Jason's Budget Guide to Mahler Recordings (scroll down for the Guide for New Mahler Listeners) 

I frequently get feedback from people that can't afford to buy all of Mahler's symphonies at full price and want to find quality, inexpensive performances. Fortuantely, they are in luck, because Mahler is very well represented on budget-to-midprice cds. 

However, cd prices in the US have been jacked up considerably in the past couple of years.  For example, Naxos discs that could be easilly found for $5 now are sold even by Tower for $7 each.  A major-label budget release is anything under $10.  Mid-priced is $14. 

Please note that the prices given here are for the USA. Prices will vary, as will availablity, so something I list as full-priced could be medium-priced where you are. (A good example would be Horenstein's recording of the 3rd, which is a mid-priced disc in the UK, but is distributed by gougers in the US and thus is full-priced here, except that it is sold by Berkshire Record Outlet at a steep overstock discount that makes it now the most affordable recording of the 3rd.) 

 In general, the price breakdown in the US is as follows: 

$ - Super-low budget, 2-4 dollars a cd.  (Example: Laserlight) 
$$ - Low budget, 5-8 dollars a cd. (Examples: Naxos, Arte Nova, major lable budget lines) 
$$$ - Medium, 9-12 a cd.  (Examples: DG Originals, most labels' mid-line reissues [usually either well-regarded historical recordings, or analog or early digital recordings that the involved conductor or singer has re-recorded.) 
$$$$- Full-priced, 12-18 dollars a cd.  (Regular line DG, London, EMI, Phillips, SONY, etc.) 
$$$$$ Premium priced. $19+ The price a South Philly loan shark would charge if he had a cd store. Think anything distributed by Harmonia Mundi America. 

There are a couple of reasons for the wide availabilty of low-cost Mahler recordings. First, the great Mahler conductors, Walter, Klemperer, Barbirolli, Horenstein, Szell, Bernstein, etc. were all active in the 50-70's and their recordings now form the basis for most label's rerelease programs. Second, engineers have always seen Mahler as a technical challenge and have tried to provide the best sonics they could. So even 1960's era recordings can hold their own with, and are often batter than, the latest DDD monster. 

I would like to point out that this isn't really a "budget" guide. When you use the word budget there is often the suggestion that you're making a tradeoff between price and quality, and settling for second or third-best because of price. Although a few of the selections here fall under "good for the price," none of them are low-quality recordings. In fact, many of them are considered by a sizable number of Mahler fans to be the best recordings to get, regardless of price. 

Something else to keep in mind is that most of the recordings listed here are from the REAL Mahler conductors, guys that pushed Mahler's music when he wasn't popular and didn't have 50 recordings of each symphony. Walter and Klemperer were assistants to Mahler, felt true personal bonds to his music, and recorded them as a matter of faith. Horenstein labored for years in relative obscurity, recording for small labels with regional orchestras, but was fortunate enough to get ahold of the London Symphony Orchestra late in life and results were spectacular. He led a performance of the 8th in London that in one night created a Mahler boom in the UK. Bernstein did the same in the US with his recordings in the 60's. Barbirolli is the afficianado's Mahler conductor, the guy that taught the Berlin Philharmonic Mahler. So we aren't talking about lightweights here. 

I've put a couple of codes next to each symphony. I've put dollar signs to go along with the price scale above, and a * next to the symphony means that the recording is also considered one of the best available regardless of price. 

 If you are stuck in the middle of nowhere (like much of the U.S. once you get 50 miles from the ocean....), here is a page of classical cd sources on the net.

Finally, on the internet one is not permitted to have an opinion without stamping oneself with IMHO, IMVHO, IMHOWMLPTTBOAWD (In my humble opinion with my lips pressed to the butt of anyone who disagrees, which is what people really mean when they say you should end everything with IMHO),  so please feel free to stamp anything following that you disagree with IMHOWMLPTTABOAWD. 

NOTE:  I'll also start this off with a warning: avoid Arte Nova's Mahler recordings.  They are cheap, but not a single one of them comes within 1,000 miles of any of the recordings listed below.  Dull, lifeless, by an orchestra not known for their Mahler playing, and with a conductor who quite obviously realizes this.  (On the other hand, Arte Nova offers budget Bruckner recordings which are better played, better recorded, and better interpretations than most full-priced recordings, and has a disc of Zemlinksy's Lyric Symphony and Berg's Altenberg Lieder and Lyric Suite which might be the best $5 buy in classical music.)

So here we go: 

* Symphony No. 1 $$$, $$  

Symphony No. 2 $$$, $$  

You also might want to consider Bruno Walter. A 2cd set of him conducting #1 and #2 is available in old CBS Odessey trade dress for around $14. This set has been re-released as part of the Bruno Walter edition on Sony for $20. The $20 re-release is supposed to have better sound. 

Walter is the populist's choice, but is sometimes accused of softening Mahler, while Klemperer was a granite-solid interpreter of both the classics and new music. I like both recordings, but perhaps Klemperer is owed the listen more. Either one is a fine choice. 

A final , more mid-price than budget, $20 option is Sony's release of Bernstein's first recording of the 2nd, included with the first movement of the 8th and the Adagietto from the 5th.  Bernstein's best recordings of the 2nd, in fine sound.

* Symphony No. 3 $$$$,$$$  

As a rougly equal alternative, Bernstein on Sony is available for $20 w/ a bunch of Mahler's songs tossed on as more than adequate filler. Although enthusiasm has chilled some as of late, for a while Bernstein's recording was THE Mahler's Third. His new version on DG is pretty damned good too. If Horenstein didn't exist, that would be THE recording of the Third. Finally, don't conclude that the newer Bernstein is better than the Sony/CBS recording. Many reviewers have been hard-pressed to assert the same. 
 

* Symphony No. 4 $$  

* Symphony No. 5 $$$  

Bernstein's recording of the 7th on Sony is now available as a single disc priced at approx. $10.  A combo box of the 6th and 8th are still available (but not for much longer) on Sony's Royal Edition (what a dumb marketing concept-Bernstein recordings with small cover illustrations of Prince Charles' watercolors.

Another option:  Gielen's Sony 8th, Scherchen's MCA 7th from Berkshire Record Exchange and Szell's 6th.  Also, Solti's 8th has finally been released on a single mid-priced disc.
 

* Symphony No. 9 and Das Lied $$ 

Two recent additionls to the Ninth budget race should be mentioned.  One is Benjamin Zander's recording recently released by Telarc.  The Telarc set is extremely generous, priced as one full-priced CD for a three CD set, with the 9th divided over 2 cds and the 3rd cd being a lecture by Zander.  The reason I mention this set is that it just received utter raves in Gramophone magazine.  However, the reaction on Mahler-list has been considerably less enthusiastic.  Zander is a tireless promoter of classical music, is best known for his work with the Boston Philharmonic (a Boston-area amateur orchestra), and it appears that given Zander's resume the Gramophone reviewer was grading on a curve.  Not the recording of greatness Gramophone promises, although I include it hear b/c it may be one of those CDs that greatly appeals to newbies.

A better alternative to Barbirolli is a newish Philips 2fer set, with Haitink's excellent analog recording of the 9th (regarded by many as his best Mahler recording) coupled with Das Lied.  I still prefer Barbirolli's 9th, but Haitink's set is the most affordable way to buy recommended recordings of both the 9th and DLVDE.

As far as boxed sets, here goes:

1. Kubelik's set on DG offers no clunkers, and several quite good recordings.  However, Kubelik's readings are not always as emotional as many like in Mahler recordings.

2. Solti's London set offers the best orchestral playing, and Solti's rather limited interpretations.  Many times the playing is jaw-dropping.  One additional problem is that it is a Solti/CSO box, so Solti's earlier,  better interpretations with the LSO are passed over.

3. Tennstedt's EMI box features studio recordings, and Tennstedt made his best impressions in live performances.  For Tennstedt fans more than for someone looking for a good, representative Mahler set.

4.  Haitink's Philips set does not appear to be in print any longer.  Anyway, the highlight of that set was the 9th, it is available on a Philips 2-fer with Haitink's Das Lied.

5.  Bernstein's Sony set is out of print, and his DG set at $160-$200 is not budget priced.

6. Abbado's DG set was midpriced, appears to be out of print, and had the best sonics of any box.  

7.  Abravanel's Vanguard set would be a good buy $40, at $90-$100 it isn't worth it.  Abravanel was one of the first to finish a complete Mahler cycle on records, but the records were of variable quality.   

Okay, that's my budget list. As far as the prices listed, your mileage will vary according to where you live. The prices I listed are Tower record type prices. If you are stuck with crappy stores like Sam Goody, Wall, and other such mall-based mass marketers of merde, add a couple of bucks to the price. If you have a good, cheap independant store around, take off a dollar or two. If you have such a store near you, try to shop there as much as possible. It upsets me, for example, that Philadelphia lost its most affordable source of classical recordings, Nathan Muchnick's a couple of years ago when the store closed down the classical section.

One final consumer advisory.  Canada is a cheap source of CDs for US residents as CDs in Canada are sold at generally the same price as US Cds, but with a 1-1.5 currency exchange rate.  (So a double CD set would cost $30 hear and $30 Candian, but with the exchange rate those 30 canadian dollars cost you only 20 US dollars.  As a result, many classical buyers have been tempted to purchase cds from www.absound.ca, a web site run by Canada's ABSound.  However, although pop buyers may have had decent luck with the site it has been a real disappointment to classical buyers.  Their search engine is terrible, their selection seems limited (it may not be--it might just be that the search engine is so bad that most of their catalog can't be accessed), and their order fulfullment times are an embarassment (we're talking months to get an order filled.)  Avoid for classical--I've heard many fewer complaints from people buying pop CDs there.  A much more reliable Canadian option is to order by phone from HMV.  I'd be happy to hear of a reliable Candian source.
 

Click here to give me some feedback on the budget list. 

Mahler: Where to start? 

One warning--this guide is entirely conversational in style and is likely of no use to the serious musician. In other words, don't use this to help you write your school paper. (Yes, I get feedback from kids all the time that they have used my pages for the school reports. Ugh.) 

A note about the recording sections I give. The suggestions are not necessarily the cheapest, or the best, etc. For a set of excellent essays on various recordings, check out Deryk Barker's pages, which I've linked to from the Mahler page. For a list of recordings that I believe are the best combinations of price and quality, check out my Budget Guide to Mahler. 

Okay, here is my Where to Start Guide. Instead of making one blanket recommendation, I am going to go through different "types" of people and where they might want to start. Why am I doing it that way? B/c the proper entrance to Mahler's music will be dictated by the person's background. Someone who is primarily a listener to lieder will not want to start with the same symphony/song etc. as someone who is looking for a good recording to blast their stereo. So instead of a one-size-fits all approach, I'm going to try doing a different-strokes-for-different-folks guide. 

Lieder listeners 

The set includes Songs to Poems from "Des Knaben Wunderhorn", Four Songs on Poems by Friedrich Ruckert, selections from "Lieder und Gesange aus der Jugendzeit" (Mahler's earlier songs), and Lieder eines fahrenden Gesellen. 

The cd thus includes Mahler's major lieder works, excluding the Kindertotenlieder. If you prefer lieder with orchestral accompaniment, I suggest you find the EMI France release featuring Janet Baker and Sir John Barbirolli performing Lieder eines fahrenden Gesellen, Kindertotenlieder, and the Ruckert-Lieder. The set also includes Das Lied von der Erde with Kletzki & DFD, and a few songs from Des Knaben Wunderhorn from Popp/Tennstedt. I believe the Baker/Barbirolli are available separately, but the separate cd costs more than the EMI France set. (So why pay more AND miss out on a good Das Lied?) 

The Bernstein set is quite good, however, and although Bernstein isn't Gerald Moore, he was no amateur pianist. Also, the set includes full texts and translations. 

From the songs, the next jump is to the most song-influences symphonies. In fact, Mahler early symphonies incorporate material from his song cycles. 

Mahler's First Symphony incorporates (without voice) the Lieder eines fahrenden Gesellen. The work can be problematical for the new Mahler listener as it makes extensive use of parody (one movement is a mournful reworking of Frere Jacques), but the way the songs are worked into the orchestral fabric is fascination. 

The dreaded Fourth (no, it isn't dreaded, it's lovely) forms, along with the 2nd and 3rd, Mahler's Wunderhorn trilogy, as each features songs from the Wunderhorn cycle. The Fourth is the most pleasant and most straightforward of the three, as well as shortest and the most classically proportioned. The Third is gargantuan, huge, massive, and beautiful. Simply a gorgeous work. For a couple of weeks I did nothing but listen to the Third. Then for the next week I did nothing but listen to the final movement of the Third. At present, the Third is my favorite, so you'll have to excuse the drooling. The final movement of the Fourth was originally intended to conclude the Third, but Mahler realized that it would be dwarfed by the remainder of the Third. Rather than end such a massive work with a significantly less-weighty (although beautiful) song-setting, Mahler instead composed a more-fitting end to the Third and then composed the Fourth, writing the work to end properly with the setting chucked from the Third. 

Please don't let this in anyway berate the 2nd. The 2nd was the first Mahler symphony I ever heard and one hearing made me a Mahler fan. The 2nd not only features a Wunderhorn song, Urlicht, as its pivotal text, it also features a reworking, for instruments only, another song from the Wunderhorn cycle, Des Antonius von Padua Fischpredigt, which serves as the 2nd's Scherzo. The 2nd is worth getting just for this movement, with celebratory moments quickly shifting to sarcastically threatening, and then back again to dancing. The first movement funeral march and the closing setting of Resurrection are usually considered the signatures of this work, but I consider the Scherzo to be one of Mahler's masterpieces. (For a remarkable modern reworking of the Scherzo, try Luciano Berio's Sinfonia. Berio takes the Scherzo, works in a collage of quotes from other composers, coats the movement with spoken text from street placards to Beckett, all while preserving the spirit of Mahler's movement.) 

From the Wunderhorn cycle one continue chronologically through Maher's symphonies, although lovers of the voice might want to proceed directly to Das Lied and the 8th. 

Although Mahler may not be one of the big three (Schumann, Schubert and Wolf) or Four (if you include Brahms), but was an extremely strong composer of lieder, and many of his works never stray far from song. In fact, understanding their basis in song is one of the keys to successfully appreciating the early symphonies. 

Oh, and for those who haven't heard it, Anne-Sophie Von Otter released in late 96/97 a recordings of Mahler and Zemlinsky lieder w/ orchestra.  It's an absolutely stunning disc.  And the Zemlinsky tracks are jaw-dropping good. 

Modern music listeners 

Mahler's most obvious connection, modern-music wise, is to Schoenberg, Webern, and Berg. Mahler was an early patron of Schoenberg's music, performing it himself and encouraging others to do so. Berg's music is an attempt to combine the sound-world of Schoenberg and Mahler. All three supported the performance of Mahler's music long after Mahler's death. 

Mahler served as honorary President of a new music society founded by Schoenberg and Zemlinksy (another composer greatly influenced by Mahler whose works, since the early 80's, have suddenly appeared on disc. Try the Lyric Symphony and Zemlinsky's lieder for good measure. The Lyric Symphony, for instance, was modeled after Das Lied). 

For an exploration of a thoroughly modern sound-world, try the 5th-7th Symphonies. The 5th is the most popular of the three, and the most varied, stretching from the booming beginning funeral march to the delicate adagietto to the rousing, baroque-influenced Rondo finale. 

As for the Sixth, I am tempted to say screw the naysayers and begin with the Sixth. If your background is in twentieth century music, there is no reason to begin anywhere else. The Sixth is a stunning work, with orchestral textures carved in steel and granite. No other work exists so strongly in the world of the inhuman (try Bernstein's approach to the first movement) and the emotional. The Sixth is a tough work to perform and record. It is quite easy to become lost in the orchestral effects and miss the emotional content of the work. Then again, the emotional content is so strong that for decades it was one of Mahler's least performed symphonies despite being the most "classically" constructed. For a very good performance that points out the architecture of the piece, try Boulez's recording on DG.  For an emotional performance, try Barbirolli's EMI set or Bernstein (either DG or SONY.) 

The Seventh, to me at least, exists in the same world as the Fifth and Sixth, but something is missing. Boulez may have been trying to work out the problem, but instead seems to have produced a recording widely regarded as the most lifeless Mahler recording in years. (A little-known but excellent recording of the Seventh is Gary Bertini's recording, available only as an EMI Import, although cut-out copies are appearing at $5 in places like Tower and HMV. If you see it at $5, buy...it will be the best $5 you spend all year. If you see at full price, too, don't worry. It's worth it.) 

Finally, try the 9th, which in ways was Mahler's attempt to internalize Schoenberg's explorations while remaining within the romantic/post-romantic genre. The first and fourth movements are the most lyrical. The interior movements are the most interesting for those coming from the 20th century music perspective. 

Beethoven or Bust 

Well, which is your favorite Beethoven? Here's a little chart for you: 
 

Beethoven	Mahler
Third Symphony	Fifth Symphony
Ninth Symphony	Second Symphony/Third Symphony
Sixth Symphony	First Symphony/Third Symphony
Fifth Symphony	Sixth Symphony

Of course these are just generalizations, but I did try to put some thought into it; ;) 

I want my stereo to ROCK! 

Okay, here you go: 

Solti's recordings of the 2nd and 8th will make quite a lovely racket on your new 10000 watt stereo. Crank and enjoy. After a while, though, try listening to the music a little bit. For a real experience, try Abbado's recording of the Third. And then, once you are truly able to digest the glory of Mahler, while still gosh wowing on the stereo, try Abbado's recording of the Ninth. Wow, sonic and intellectual depth. After that, take a look at the other suggested recordings lists and join the rest of us low-fi peons. 

From Bach to Mahler 

From the Not-So Modern Moderns 

If you are approaching Mahler backwards from the above, maybe by delving into Korngold orchestral works from starting with his film music (if so, you really MUST get K's violin concerto), there are few suggested starting places. First of all, the Ninth, as the Ninth is more string-based than other Mahler symphonies and thus a bit more on lush side, even if it is lushly depressing ;), and from there you might try the Third. If you like Shostakovich's 4th, Mahler's Third is a good place to start, also. The Third can be hard to digest due to its length, but that length includes many dramatic passages. The regular soundtrack listener probably would be best able to traverse that landscape--most classical-background listeners have trouble as they lose the structure of the Third. The soundtrack listener, not being as concerned with structure, might not have the same difficulty. 

I just want pretty music 

Finally, some common Mahler listening problems: 

1) Everything is too long! 

2) Mahler is too bombastic/depressing! 

3) I want to get all the symphonies at once, but it is too expensive. 

4) The neighbors complain! 

Seriously, the most common difficulties people have with Mahler is the length and emotional content of Mahler's work. The length issue can be addressed by starting small and developing an ear for Mahler, and then graduating to the longer pieces/movements. The emotional issue really isn't one that can be addressed. Mahler either speaks to you or he doesn't. If he doesn't, it is best to not torture yourself trying to make yourself like Mahler. Mahler isn't brussel sprouts, something you must have for proper nutrition. Just keep Mahler in mind and someday you may find yourself in a better mood to appreciate him. 

 Click here to give me some feedback on the budget list.