids and ladies. Just sweet and innocent, and ANGELIC.
The adagio is fast comparing with most of versions out there. My fav adagio is Lenny on Sony. but this one is close second. It sounds as an apotheosis, as it should be. If KT could hold the last D major chord for a couple of seconds more, it could top the one by Lenny! But I'll take it as it is.Havent heard much the Fourth, so no comments here.Get it as soon as possible! You won't be dissapointed!"

An inspired Mahlerian on a rocky road

Santa Fe Listener | Santa Fe, NM USA | 03/22/2006

(4 out of 5 stars)

"Tennstedt has no parallel as an impetuous, spontaneous interpreter of Mahler (except, perhaps, for Hermann Scherchen). He dives into the opening movements of both Sym. #3 and #4 with urgent commitment and a wealth of new ideas. The ride is as thrilling as with the young James Levine, another conductor who goes for visceral excitement in Maher, but Tennstedt is more reckless. These manic movements don't always ocntinue at the peak of inspiration, however. In the Third the delicate Minuet is flat-footed and dull, the haunting third movement with the posthorn is crudely aggressive at the beginning; the slow, songful finale with its steady buildup of intensity feels a little rushed and again rather flat.



One has to take the bitter with the sweet where this conducttor is concerned. These recordings date from 1979 and 1982 (if I am deciphering EMI's minutely printed symbols correctly) with the London Phil., and they play their hearts out when Tennstedt is on fire but become flat when he does. The first two movements of the Fourth are the most original things to be heard here, full of inpsired ideas, the worst is the "O mensch!" solo in the Third Sym. as sung by a routine alto, Ortrun Wenkel. At such a bargain price I can recommend this two-fer, but if anyone wants to hear the best of Tennstedt's cycle, the two-fer that contains the First and Second Sym. is a better place to start."