About this Artist

• Biography

Editorial Reviews

When he stepped over the threshold of his composing hut on that fateful day in July 1906, Gustav Mahler was struck by inspiration. For a long time, he'd been wondering how he could ever top his "Second Symphony" and suddenly it occurred to him: to write a better "Second Symphony," write a bigger "Second Symphony." Within three weeks, Mahler had essentially completed his "Eighth Symphony." With its gargantuan orchestra, its eight soloists, its two double choirs, its children's choir, its organ, and its offstage brass band, the "Eighth" is certainly bigger than the "Second." With its choral cantata cum fugue cum sonata form opening movement and its grand opera cum singspiel cum music hall review cum apotheosis closing movement, the "Eighth" is certainly more complicated than the "Second." But only the individual performance can show whether it's better.

This staggeringly real recording of a 1970 performance led by Rafael Kubelik does everything it can to prove that the "Eighth" is the greatest of all Mahler's symphonies. The fervent belief, the passionate conviction, the absolute faith and the unconditional love that informs every moment of the performance does everything that can be done to prove it. The terrific orchestral playing, the tremendous choral singing, the inflamed solo singing (especially the stentorian Dietrich Fischer-Dieskau and the luminous Edith Mathis) do everything that can be done to prove it. Whether they succeed is up to the listener, but that they're doing their best is beyond debate. Audite's super audio hybrid CD is easily the most devastating avatar of the recording. James Leonard, All Music Guide

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