Mahler: Symphony No. 2 "Resurrection"

Disc 1
1	Symphony No. 2 in C minor
2	Symphony No. 2 in C minor
3	Symphony No. 2 in C minor
4	Symphony No. 2 in C minor
5	Symphony No. 2 in C minor
6	Symphony No. 2 in C minor
7	Symphony No. 2 in C minor
8	Symphony No. 2 in C minor
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Disc 2
1	Symphony No. 2 in C minor
2	Symphony No. 2 in C minor
3	Symphony No. 2 in C minor
4	Symphony No. 2 in C minor
5	Symphony No. 2 in C minor
6	Symphony No. 2 in C minor
7	Symphony No. 2 in C minor
8	Symphony No. 2 in C minor
9	Symphony no 2 in C minor
10	Symphony No. 2 in C minor
11	Symphony No. 2 in C minor
12	Symphony No. 2 in C minor
13	Symphony No. 2 in C minor
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18	Symphony no 2 in C minor
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Mahler: Symphony No. 2 "Resurrection"
1.	Symphony No. 2 in C minor ("Resurrection") 1:25:29
	Composed by Gustav Mahler
	Performed by Vienna Philharmonic Orchestra, Wiener Singverein, Nadja Michael, Johannes Prinz and Latonia Moore
	Conducted by Gilbert Kaplan

Barnes & Noble

Gilbert Kaplan certainly knows his Mahler Two. An amateur conductor who made his fortune as a publisher and financier, Kaplan was awestruck by the overwhelming power of Mahler's "Resurrection" Symphony the first time he heard it, and he has never looked back. His fixation led, among other things, to the publication of the autograph score and the 1987 release of a recording with the London Symphony, which, surprisingly, became a critically acclaimed top seller. Here, with dozens of additional concert performances under his belt and with the aid of a new edition of the score made possible by his support, Kaplan releases his second recording of the work, this time using the venerable Vienna Philharmonic, the orchestra that premiered the symphony in 1899. No doubt, it's another coup for Kaplan. For one, the orchestra performs brilliantly. The brass, in particular, deserve special mention for rising to the challenge of Mahler's demanding writing with some luminous playing, and the singing, too, from both the soloists and the choir, is distinguished. Add to that state-of-the-art sound (with special care given to the spatial effects in the Finale), and the result is an admirable Mahler Two by any reckoning. But why a second recording? Hundreds of corrections went into the new edition, and Kaplan follows each of them scrupulously, realizing the work with a new exactitude that should whet the appetites of Mahler aficionados. Indeed, Kaplan treats Mahler's performance directives with a near-religious reverence, and while some may find this approach too impersonal (certainly, the recording lacks the heart-on-the-sleeve passion of Bernstein's famous account), here is a compellingly fresh reading, superbly played, of one of the composer's most thrilling scores from perhaps his most ardent fan. Armchair conductors everywhere, take note. EJ Johnson

New York Times

The first moments of the Vienna Philharmonic recording, beginning with that mighty whoosh, lay claim to the music as the earlier recording with the London Symphony never does. For vibrancy and intensity of tone, for emotional specificity, variety of color and sense of direction, from the threshold of silence to the most volcanic eruptions, the Vienna performance justifies the sort of critical rapture that began with [Leighton] Kerner and has seldom flagged since. On the recorded evidence, it almost seems that with years of practice Mr. Kaplan has grown into his reviews. Matthew Gurewitsch