Gustav Mahler, Leonard Bernstein, New York Philharmonic - Mahler: Symphony No. 9

This, Leonard Bernstein's first recording of the Ninth Symphony, has held up very well over time. Although it lacks the searing intensity in the finale of his later version with the Royal Concertgebouw Orchestra, it's also a bit quicker generally, and in the middle movements even more exciting. As a single disc reissue at mid-price, there's no reason at all to hesitate. --David Hurwitz Amazon.com

Comparing Bernstein's three Mahler Ninths

Since all three of Bernstein's Mahler Ninths have been reviewed on Amazon as the "best," I thought I'd sit down and compare them side by side. The two commercially recorded versions are with the New York Phil. from 1965 (Sony) and a live Concertgebouw concert from 1985 (DG). There is another live concert with the Berlin Phil. on DG from 1979 that derives from a radio broadcast. As other reviewers have detailed, this version was released posthumously; it commemorates Bernstein's only appeaarance with the Berlin Philharmonic--I think he had stayed off Karajan's turf by mutual agreement, although no doubt there were anti-Nazi feelings as well.

Timings: Although Bernstein's tempos grew slower with age, his Mahler Ninth was never one of the faster ones. The first movement takes 28 min. in NY, speeds up to 27 min. in Berlin, then reaches 29 min. in Amsterdam. (By comparison, Abbado takes 25 min. in his recent Berlin Phil. reading on DG.) In the second movement scherzo NY and Berlin are around 15 min. (the same as Abbado), and again the Concertgebouw performance is notably slower, 17 min. All these vresions, along with Abbado, take roughly 12 min. for the third movement Rondo-Bulreske. As others have noted, the biggest change in tempo ocurs in the fourth movement Adagio, where Ny is 23 min., Berlin 26 min., and Amsterdam a very prolonged 29+ min., compared to Abbado's 25 min. or Boulez's brisk 21 min.)Bernstein always permitted himself expressive freedom, and frankly a case can be made for all three tempos, including the agonized farewell from Amsterdam.

Sound: The NY recording never sounded all that clear or detailed on LP, but the Sony remastering is very good. It is warm in the string tone and there is a good orchestral blend. One doesn't feel that individual mikes are highlighting various solos. The Berlin broadcast recording is bright, somewhat thin, and considerably more aggressive. The balance keeps strings and winds a bit far back, while at times the brass and percusison leap out. Through earphones one can detect a low-level buzz, but overall this is excellent radio sound. With the Amsterdam recording we are back to higher standards, but not as good as in New York; the orchestra sounds thinner and consierably more distant. The Sony set is a clear winner here.

Orchestras: The New YOrk Phil. plays very well but without any particular Mahler sound, and there isn't a great deal of personality in the phrasing. The Berlin Phil. is more distinctive, alert, and quite diverse in phrasing; the string section is sweeter as well. (The Amazon reviewer who says that the orchestra learned the Mahler Ninth under Bernstein has forgotten the excellent Barbirolli recording they made for EMI in 1964, admittedly 15 years earlier. The further claim that Karajan piggy-backed on Bernstein's tutelage is silly.) The Concertgebouw sounds very fine but not distinctive; the overall feeling is mellow and not extremely detailed, but they are certainly premiere in their own right. All three orchestras are, really, and only the sonics let down berlin and Amsterdam.

Interpretation: Considering that Bernstein was considered a Mahlerian firebrand, his NY Ninth struck me as a bit bland on its initial release, but now it sounds very musical and balanced. For anyone who wants Bernstein without excessive personality, emoitonal underlining, and over-dramatizing, this is the version for you. In Berlin the interpretation is more intense but controlled; the sense of a great orchestra giving its all is palpable. There are many new insights not heard in NY, and Bernstein has found a sense of mystery and dramatic suspense that must have kept hte audience on the edge of their seats. In Amsterdam this special ambience isn't present. Despite the long drawn-out finale, Bernstien is not at an expressive extreme here. He doesn't have a hysterical approach to this work in any of his three readings, but I'd say the concertgebouw performance comes in third, with Berlin first and nY second.

Overall, I feel drawn into Mahler's world with all three readings, yet that feeling is most intense in Berlin. In Amsterdam Bernstein sounds autumnal, a bit weary and resisgned, and in the last movement he holds on to every note of farewell for dear life. But one msut remember always that this is Bernstein--all three readings rise to a very high level of artistic expression, and if only the NY and Amsterdam readings existed, they would be in the front rank of Mahler Ninth recordings.
October 17, 2005

Bernstein - Mahler : The greatness of music

I have to say that I am a Lenny fan. His Mahler is unique, full of passion, fire-like passion. This one could n't be an exception. The NYPO make marvellous sounds and surprisingly enough the transfer is very good (the big problem with the NYPO cycle would be the sound). Having it in one CD it makes a top recommendation although if you are into Mahler or Bernstein the account with the BPO (2CDs) may give you something more (One and only time did Lenny conducted Karajan's Orchestra - you can imagine the result...) June 4, 2001

Good Recording of Mahler's final Symphony

Never heard Mahler's 9th Symphony before? This is an excellent place to start. Bernstein's Mahler expertise really shines in this, his first of three recordings of the piece. What I like about this particular recording is the strait forward manner in which it is played, giving the listener a good feel for the score. Lenny, being his usual self adds a lot of his own personality to the performace, contributing to the experience. However, I personally feel that the Berlin Philharmonic's "sound" is better suited to this piece. Their playing has a certain glow to it that works well with Mahler's 9th. Bernstein's later recording with the BPO in the late 70s is a good example. In addition, there are two Herbert von Karajan recordings of Mahler's 9th with the Berliners which took place in the early 80s. The second version (also on DG costing $30+) is stunning. The two DG performances while very nice are also very costly, and if you've never heard the piece, this recording will serve you very well as an intro. Happy listening. July 27, 2000

Bernstein Mahler Bernstein Mahler

I feel a huge connection with both of them, and this recording is one of the most beautiful coming together of these two characters. I must agree with my friend in the previous review that the recording of Bernstein conducting the Berlin Philharmonic is also one of the greats (better). Bernstein once said that the final moments of the first movement is the closest music has ever gotten to depicting death. He called it terrifying. (that's not true, he was talking about the last movement). I discovered, while following the score that two or three beats are skipped in the last bars of the (first) movement. Could this be because Bernstien was too scared? Get the Berlin one instead, but this was my first recording and it will always have a place in my heart. (revised July 2001) December 21, 1999

A great recording filled with emotion and sensitivity.

This recording of Mahler's Ninth is supreme above most recordings of this work. It matches only another of Bernstein's recordings, that with the Berlin Philharmonic in the late 1970's, in quality. In fact the Berlin recording was an amazing event- that it actually happened! There was talk that the Bernstein and the orchestra's main conductor, Herbert von Karajan were in a bit of a feud. Their styles were extremely different and their attitudes toward each other were quite hostile, it seems. Of course, their terms with their respective orchestras were for the most part during a time of "coldness" between Germany and the United States. So it was a one-time event that Leonard Bernstein was invited to conduct the Berlin. Anyhow, getting back to the Mahler, it seems that this recording (that I'm actually supposed to be reviewing) with the New York Philharmonic was one of Bernstein's own favorites. Bernstein himself was one of the greatest conductors of all time; he was able to excite his orchestra into really playing from their hearts and keeping the large orchestral form structured so that the listener could make something out of it. All in all this is a great recording that should be taken very seriously. October 15, 1999

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