Wow.  Here's another outstanding example of a fact in evidence:  the difference between the so-called straightforward (i.e. dispassionate) and the expressionistic schools of Mahler interpretation, is the difference between dull and thrilling.  It adds up practically, to Mahler a la two disparate personae!  In other words, if you've only heard cool, temperate offerings of his symphonies, give this disc a listen and I dare say you'll meet a Mahler you never knew. And I submit (given the man's known emotionally intense nature) you'll get a more bona fide impression of him.  In sum, passionate is better.  Moreover, what makes this version so special is the degree of risk Kubelik takes in casting off restraint (or exaggerating the expression).  Listen, for example, to how the normally precise Bavarians loosen up their execution in the third movement's passages of Jewish styled music.  The subtle effect cleverly magnifies the vivid flavor of native authenticity, transporting us from the formal concert hall to the midst of a casual family festivity. Brace yourself too: it seems our maestro gave a champagne bottle a vigorous shake, because this symphony's most uproarious moments really blast off.

Symphony No. 1 was my first, and for many years, my only acquaintance with the brilliant composer. In acquiring this power-injected disc, its position as my favorite Mahler is reclaimed without a hitch (that is at least until the next time I listen to the Sixth as recorded by the Atlanta Symphony with Yoel Levi)!  To be sure, a gamut of emotions is explored here. (Remember, Mahler the symphonist is always attempting to wrap his arms around the world.)  But overall, with the ebullient first movement establishing the tone, this particular symphony to me is--in four words--delightfully sunny and fun. Do note also, how with the use of the cyclical form in the Finale, Mahler pulls the work together, reprising and interlacing themes from the first movement.

Sonically, the remastered 1968 recording is dazzlingly hot, which makes for considerably kicked-up immediacy (source master volume level). Likewise, I'd say it's rather bright (i.e. ample on the high end).  Don't worry though, that doesn't mean it's too edgy, harsh or short on warmth.  Still, if you're like me--typically preferring to set your treble control all the way up--in this case I'd suggest cranking it back a few notches.  You won't miss anything. Another remastering benefit of note: It's nice, for a change, not to have to either strain or boost the volume to hear the softly opening "Frere Jacques" tune of the third movement.

While generally not an avid fan of classical song, I was quite unexpectedly taken aback by the apt coupling of the Songs of a Wayfarer (the melodic foundation of much of Symphony 1).  Altogether, these are so richly and deliciously rendered with such verve by baritone, Dietrich Fischer-Dieskau (accompanied by the BRSO), that I surprisingly found myself not just appreciating but actually enjoying them.  Go figure, in spite of myself.
Wow. Here's another outstanding example of a fact in evidence:  the difference between the so-called straightforward (i. e. dispassionate) and the expressionistic schools of Mahler interpretation, is the difference between dull and thrilling. It adds up practically, to Mahler a la two disparate personae! In other words, if you've only heard cool, temperate offerings of his symphonies, give this disc a listen and I dare say you'll meet a Mahler you never knew. And I submit (given the man's known emotionally intense nature) you'll get a more bona fide impression of him. In sum, passionate is better. Moreover, what makes this version so special is the degree of risk Kubelik takes in casting off restraint (or exaggerating the expression). Listen, for example, to how the normally precise Bavarians loosen up their execution in the third movement's passages of Jewish styled music. The subtle effect cleverly magnifies the vivid flavor of native authenticity, transporting us from the formal concert hall to the midst of a casual family festivity. Brace yourself too: it seems our maestro gave a champagne bottle a vigorous shake, because this symphony's most uproarious moments really blast off. Symphony No. 1 was my first, and for many years, my only acquaintance with the brilliant composer. In acquiring this power-injected disc, its position as my favorite Mahler is reclaimed without a hitch (that is at least until the next time I listen to the Sixth as recorded by the Atlanta Symphony with Yoel Levi)! To be sure, a gamut of emotions is explored here. (Remember, Mahler the symphonist is always attempting to wrap his arms around the world. )  But overall, with the ebullient first movement establishing the tone, this particular symphony to me is--in four words--delightfully sunny and fun. Do note also, how with the use of the cyclical form in the Finale, Mahler pulls the work together, reprising and interlacing themes from the first movement. Sonically, the remastered 1968 recording is dazzlingly hot, which makes for considerably kicked-up immediacy (source master volume level). Likewise, I'd say it's rather bright (i. e. ample on the high end). Don't worry though, that doesn't mean it's too edgy, harsh or short on warmth. Still, if you're like me--typically preferring to set your treble control all the way up--in this case I'd suggest cranking it back a few notches. You won't miss anything. Another remastering benefit of note: It's nice, for a change, not to have to either strain or boost the volume to hear the softly opening "Frere Jacques" tune of the third movement. While generally not an avid fan of classical song, I was quite unexpectedly taken aback by the apt coupling of the Songs of a Wayfarer (the melodic foundation of much of Symphony 1). Altogether, these are so richly and deliciously rendered with such verve by baritone, Dietrich Fischer-Dieskau (accompanied by the BRSO), that I surprisingly found myself not just appreciating but actually enjoying them. Go figure, in spite of myself.