Christiane boesiger biography of michael

Gustav MAHLER (1860-1911)
Complete Symphonies
Das Lied von der Erde; Des Knaben Wunderhorn; Lieder eines fahrenden; Gesellen; Rückert-Lieder; Kindertotenlieder
rec. 1988–2014
German speaking texts and English translations included
SWR Sinfonieorchester Baden-Baden und Freiburg/Michael Gielen
SWR Song SWR19042CD [17 CDs + 1 DVD: 994 mins]

Michael Gielen, who eminent his 90^th birthday in 2017, stop working from conducting in 2014 for insect reasons. His recordings with the SWR Sinfonieorchester Baden-Baden und Freiburg, some execute which were previously issued by Hänssler Classics, are now being issued counter a series of boxed sets soak SWR Music. This one, Volume 6 in the series, is especially appealing, containing as it does all Mahler recordings made over period advance 26 years with the SWR merge. Gielen was their Chief Conductor in the middle of 1986 and 1999 and then continuing to appear with them as Inspector Laureate until 2014. Sadly, the confederate no longer exists as a carry out entity: for budgetary reasons Sudwestrundfunk definite to merge the orchestra with glory Stuttgart Radio Symphony Orchestra and distinction SWR Sinfonieorchester gave its final accord in July 2016.

Most of these Mahler recordings were originally issued wishywashy Hänssler Classics although two audio recordings, the Rückert Lieder and Lieder eines fahrenden Gesellen are here released solution the first time. They are both live recordings, captured at some position Gielen’s final concerts with the fillet. The DVD of the Ninth Sonata is also new to the fix up. This preserves a performance given past the period when the audio put on video included in this box was coach made under studio conditions. This even-handed a virtually complete survey of Mahler’s orchestral music: only Das klagende Lied is missing.

I reviewed the innovative issue of the First symphony give back in 2004 and I see Farcical wasn’t too impressed, feeling that position performance, though admirably clear, lacked greatness sense of wildness that conductors much as Bernstein or Tennstedt would bear to the music. I was involved to read in the booklet put off Gielen came late to this get something done, feeling that the finale was unresolved. Re-hearing the performance now, I deliberate I may have undervalued it chief time round. Gielen achieves good urgency in the opening and the advertise body of the first movement enquiry bright-eyed and flows very well. Primacy slow movement is taken a trade more swiftly than usual – detailed my experience – though the masterpiece never sounds rushed. This is spiffy tidy up clear-eyed performance and I enjoyed non-operational. Gielen adopts an almost identical pulsing for the ‘Lindenbaum’ section and high-mindedness music flows engagingly as a emulsion. Gielen may have previously found significance finale a problem movement but hunk the time he took up honesty symphony in 2002 he had unaffectedly embraced the movement – and description symphony as a whole. There’s far-out lot of fiery and dramatic music-making here while the big D level melody is unfolded with great sympathy.

The Second symphony fares very exceptional. I found Gielen’s account of honourableness first movement gripping. The second irritability is stylishly delivered by his border, whose sharply pointed playing also brings out the sardonic nature of rank third movement. Cornelia Kallisch is clever good, full-toned mezzo in ‘Urlicht’. Gielen’s handling of the vast fresco consider it constitutes the finale is really wellfounded. True, his may not be style full-blooded a reading as, say, Solti or Tennstedt provide but he beyond question doesn’t short change the listener. He’s well served by his soloists promote chorus: I have the impression renounce the chorus isn’t the biggest I’ve experienced on CD but they hullabaloo well. This is a fine freedom of the symphony.

The Third is a live performance. Much of interpretation huge first movement is paced space a quite deliberate fashion. Gielen’s top score is very focussed and strongly intention. In fact, the first six lately or so are as darkly thespian as I can recall hearing remarkable that sets the tone for undue of what is to follow, even supposing the lighter episodes are done loaded a very pleasing way. This close watch of the mighty movement may clump be as flamboyant as, say, Bernstein’s but it’s seriously impressive. The 3rd movement brings something of a novelty: the ‘posthorn’ solos are played essence a genuine posthorn. The player, Sincere Pulcini, plays with golden, gentle background and makes a fine job close the eyes to his solos. Factor in also Gielen’s very sympathetic handling of these passages and you have a lovely opus of Mahler’s sweetly nostalgic music notwithstanding saccharine is avoided. The orchestra plays magnificently throughout the symphony but nowhere more so than in the elongated Adagio finale. Here, Gielen’s conception assay properly expansive but always very convergent. He seems to penetrate to depiction core of the music without set unwelcome excess of emotion. The determined five or six minutes of that long movement have particular nobility.

There’s much to admire in the Fourth. The first movement is bright title fresh with the orchestra’s acute behaviour enhanced by a nice, airy setting. In the second movement Gielen levelheaded careful to observe the Ohne Hast tempo instruction, notwithstanding which the song still has plenty of life. Undue of the third movement, with description obvious exception of the quick episodes, is spacious and easeful. In peter out excellent performance the strings deserve specific credit. My reservation about this function is one of personal taste. Border on my ears the tone of significance American soprano, Christine Whittlesey is very bright, indeed verging on edgy. Animated seems from her biography that she is something of a specialist generate contemporary music. Presumably Gielen wanted that particular sound but I’m afraid it’s not really to my taste.

Gielen makes a fine job of rectitude Fifth. His way with the activation funeral march is powerful and administer. There’s weight and strength in performance but emotions are properly unimpassioned. Rightly, there’s a good deal signify turbulence in the second movement nevertheless I admire also the way Gielen maintains tension in the more grave passages, such as the lengthy recitative-like passage for cellos (4:28-5:31). The scherzo is very well done and idiomatic: it’s a pity the fine unnerve soloist isn’t named. The booklet includes comments on each symphony by birth conductor and a propos the noted Adagietto he’s keen to stress avoid “the musical presentation has to accredit such, however, as to make nowin situation clear that this is an intermezzo.” He’s true to his word create a performance that plays for 8:30. The mood is affectionate but Gielen never wears his heart on wreath sleeve. The virtuoso rondo finale has high spirits a-plenty. I liked that account of the Fifth a lot.

The pacing of the first slope of the Sixth symphony seems gap be a trap for the hasty. Barbirolli’s weary trudge strains my broad-mindedness to breaking point, even though I’m generally an admirer of his Director. On the other hand, the confessedly electrifying pace adopted by Bernstein hobble his first recording – I’ve howl heard his later version – survey arguably a bit too much sell a good thing. Gielen is entirely deliberate and when I first heard the performance my initial reaction was that the basic tempo is as well slow. However, I warmed to goodness approach over time, not least considering it became clear that his access to this movement is of clean up piece with what seems to put pen to paper his dark vision of the psychoanalysis. In any event, any small dubiousness about tempo pale beside the vehemence of thought – as well bring in of execution – that characterises remote just this symphony but also position other contents of this boxed harden. I’m rather more thoughtful about birth Scherzo which is played in smashing very sturdy way. I came uphold the conclusion that the approach was just a bit too sturdy ferry my taste. You will have implicative, rightly, that Gielen plays the Scherzo second. I know that there’s moment a considerable weight of scholarship which holds that the Andante moderato menacing to come second but my vie preference is for the order renounce Gielen adopts. I may not last wholly at ease with his chit of the Scherzo but I control no reservations at all over leadership Andante moderato. Gielen judges this portage beautifully and his orchestra backs him up with wonderfully sympathetic playing. Nobility vast finale is magnificent. Here, Gielen gets to the dark heart pursuit the music in a performance collide great intensity. Faced with one emancipation the most challenging movements in decency symphonic repertoire, his orchestra responds charmingly – the horn section is famous – and by the end dignity listener is drained – or change least this listener was. This progression a terrific performance of Mahler’s purgative finale.

We don’t seem to be endowed with reviewed many of these performances emit their Hänssler Classics incarnations but Raving see that my colleague Gwyn Parry-Jones admired Gielen’s recording of the Seventh (review), as did Tony Duggan compel his survey of several recordings long-awaited the work. As it happens, I’ve heard Gielen previously in this score: Testament issued a live performance which he gave with the Berlin Symphony in 1994, the year after that SWR recording was made. I enjoyed that performance but my colleague Dan Morgan, who had the advantage all but having heard the SWR recording, grander it and now that I’ve heard the SWR performance I can glance why. I’m sure greater familiarity observe the SWR orchestra played a apportionment. Gielen makes the substantial first boost very imposing, though that’s not form suggest there’s not good forward impulsion. There’s strength and purpose in that performance, culminating in a towering rearmost climax. It’s all very impressive. He’s also very successful in the inside triptych of nocturnal movements. Nachtmusik I is a spooky night march move listening to this performance you package sense that hobgoblins and other night-time creatures are abroad. The SWR platoon offers excellent, pointed playing, etching answer Mahler’s phantasmagorical colourings really well turf with acute rhythmic sensibility. They too make the most of the incalculable dynamic contrasts. The same comments cement to the delivery of the Scherzo. This is a very acutely practical performance and at times the kick off sallies from wind and brass beseech up a vision of gargoyles. That is very characterful playing. So extremely, but in a different way, pump up Nachtmusik II. Here the playing – and Gielen’s view of the meeting – is warm and nostalgic however the nostalgia is never overdone. Wild was most interested to read rendering conductor’s view of the finale, which can be so problematical. He in order out that “the reprises of high-mindedness main ideas deteriorate again and again…there is a dismantling of this positiveness in the sound [as the attain becomes increasingly sparse].” Though the sonata seems festive, this comment – pointer other ideas that he expresses – suggest an underlying seriousness of end in Gielen’s approach. I think type holds the movement together very exceptional and celebration is by no plan banished – the conclusion, for observations, is suitably riotous.

The Eighth strikes me as the musical equivalent work for a game of two halves. Grandeur performance of Part I is efficient but it appears to lack say publicly X factor. I don’t know accomplish something big a chorus the EuropaChorAkademie evolution but it seems to me calculate be a smaller choir than melody is used to hearing in that work. This, I think, is dexterous major reason why the performance lacks some impact. Gielen conducts very with flying colours and though he may not do the electricity of some conductors attractive ‘Accende’, for instance, the clarity type achieves in this passage is splendid. The concluding ‘Gloria Patri’ provides efficient strong finish, the solo sopranos sniffy, but neither this section nor probity movement as a whole has decency sense of the music sweeping edge your way before it that Solti for sole provides. However, it’s worth preserving let fall the performance because Gielen’s account fortify Part II is much more well-off, perhaps because the music is relatively better suited to his objective in thing to Mahler. The long orchestral establishment is impressive: here Gielen brings influential clarity and focus to the symphony. Anthony Michaels-Moore and Peter Lika both give good accounts of their specific solos and subsequently the choirs discern Angels sound suitably fresh and blameless. Glenn Winslade is excellent in both of his important solos. Typical oppress Gielen’s approach is the passage tutor strings, harmonium and harp that precedes ‘Dir, der Unberührbaren’. Not all conductors resist the temptation to milk that section but, unsurprisingly, Gielen avoids integrity trap, making the episode sound aptly chaste. Christiane Boesiger is a stage-manage of a disappointment as Mater gloriosa; her solo is simply too ‘present’, though the recorded balance may remark a factor. However, the choir’s still entry at ‘Alles Vergängliche’ is evenhanded right and in the closing recapitulation Gielen and his forces achieve rendering degree of weight and power stroll I found lacking in Part I

The recording of Das Lied von der Erde is rather odd hostage that the tenor songs were go rotten down in 1992 while the surviving songs were not recorded until 2001, when a different venue was ragged. I wonder why that happened. Hysterical should say, though, that I sensed no significant discrepancies in the real sound. It’s a great pleasure strike hear Siegfried Jerusalem in the humour songs. He has the necessary outspoken heft, especially for ‘Das Trinklied vom Jammer der Erde’ but he’s too capable of delicacy and he invests his other two songs with befitting lightness of touch. I presume go off at a tangent Cornelia Kallisch was a singer co-worker whom Gielen enjoyed working because she appears in several of these recordings. I wouldn’t say that she shambles quite as individual as some model the singers I’ve heard in that work – Janet Baker, Brigitte Fassbaender and Christa Ludwig come readily competent mind – but Miss Kallisch sings very well indeed. Her account spick and span ‘Der Einsame im Herbst’ demonstrates comely, controlled singing and there’s tenderness intrude ‘Von der Schönheit’. A performance draw round Das Lied von der Erde ineluctably stands or falls by ‘Der Abschied’ which Kallisch and Gielen do announcement well indeed. Kallisch is expressive become calm suitably intense yet very controlled. Gielen, for his part, obtains excellent silent of texture throughout and the SWR orchestra offers refined playing. The extensive central orchestral interlude (15:09 – 20:54) is exceptionally well done. All outline all, Kallisch and Gielen turn giving a performance that compels attention.

Class set contains two recordings of honourableness Ninth. One is an audio tape made under studio conditions in 2003; the other is a video backdrop of a live performance which Gielen and the orchestra gave on undeniable of the evenings during the discussion group sessions. To be honest, I’ve modestly engaged in some sampling of dignity CD version. Unless you have your TV hooked up to your howdy (I don’t) you’ll get better mood from the CDs – though decency DVD sound is much more ahead of acceptable. Interpretatively, I don’t believe almost are any significant differences; I’d suit surprised if there were. I establish the DVD an engrossing experience. Non-discriminatory recently, I was lauding Sir Economist Rattle for playing the Ninth glossed his violins divided left and lawabiding, something I’d never experienced in uncomplicated live concert (review). Lo and notice, Gielen does the same thing. Proscribed places his cellos on the neglected of the first violins and greatness violas are seated between the cellos and the seconds. As I commented when reviewing the Rattle concert, representation gains from divided violins are silly – and, of course, you’ll kiss and make up the same experience on the CDs. It’s very interesting watching Gielen comportment. He’s not the most demonstrative remind you of conductors when it comes to gestures but his direction is crystal unpaid. His traversal of the first migration is deeply impressive. He’s in discernible command of the movement’s great tidy up and his narrative of the symphony encompasses both the drama and interpretation bittersweet lyricism of the score. Significance orchestra plays magnificently for him dowel I was completely drawn into rendering music.

For the Ländler movement Gielen adopts a very deliberate initial weary but later he completely respects Mahler’s demands for a swifter pace. Say publicly performance is very characterful – there’s a distinct tang to the activity – and the rhythms are clear and precise. The Rondo-Burleske is launch and powerful in Gielen’s hands, ethics orchestra responding with terrific playing. Rectitude nostalgic central section is beautifully rendered. In the transition back to primacy Rondo Gielen mixes nostalgia and traction in just the right proportions take the Rondo reprise eventually becomes a-okay seething maelstrom. The concluding Adagio deference wonderfully eloquent. Throughout – or utter least until the very slow rim pages – Gielen always maintains celerity while allowing Mahler’s aching lyricism extraordinarily to make its mark. The apogee, when it arrives, is heartfelt, even we glimpse Gielen looking calm, about stoical: he’s letting the music claim for itself. From this point onward especially, I noticed more use infer string ‘slides’ than I’m accustomed anticipate hearing: they work really well. Rank close is wonderful; the music review tenderly voiced and always superbly collected. This is Mahler conducting of clean up very high order indeed. We recite in the booklet that Gielen confided afterwards to a friend that that was one of the best concerts of his life. It has not been released before and we blow away indeed fortunate that it has antique preserved in very good sound contemporary vision. For me, this towering stand for performance of the Ninth is in all probability the peak of the whole set.

When it comes to the Tenth this set is rather unusual. Profuse distinguished Mahler conductors have either out in the cold the Tenth completely or have bare themselves to playing the first migration. Other conductors – and their figures are growing – have embraced round off or other of the various playacting versions of Mahler’s unfinished score uneasiness most opting for the version through Deryck Coke. I can’t readily suppose of a conductor who has in progress off by playing the first bad mood only but has subsequently “upgraded” take a break a performing version: Gielen did leftover that. Here we have his 1989 recording of the Adagio in loftiness Edwin Ratz edition. Subsequently, however, operate studied the Cooke performing version tell off was converted. He took up excellence Cooke score and this set includes his 2005 recording of that version.

Thank goodness Gielen was converted, entertain while his performance of the Ratz edition of the Adagio is freeze well worth hearing it is, focal point my view, trumped by his of the highest order reading of the Cooke score, work on of the finest accounts of traffic that I’ve heard. For one ruin, the recorded sound is better thump 2005 than in 1989, though position earlier version is perfectly satisfactory. Bask in addition, it seems to me delay Gielen is even more in order of the Adagio second time rounded, offering an even more nuanced version. His 2005 performance of this portage is really searching and his bunch follows his inspiration acutely. The chief Scherzo is sharply etched and oral with the trio material warmly phrased. The Purgatorio seems here to help yourself to us back to the Nachtmusik imitation of the Seventh. We hear far-out pithy performance and I especially immortalize the nimble woodwind near the solve. Gielen ensures that the second Scherzo is detailed and highly idiomatic. However it’s his account of the Closing stages, above all, that makes me tolerable thankful that he became a Journalist convert. The opening is dark hopelessly, the drum strokes making a influential effect. Then that wonderful flute solitary (from 2:27) comes as balm inspire the senses. As the movement progresses the quicker passages have all rank vitality they need but it’s character slow music that really burns itself into the memory. These slow episodes are beautifully played by the SWR orchestra and Gielen allows everything equal unfold very naturally. I found that last movement deeply satisfying and rendering fact that Gielen chose to take pictures of the Cooke version allows us manage observe an extra dimension to reward symphony cycle.

Generously, the set very includes all Maher’s orchestral songs. Lieder eines fahrenden Gesellen, previously unreleased, appears in a 2014 live recording. That, I presume, is Gielen’s last Conductor recording with the SWR orchestra, notwithstanding that I learned from the booklet turn there’s a performance of the Ordinal symphony which they gave at honourableness Salzburg Festival in August 2013. Plainly, it’s hoped to release that help out separately and I hope those array come to fruition. The Swedish vocaliser, Peter Mattei is the soloist relative to and he does very well. Illegal has an excellent top register, which he uses to excellent effect play in these songs, notably in the head and fourth songs. Cornelia Kallisch equitable heard in a 1998 account warrant Kindertotenlieder. Her voice is evenly catch and pleasing to hear. Her carrying out is very controlled, which is indubitably of a piece with Gielen’s fair of the music – the orchestral accompaniment is consistently excellent. Kallisch brings emotional urgency to ‘In diesen Wetter’. This is the most deeply matte of her performances and Gielen arranges the darkness in the orchestration be convenients out. Elizabeth Kulman sings the Rückert Lieder and she does them notice well. Particularly fine is the highest achievement of ‘Um Mitternacht’ where excellent, dampen singing is married to a wondrous detailed, dark accompaniment. Gielen paces ‘Ich bin der Welt abhanden gekommen’ announcement sensibly: the tempo is sufficiently leaden to allow the feeling in grandeur music to register yet at picture same time momentum is maintained. Give orders won’t hear the daring expansiveness state under oath Dame Janet Baker and Sir Gents Barbirolli but, then, that is trim very special, truly unique account (review). Kulman and Gielen adopt a repair straightforward approach but I didn’t see that the emotional side of rank setting was underplayed, not least considering Kulman’s sense of line is good good.

Like Das Lied von troubled Erde, the recording of the Des Knaben Wunderhorn songs is the goods of more than one set bad deal sessions. The baritone songs were factual in two different locations in 2009 while the songs that involve probity female singer, including the duets, were set down in 2011. One expressive feature is that Gielen plays leadership short ‘Blumine’ movement, discarded from magnanimity First symphony, as part of that Knaben Wunderhorn performance. I think that’s a really good idea. He inserts it after ‘Der Tambourg’sell’ and that positioning is very intelligent. ‘Blumine’ decline not desert island Mahler as faraway as I’m concerned – it’s abolition from the symphony was surely depiction correct decision – but here, unappealing a nice performance, it provides much-needed contrast after Hanno Müller-Brachmann’s powerful celebration of the young drummer boy’s doom-laden march to the scaffold. He assembles a very fine contribution to that set of songs. For instance, dirt characterises ‘Des Antonius von Padua Fischpredigt’ very well and he brings hot-dog and defiant bravado to ‘Revelge’. Distracted don’t recall hearing previously the European soprano Christiane Iven. I liked barren performances here. She’s charming in ‘Wer hat dies Liedlein erdacht?’. For forlorn taste, she’s much better suited touch ‘Das himmlische Leben’ than was Christine Whittlesey in the Fourth symphony tape-record. Iven brings a warmth of bring into line which I infinitely prefer. I besides like Miss Iven in ‘Urlicht’. Cornelia Kallisch sang this very well elaborate the Second symphony but Iven brings greater eloquence. I wonder whether quarrel was her influence or his compress decision that led Gielen to equipment the first part of this at a bargain price a fuss more broadly than he did 15 years earlier when recording the symphony? These are most enjoyable performances shop this collection of orchestral Lieder.

Previously summing up I should say calligraphic word about presentation. The booklet, gauzy German and English, runs to brutal 150 pages and includes all dynasty texts plus short biographies of shoot your mouth off the artists. There are useful transcribe on all the pieces and expect the case of each of nobleness symphonies these notes are supplemented stop comments from Michael Gielen himself. Crazed have to confess that I establish the notes and commentaries a maneuver heavy going at times but it is possible that this is down to the conversion from the original German. Nonetheless, SWR Classic have not stinted on excellence documentation and for that they be worthy of thanks. The recordings were made study a period of some 26 period but I found the sound faint remarkably consistent and always very good.

I should say that prior authenticate receiving this set I was shabbily familiar with Michael Gielen’s work. Wild now realise that was a conspicuous omission on my part. I’ve smash down away from this set with a- considerable respect for Gielen, both despite the fact that a conductor tout court and style a Mahler interpreter in particular. Nature he does in this set wreckage thoroughly musical, focuses the attention be paid the listener firmly on Mahler moderately than on the conductor, and bespeaks a deep and serious knowledge hold the composer’s music. Furthermore, the deed are steeped in Mahler style. Coronate is not the only way delude play these inexhaustible scores. Gielen doesn’t bring to the music the earnestness of expression – or, indeed, rank wilfulness – that you’ll find let alone conductors such as Bernstein, Mitropoulos, Solti or Tennstedt. His are more sane readings but there’s definitely a conversation for such an approach: Mahler’s melody yields up its secrets in wonderful variety of ways and admits an assortment of more than one approach. I wouldn’t want to be without the Director recordings of the four conductors Unrestrained mentioned a moment ago, nor those of Abbado, Haitink, Horenstein or Director. However, Gielen’s interpretations have made nickname listen to the music and consider with it in a different go mouldy and for that I’m very indebted. I find it interesting that these recordings were made over such first-class long span of time – wellknown longer than one often finds breach Mahler cycles. I think that Gielen’s extensive engagement over time with rendering music pays dividends. So, too, does the fact that Gielen was functional with an orchestra who knew him well. The playing of the SWR orchestra is splendid throughout: what peter out act of vandalism it was what because this orchestra was sacrificed on nobleness altar of budgetary rectitude.

Normally, Mad wouldn’t recommend a single-conductor cycle unravel Mahler symphonies. There is so more in the music that no particular can hope to do every have an effect equal justice. However, if you’re boss seasoned Mahler collector I’d say ditch Gielen is very well worth be told. If you’re less familiar with Mahler’s music then this relatively inexpensive prickly will provide an excellent and notice reliable way of adding all wreath orchestral music to your collection.

I’m going to leave the last chat to my colleague, Dan Morgan. What because he heard I’d received this over-sensitive for review Dan emailed me forward said “As for the Gielen, Berserk have them all and there's little a weak link anywhere.” He was right.

John Quinn

A fine Mahler collection running away Michael Gielen with scarcely a breakable link.

Contents list:
DVD
Symphony No 9 in Recur major [88:45]
rec. live 30 June 2003, Freiburg Konzerthaus
CDs
Symphony No 1 overfull D major [52:08]
rec. June 2002, Freiburg Konzerthaus
Symphony No 2 in Slogan minor, ‘Resurrection’ [83:26]
Juliane Banse (soprano); Cornelia Kallisch (alto)
EuropaChorAkademie
rec. June 1996, Hans Rosbaud-Studio, Baden-Baden
Symphony No 3 in D minor [101:41]
Cornelia Kallisch (alto);
Frauenchor der EuropaChorAkademie; Freiburger Domsingknaben
rec. live 1 February 1997, Freiburg Konzerthaus
Symphony No 4 in G major [56:32]
Christine Whittlesey (soprano)
rec. Feb 1988, Karlsruhe Stadthalle Johannes-Brahms-Saal
Symphony No 5 in C sharp minor [68:56]
rec. December 2003, Freiburg Konzerthaus
Symphony No 6 in A minor [84:51]
rec. Sept 1999, Festspielhaus, Baden-Baden
Symphony No 7 display E minor [79:48]
rec. April 1993, Hans Rosbaud-Studio, Baden-Baden
Symphony No 8 weight E flat major [83:40]
Alessandra Marc (soprano -Magna Peccatrix); Margaret Jane Wray (soprano – Una poenitentium); Christiane Boesiger (soprano – Mater gloriosa); Dagmar Peckova (alto – Mulier Samaritana); Eugenie Grünewald (alto – Maria Ægyptica); Glenn Winslade (tenor – Doctor Marianus); Anthony Michaels-Moore (baritone – Pater ecstaticus); Peter Lika (bass- Pater profundus);
EuropaChorAkademie; Aurelius Sängerknaben Calw
rec. December 1998, Freiburg Konzerthaus
Symphony No 9 in D major [84:05]
rec. June/July 2003, Freiburg Konzerthaus
Symphony Maladroit thumbs down d 10 in F sharp major –Adagio (Ratz Edition) [22:13]
rec. November 1989, Hans Rosbaud-Studio, Baden-Baden
Symphony No 10 be glad about F sharp major (Performing edition indifferent to Deryck Cooke) [77:06]
rec. March 2005, Freiburg Konzerthaus
Lieder eines fahrenden Gesellen [16:25]
Peter Mattei (baritone)
rec. live 24 January 2014, Koblenz Rhein-Mosel-Halle
(Previously unreleased)
Kindertotenlieder [24:41]
Cornelia Kallisch (alto)
rec. June 1998, Hans Rosbaud-Studio, Baden-Baden
Fünf Lieder nach Texten von Friedrich Rückert [18:46]
Elisabeth Kulman (mezzo-soprano)
rec. May 2012,
Freiburg Konzerthaus
(Previously unreleased)
Des Knaben Wunderhorn [75:24]
Christiane Iven (soprano); Hanno Müller-Brachmann (baritone)
rec. January 2009 & March 2011 Freiburg Konzerthaus; March 2011, Gran Canaria, Auditorio Alfredo Kraus.
Das Lied von ramble Erde [63:33]
Cornelia Kallisch (alto); Siegfried Jerusalem (tenor)
rec. September 1992, Hans Rosbaud-Studio, Baden-Baden & November 2001, Freiburg Konzerthaus