Mahler’s cantata Das klagende Lied today constitutes a veritable rarity in concert programmes – in an age that without contradiction recognizes Mahler as one of the most eminent milestones in the music history of the late 19th and early 20th century. Based on a horror tale written by Mahler himself, this large-scale, vocal symphonic work forms the beginning of Mahler’s more familiar oeuvre. Mahler, at the age of only 20, submitted the score for the Beethoven Prize at the Society of the Friends of Music in Vienna. He did not receive this prize, however, and subsequently made several revisions. It was finally premiered by the composer in Vienna on 17 February 1901 only. The ‘mixed version‘ (also employed for this recording) consisting of the original first movement and the revised version of the other two parts, became customary in the course of the great Mahler Renaissance in the 1960s. The presented live capture with the 2019 deceased Michael Gielen – like Mahler not only a conductor but also a composer – with the ORF Vienna Radio Symphony Orchestra was taken in June 1990 in the Konzerthaus Vienna.
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Reviews
Critics’ Choice 2021 – Roger Hecht
American Record Guide – January/February 2022
*** Good Album
Thomas Deschamps - Classica magazine (France) - July/France 2021
“… I found Michael Gielen’s conducting convincing at every turn. Part I does sprawl somewhat, I think, but Gielen keeps the music focused and strikes a good balance between maintaining momentum while, on the other hand, not sacrificing atmosphere. The music of Parts II and III is much more convincing, I believe, and it’s perhaps no coincidence that in these sections of the work we hear more premonitions – including some musical fragments – of the early symphonies which lay in the future. Gielen conveys the drama in these two parts of the work very successfully. This is a valuable supplement to Michael Gielen’s existing Mahler discography.”
John Quinn – MusicWeb-International.com – 6 April 2021
“… Gielen succeeds with overall good forces in a tense, highly dramatic interpretation.” ****
Norbert Tischer – Pizzicato.com.lu – 5 February 2021
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