Repertoire: The BEST Mahler Third Symphony

A long talk about a very long symphony, but take heart! I get to use some splendid sound samples, courtesy of Supraphon and Channel Classics. Here are my picks for the dozen finest recordings of this symphonic epic. Take your choice and have a blast with them. What an amazing work this is!

[@Hmmmmmmm02]

i only got into mahler's music this lockdown and the last movement of the 3rd is probably one of the most heavenly pieces of music i've ever heard in my life. so beautiful

[@josepholeary3286]

Yes, I discovered it in 1980 in Solti's rendition (LSO 1968). I was ravished and did not realize Solti was "obviously horrible."

[@davidwilson2214]

I agree. Welcome to Mahler!

[@MahlerHolic1860]

Welcome to the world of Mahler. I'm a fanatic and have been for some considerable time!

[@Sathoreas]

@@josepholeary3286 I personally enjoyed Solti's Mahler, with both the LSO and CSO. They aren't my favourite versions anymore, but certainly not bad like so many people say.

[@dankoppel6271]

I first heard the 3rd at age 20 and have since considered the last movement the greatest piece of music ever. The version was Jascha Horenstein and LSO, but not sure which year (there were more than 1).

[@davidhickey1182]

I just love it when you sing. When I know the work you always take straight there.

[@musicofnote1]

It's not Murder for us brass players. It's HEAVEN in the hands of a good conductor. Although I'm technically a retired bass trombonist, I'd come back if offered a gig playing this. Also Bruckner's 7th.

[@Alex-ze2xt]

I'd say my opinion on David's reviews has changed when I found out about this channel. Great passion about the music and sense of humor - this is a terrific combination, in fact I'm loving this! Bernstein coming on top here is no surprise (for me at least). P.S. I wanted to see what it's all about but ended up spending like 3 hours watching David non-stop, now I have to put some of the CDs on!

[@ChanceyWigglesworth]

THANK YOU for mentioning Vaclav Neumann's amazing 3rd. It's always been one of my favorite Mahler recordings of all time. It was released in the US on ProArte in 1984 and won the Grand Prix du Disque that year. And yes, Christa Ludwig's Misterioso will blow your mind while ripping your heart to pieces.

[@Warp75]

I’ve been listening to the whole cycle & have been enjoying it immensely. Dave’s right the CPO really were something special.

[@scottkirby8204]

Sorry, David. I've listened to the Bernstein and it leaves me cold. And yes, I love the Horenstein. But you've also ignored the Lucerne Festival Orchestra performance led by Claudio Abbado which is stunning. But hey, that's just one man's opinion.

[@DavesClassicalGuide]

That's what makes a railroad! But stunning the Abbado is definitely not. Yech.

[@donaldjones5386]

@@DavesClassicalGuide I'm with David on this one!

[@scottkirby8204]

@@sergeiparajanov Thank you. Nice to not be alone.

[@jerelzoltick6900]

Reviewing some of the older videos. It. is a joy to listen and watch your videos. Mahler's 3rd is one of my favorite symphonies. I was fortunate to have heard Bernstein perform this over 50 years ago. Recently I was watching Mehta performing. this with the Berlin Philharmonic ...it too is a great. performance. Very powerful and heartfelt. Have a healthy Thanksgiving. jerel

[@lilydog1000]

I loved that Neumann snippet. Neumann's Mahler cycle is one I am virtually on the cusp of springing for, mainly because of the Czech PO. Anyway, I agree fully about Bernstein's NYPO recording. Tremendous.

[@Decrepit_Productions]

I own three of your recommendations: Chailly/COA, Neumann/CPO, Bernstein/NYPO2. One thing I like very much about the Neumann is the marvelous tonal difference between the CPO's dark, mellow "posthorn" and the crisp, bright trumpets in movement 3. A third I rather liked back in the day is Mehta/LAPO. Best low trombone / tuba combo in existence, imo: Jeff Reynolds / Roger Bobo. Bobo in his prime had a laser-like focus that could cut through the densest of orchestral textures. I think of him as the Birgit Nilsson of tubists. I own it on LP. For good or ill, by the time it made the jump to CD I already owned satisfactory performance in that format.

[@miketackett4283]

I was about to give the Mehta performance a thumbs up, but I see 2 other folks beat me to it -- you being the first. After a glowing review in some long dead stereo magazine, I picked it up on a Decca 2-fer CD, which also featured Mehta and the Israel Philharmonic burning through Mahler's First (he was young and high spirited when recording both works, but maybe a little too high spirited in the case of #1).

[@craigkowald3055]

I played the 3d 4 years ago on 5th horn. You are totally correct that this is a massive chop buster. Love the whole work, but in particular, the finale. Most beautiful piece I have ever heard. The final D major is the single greatest chord ever written.

[@williamhollin1445]

I played 8th 15-16 years ago. Not so bad as a high horn part, I remember a plethora of pedal G's...but what an experience! That last movement was for me, like playing at the feet of God.

[@neilbullock4760]

I know we shouldn’t judge an album by its cover, but James Levine’s 1975 CSO recording on RCA is worthy of its charming Maurice Sendak cover. It’s my personal favorite 3rd, and the one that transformed me from an admirer into a lover of Mahler’s music.

[@davidblackburn3396]

Yes. For my money no one nails the final Adagio like Levine and the CSO. Delicious.

[@pianomanhere]

That is also my favorite performance of this symphony.

[@chrisgately4358]

Levine's version has my favorite mezzo, Marilyn Horne.

[@Kyle-ur4mr]

Been waiting for this one!!

[@DavesClassicalGuide]

Nope it was worth it!

[@johnkim3840]

Again, many thanks for the insightful review. I'd seriously add Levine/CSO on the list. Apart from the constricted sonics, It had a heavenly Adagio. As for the first Bernstein recording, I find the closing bars to be the most uplifting and glorious of all the versions I know, and this is the main reason it's always on top of my list. Gatti also did a terrific M3rd in Amsterdam a few years ago which unfortunately didn't get released.

[@DavesClassicalGuide]

I thought about Levine, but it just seems to bog down in places, at least for me.

[@MorganHayes_Composer.Pianist]

Among the most imaginative sleeve designs for any Mahler Symphony as well.

[@johnkim3840]

@@MorganHayes_Composer.Pianist Yes!

[@davidblackburn3396]

For the work as a whole, yes, Bernstein is the man. But Levine nailed the Adagio as no one else ever has, in my opinion. Bernstein is a close second. I love Sendak's cover art, too. He adored Mahler's music.

[@MikeDrewYT]

It’s Levine for me as well. One of those recordings I just can’t get past, I just keep wanting others to live up to it. I really am trying to expand past it but no other performance has grabbed me like it does. It never flags for me; I’m wondering which moments those are for Dave. The only performance that reached it for me once was Edo De Waart in Milwaukee live about a decade ago. One of two times I’ve heard it live. That doesn’t mean much since I always get up for concerts.

[@viniciussarteschi9840]

I came in search of a good recording of Mahler's Third, and ended up finding a wonderful review of the structure and composition of the symphony. What a precious channel! What would we do without you, Dave?

[@dexblue]

I couldn't agree more ... How is Dave not a full prof of Music Appreciation at some big-shot university? He is so smart and inspiring. Long ago I took a music appreciation course at Everett Community College given by a very wonderful man and a local conductor; he had a very grand waxed moustache a la Salvador Dali, with long hair brush back and tucked behind his ears; he would go into trances over Rimsky Korsokov, Mahler, Dvorak and some modern jazz; and, there we were, sons and daughters of mill workers, pulp and paper workers, seasonal fishermen's kids, restaurant owners' kids getting a first taste of real culture ...

[@dexblue]

O and can't forget - kids of Boeing 747 workers (Everett distinct for having the largest building in the world in sq, ft. at that time).

[@ScotPeacock]

Along with Lenny’s first recording of the Third, I really love Kubelik’s on Audite. There’s such a frisson of excitement, the idiomatic bucolic sound Kubelik was so good at, and it was far better recorded than the DG release.

[@barryguerrero7652]

I also prefer Bernstein's earlier M3 to his later DG one. They're both great, obviously. I love Honeck/Pittsburgh! I also really like Adam Fischer's recent recording. The pacing is very similar to Ivan Fischer's, but I like the grittier, almost dirty playing of the Dusseldorf people. To me, they capture more the funky world of cuckoo clocks, lederhosen and steins full of dark beer. Both Fischer brothers are very good, but I'm really liking Adam's Mahler. They make a nice combination - him and the Dusseldorfers. I wouldn't leave out Salonen/Los Angeles either. Unfortunately, it was recorded in Dorothy Chandler and not Royce Hall. I also like Mehta/L.A. too.

[@robkeeleycomposer]

Listening to the Salonen now: I found the first movement didn't work so well, but the second movement is exquisite. I'm loath to ascribe qualities in his performance to him also being a composer of some substance, but he seems to bring out the more 'modern music' aspects of it. Thoughts?

[@miketackett4283]

Here's another vote for the Mehta/L.A. performance -- dig the spirited pacing.

[@pbarach1]

I'm a fan of the Honeck performance. He performed Mahler 2 twice in Pittsburgh in the last decade, the second time with a VERY loud set of church steeple chimes that was louder than the full orchestra and organ at the end (I was there). Exton recorded one of these performances--not sure which--but they never released it, which is a pity. The Chailly sounds great on the SACD in multichannel playback--also a great performance.

[@eliterwilliger9872]

Yeah...I'm sad they never finished the cycle. Maybe some type of fallout between Exton and PSO management?

[@brentmarquez4157]

Hearing the parallel fifths in the Neumann was the most fun I've had since college. Will be picking up that recording for the character. I wonder if that was in some discovered draft, can't imagine a transposition error like that would go unnoticed. Fun stuff

[@maximisaev6974]

This holiday season I've been revisiting classic recordings that I missed somehow along the way. MY GOD DAVE, that first Bernstein NYPO Mahler Third is outstanding in every single way. The 2012 remastering I just purchased of the 1961 recording is RIVETING! I have my issues with Bernstein, or should I say the later, more over emphatic DG era Bernstein, but I'm absolutely convinced this particular recording is the finest thing he ever recorded. The musical grip and tension is maintained for every single note of this 100 minute masterpiece. I also don't believe the NYPO has ever sounded finer on record. I've played several versions of Mahler 3 over the decades, and never have I heard it so outstandingly performed and recorded. You can hear every single section in the orchestra from top to bottom, back to front, and never once does the tension let up until after the last note is sounded and you're left a combination of exalted and exhausted. It's sounds like a cliche, especially at my age, but I literally was on the edge of my chair listening to this. I thought that only happened to teenagers and here I am gushing over this life enhancing, dare I say life changing performance. I know this particular recording is considered by many to be the finest version of all, but it's only because of your recommendation that I finally got up off my butt and experienced it. It's never to late to "imprint" a performance as definitive, and Dave i have you to thank for it.

[@DavesClassicalGuide]

Thank you for listening! I'm so glad that it "hit" you.

[@gmoeller]

I knew Mahler's 3rd would eventually make its way to your video series. Well done as always, Dave. My brother and I spent our high school years in NJ during the 90s, and both of us being brass players used to see the brass of the NYP and Phil. O. as rock stars. And we cherished the three Bernstein/NYP recordings of his DG Mahler cycle, most of all the 3rd Symphony. Although I have grown to find great appreciation of other versions (Nott/Bambuger, Chailly/RCO, Boulez/VPO) the DG Bernstein still towers over them all.

[@dem8568]

What a fascinating video. You're a treasure, Dave.

[@fcamiola]

Been obsessed with the first Lenny recording...it is amazing. The recording itself is incredible too.

[@simoneavedian6832]

Thank you Dave! I've listened to your Mahler talks and they helped introduce me to this absolutely sublime composer.

[@DavesClassicalGuide]

Thanks for listening!

[@pauloalmeida3243]

Thank you, Mr Hurwitz, for the insights into this symphony which was, for me, life changing. I first heard this symphony by accident 10 years ago with the Hamburg Philharmonic, guested by Markus Lehtinen... but I went to Hamburg to see the ballet. Dance is my main interest. I can't read music, but I can count to 8, and choreography is set to 8 counts. I had one chance to see the legendary Hamburg Ballet which is associated with the old/rebuilt opera & was, as usual, sold out, but I didn't care what the performance was, I just wanted to see the dancers. I bought a ticket from a guy on the street, went in, and discovered the ballet was set to Mahler's 3rd. Years before, I had listened to Mahler 1, heard a funereal Frere Jacques, and decided Mahler was not for me. I assumed the music was undanceable, but was then amazed. It was for me a performance comparable to the premier of the Rite, and dance was my gateway to the music. I have since gone to any performance of Mahler, without dancing; I don't know what I'm listening to, but appreciate the experience. I finally had a chance to hear the 3rd again, by Baltimore with Marin Alsop, on March 15, 2020. Cancelled the day before with the start of the pandemic lockdown. Still waiting for Pan to awaken, and delighted to discover your channel. Many thanks.

[@marknewkirk4322]

I downloaded a very nice recording by Schuricht. It's not perfect, but he has some ideas that are worth hearing. And his pacing is very good, I think.

[@bendingcaesar65]

Thanks for another excellent talk, David. I agree, Bernstein rules in this symphony. Personally, I prefer his DG version, because the tympani whacks are more powerful in the opening section (they sound a little soggy on Sony), and I think they really need to have that hard-hitting edge. Anyway, thank you; I learned a great deal.

[@smudger671]

Trouble is, DG are crap sound engineers. They multi mike every thing.

[@jg2977]

I’m also partial to the DG recording. Joseph Alessi plays the trombone solo and it’s epic.

[@BVcello]

Great video... I always liked the Salonen/LA recording on Sony besides most of the ones mentioned. I'm a bit sentimental about that one for personal reasons, but it can't be denied it's an aptly conducted, well played and recorded performance. And it seems there's an added bass drum on the final 5 double timpani chords of the finale... Quite remarkable

[@richardbois3642]

There was a recording by MTT on CBS Masterworks that completely disappeared after the Sony takeover. I remember it being a solid B (maybe B+) recording with Janet Baker as the soloist.

[@DavesClassicalGuide]

I wonder if there will be an MTT Sony/RCA box some day. There is a lot of stuff there, some of it very good (Tchaikovsky Suites, etc). His RCA Mahler 7 is also excellent.

[@barrygray8903]

Great talk about a great work that is fiendishly difficult to pull off. I've attended two performances: one very good account with our local symphony orchestra, and an excellent one with the Atlanta Symphony under Robert Spano, from about 10 years ago. Spano had the full measure of the work, in particular the sprawling first movement. Superb playing by the ASO. As for recordings, I agree that the Bernstein/Sony recording is probably the finest overall. I like Bernstein/DG, Fischer, Gielen, and Ozawa as well. Chailly's performance blows me away, an almost perfect combination of peerless engineering and a committed, near-flawless performance. Boulez/VPO is very good, with an excellent first movement. My go-to recording of late has been the glorious Haitink/Concertgebouw, despite a recording that slightly shows its age. I'm glad you mentioned Horenstein. His recording has been highly praised in the UK. Not bad, but not great.

[@oakdaddy]

I just know he's going to whack that gong eventually.

[@DavesClassicalGuide]

I've done is several times already.

[@nobodynothing3735]

Just hearing him talk about the brass section in this makes me think it's the greatest symphony ever written. I'm a brass player so it might be a bit biased but damn I'd love to play this on multiple instruments.

[@Crowji1]

I love this guy so much. He makes everything easy and fun to explore.

[@jeffreydanowitz3083]

I really enjoyed this video. I generally agree with your conclusions. Bernstein got it right. The whole rhythm thing in the first movement- he does it the best. I agree that the newer recording has a better last adagio. The first I heard was Neemi Jarvi! I still have the discs. It’s hard to get yourself moved off your initial performance especially when it’s not really bad. But indeed Bernstein did do it. I heard the later one first and then the earlier one. Have you heard (I’m sure this is rhetorical) the F. Charles Adler performance with the Vienna Symphony Orchestra? To me the last movement blew me away completely. I was done and had to stop everything at the end. Interesting to hear your thoughts. Finally regarding Solti- yes the 3rd is not his most glorious performance. However (and I’m going to have to what your video on the 8th) for the 8th he finally did do it and has my go to performance. But I’ll watch your video on the 8th first before going further. Again I think you really captured the essence of the 3rd and taught me about some performances I never heard.

[@alwa6954]

I agree about cycles being problematic because almost no conductor is good at everything in a diverse cycle. But I am a cycle maniac. I love to compare different entire cycles, their ups and downs. I feel like there is something to gain from hearing a conductor's thoughts on an entire body of work. If I hear an interesting performance of one symphony I always wonder how they would do the others. That's why I'm a cycle maniac.

[@DavesClassicalGuide]

Perfectly fair!

[@alwa6954]

@@DavesClassicalGuide And I feel like the whole is greater than the sum of the parts. So I tend to favor wholes. Even a questionable performance may be reevaluated within the context of a cycle. There may be unifying factors or points of view that carry across the performances that may validate an interpretation that might be dubious or misunderstood on its own. I think listening to a conductor's larger body of interpretations helps to understand choices they make.

[@mixolydianmood7893]

Dear Dave, I really don't understand why you omit to quote Mariss Jansson as mahlerian conductor. His third and even more his second, recorded live with the RCO are stunning.

[@DavesClassicalGuide]

No, they aren't. He's a Mahlerian mediocrity.

[@scottgilesmusic]

Jascha Horenstein is a god. He’s a god because he was made that way and sent from the Underworld to destroy great pieces of music (for the amusement of the Olympians, no doubt). The first Bernstein Mahler 3 is gorgeous. It’s the second Mahler I ever heard. 1978. I had no money so I listened to it hour after hour at the library of American River College. I skipped classes just to listen to the first movement.

[@dmntuba]

AMEN! I also like the Metha LA Phil

[@bolemirnoc604]

The Maazel/VPO is real torture. Not only the conductor's attitude but the playing as well.

[@bolemirnoc604]

Because it's the dullest and most ponderous Mahler 3 ever. It makes sense in the first minutes but it stays like this till the end. :D

[@frankthetank9761]

Hi Dave -- I just came across your videos and wanted to thank you for all of your great work. We are all very fortunate that you are willing to pass on your expert knowledge and opinion. Keep it up! -- Frank

[@larsolsen7698]

I heard Bernstein conduct the New York Philharmonic in Mahler's Third at the Lincoln Center around 1988. I was so used to Haitink's recording that I was actually disappointed. I had still a lot to learn, I guess...

[@DavesClassicalGuide]

I heard those performances too, and they were wonderful.

[@andrewle4227]

Chailly's mahler 3, the brass is very soft and smooth which i don't like and drive me crazy.... compares to Gielen and Berstein's brass which have a wonderful devastating sound.

[@geoffharris9396]

Actually the original LP's of Horenstein's performance sound much better than the cd transfer when played on a good quality turntable. If they ever got around to remastering the original tapes it would go a long way to improve the balance of brass and strings.

[@DavesClassicalGuide]

You're right, the LPs always did sound better, but it doesn't matter. The bigger problem is the performance, sadly, and in my opinion any recording that will only sound well on a "good quality turntable," whatever that may be, is a failure.

[@wadericejr2788]

@@DavesClassicalGuide I took note of your comment about Horenstein being a "second-rate" conductor. I know that many people will certainly disagree with you on that, but there's something about most of Horenstein's recordings, while not ideal or the best there is of a given work, likely has to do with the fact that he was a peripatetic conductor throughout the majority of his career and never stayed in any one place long enough to make his "imprint" on an orchestra and its players to allow him to become a "first-rate" conductor, as well as his orchestra. I do think that some of his recordings of certain works are certainly better than many other conductors, but considering the conditions under which he worked, whenever he went before the microphones, he did come up with some quite good results with whatever band he was conducting, even if it wasn't the best. It's too bad that he didn't want to stay in any one place long enough to make a name for himself more than he did; otherwise he probably would be up there amongst the best. I guess we shall never know how good a conductor he potentially could have been had he decided to stay in one place as music director.

[@DavesClassicalGuide]

@@wadericejr2788 Why make excuses for him? I don't buy it. The evidence of the recordings speaks for itself. I can't speculate on what might have been. All I know is that he was very seldom excellent, and the reason why isn't my problem. If I go to a restaurant and food is bad, it's a lousy restaurant. No one is going to tell me to go back and give them more of my money because they had good intentions even if the food was terrible. How is this any different? People have choices, and it's an injustice to ask them to accept second-rate work when they can so easily get first-rate work.

[@joewebb1983]

On a side note (Horenstein)... Arguably the best recording he made was the Rachmaninov cycle with Earl Wild and the RPO 🙂

[@james.t.herman]

So true about the demands on the brass and winds. You’ve got to be a hell of a player.

[@Slipnslide73]

My first recording was an LP of Mehta/Los Angeles. It’s so familiar to me that I just can’t shake it... Anyways, it’s full of beautiful playing and I recommend a listen!

[@DavesClassicalGuide]

Sure, it's very good, but as I said, I was trying to limit the pile. Don't take it as a jab against that recording. I've enjoyed it for decades.

[@fredwanger9337]

A wonderful overview of the glorious Mahler and not just because of your final Bernstein choice, although mine is the 1972 VPO recording with Ludwig. Bravo to you for a most entertaining and informative program.

[@EdwarddeVere1550]

Mahler Mavinsky! Your Bernstein pick is so emotionally fraught that I was nearly prostrate with grief as soon as the Celli Sweeps with their resplendent sonority drowned me with their eloquence. The second movement struck me dumb with amazement at the measured pace. Stunning!!!

[@johnwright7749]

My first choice is Bernstein’s DG recording maybe because it is sonically superior to the Sony which was my introduction to the work on LP. I am also quite taken with Boulez and the Vienna Phil which surprised me with its warmth and humanity-wonderful playing in all departments! I have Levine with Chicago that was my first version on CD, but haven’t listened to it for years. I recall that it all sounded so distant. Our local library was “giving away” Maazel’s Vienna recording for $1.00 so I thought I’d give it a listen. As you say, the longest ever and very strange!

[@martinelaurent5690]

Thanks a lot for this performance. I wonder why you left out Abbado altogether?

[@DavesClassicalGuide]

Because it's not worth mentioning.

[@redstar77]

I once owned the Chailly, but found it too closely miked with a harsh, metallic sound. I listened to excerpts of other recordings online, but once I heard the Abbado I knew this was “it” and acquired the CD. It is beautifully rendered by the Vienna Philharmonic, Jessye Norman is outstanding, and the recording has an ambient sound that is warm, natural, and spacious. To each his own I guess.

[@EthanMatthes]

Really appreciated your going over the structure of this symphony and what to listen for. I bought the Fischer/Budapest album after your review, and I'm extremely pleased with it.

[@DavesClassicalGuide]

Great to hear! Thanks.

[@davidlemon3859]

Loved this review. Yes, to everything about Bernstein/NYPO. It changed my life at fifteen, for all the characteristics you describe. Bought it after reading the Gramophone review - Deryck Cooke I think, who quoted Stravinsky as saying "Wow!" after a Bernstein performance. I'd never heard anything like it. It's resonated for sixty years, and will always be with me.

[@cappycapuzi1716]

Wonderful talk! The third is my favorite Mahler. I just luv all the brass and colors, and by some miracle the one I have is Bernstein's NYPO

[@jokinboken]

I am with you on both Bernstein recordings. Also a personal favorite is Levine/CSO with Marilyn Horne. I didn't get to hear Bernstein conduct the NYPO in this work in concert, but I did get to attend his open rehearsal (back when the NYPO sold super cheap tickets to rehearsals). The rehearsal was fantastic. Other than the scheduled rehearsal break Bernstein only stopped them once - otherwise it was straight through, virtually like a concert, and just as good.

[@jokinboken]

David - where you speak about the Neumann recording (at 19:52), I am convinced the parallel 5th you hear is due to an transposition error by either the 3rd or 4th trumpet player. The passage you played is notated for trumpet in Bb. The previous passages played by the trumpets were written for trumpet transposed in F. Someone missed the indication to switch to Bb transposition and stayed in F transposition in the trumpet section.

[@DavesClassicalGuide]

Maybe.

[@laurentco]

I've been enjoying your videos but I have to say thank you for giving me the word I was lacking to describe imprinting. What a perfectly evocative description of that lhe phenomenon. I'm definitely going to use that. I think I'm mostly over that but it used to be a big hurdle to enjoying a new interpretation of a pice. I think it goes away the more you hear different versions of different pieces.

[@vladradek]

I love your reviews - thank you! Maybe I can make a small contribution here. Horenstein's Mahler 4 recording with the London Philharmonic and Margaret Price was priceless! (Sorry - bad pun.) I bought it on cassette tape in the early 1980s and it sounded FABULOUS. I subsequently bought it on vinyl and CD, and was very disappointed by the sound quality. The master tape, as realized on that budget cassette tape, was phenomenal. And, for me, Margaret Price is incomparable in the finale.

[@DavesClassicalGuide]

Thank you for your kind comment. Price is great, I agree. Horenstein, not so much. As usual with him, he finds it impossible to follow Mahler many subtle tempo adjustments, and the result sounds stiff, especially in the first movement, but also throughout the symphony.

[@vladradek]

@@DavesClassicalGuide Dang I have to respectfully disagree :-) I wish there were a time machine and some way to demonstrate what that cassette sounded like. Listening on vinyl was an ordeal. The CD was an ordeal. MP4 is an ordeal. The cassette brought the recording to life. The LPO play immaculately from beginning to end. What seemed stodgy and inflexible becomes an amazing unfolding of sound. The scherzo is wonderful (the woodwind are superb). There are subtle adjustments of tempo - I'd better shut up now. 'Nuff said :-)

[@DavesClassicalGuide]

@@vladradek The sound wasn't the problem, if was Horenstein's bad conducting, but if you like it, that's fine.

[@rebekkahdruck1392]

Dave, what do you think of López Cobos' traversal with Cincy on Telarc ? Have you heard it ?

[@DavesClassicalGuide]

Yes It's mostly very good--perhaps a touch underplayed.

[@rickykofr2]

Thanks for nice Mahler 3rd video! I do not interesting Horenstein Mahler 3rd too, not bad but it’s make me feel little bit…Boring…. and I don’t know why too many guys said it’s the best of the best Mahler 3rd recording in the world 😅

[@andrewle4227]

i always have spaghetti rute at home and always ready to play Mahler's iconic symphonies

[@ThreadBomb]

My reference for the 3rd is Tennstedt. I can't get behind the praise of Bernstein/NY. That performance is proficient and energetic. I think Mahler should be dark and glittering, grotesque, and folksy. Bernstein doesn't really achieve this except in a superficial way. Admittedly I haven't heard the last remaster, but I can't imagine it would change my opinion. By the way, David, I am worried you are burning through the repertoire so fast you will run out of ideas for videos!

[@DavesClassicalGuide]

I wouldn't worry.

[@ammyvl1]

Dave, these videos are so much fun. Thanks for making them!

[@edwardtodd9734]

The first Mahler that I heard. Haitink with the LPO at the Festival Hall

[@samsiskind1815]

Thank you for the wonderful video, I was anticipating your Mahler 3 talk. Glad you mentioned the "Sousa-like style" of the marches in the first mvt cause I've always thought that too and I'm not sure I've ever heard anyone else describe it as such. I really appreciate your description of Honeck's rubato and how his tempos, in Mahler in particular, have such a natural flow. It reminds me of when he conducted Mahler 6 in Pgh several years ago (think 2012 maybe). For whatever reason, it was never recorded/released. On the first night (Fri) he inserted all of Mahler's original hammer blows, though he did the conventional two the following night, which is the one I attended. It's going back a few years but what I remember most about that performance is it was time wise, a long one (90+ minutes) but what was amazing is it never felt like it was slow or dragging. It always felt like it was moving forward. I spent the next couple days trying to figure out how he managed to do that.

[@andrewbowie]

Tennstedt's live recording with the London Philharmonic on ICA doesn't seem to get a mention. As always with Tennstedt, it is better than his studio version. I would rate it as at least as good as the Bernstein NYPO, and probably even better.

[@DavesClassicalGuide]

I wouldn't.

[@johndahlen4698]

Just goes to show that you're never too old to find a new desert island version of Mahler's 3rd. The Tennstedt/ LPO was mine for decades until I watched this video, and then spent last night listening to Bernstein's NYPO first version. I'm sold! It's my new gold standard. Thanks David Hurwitz!

[@DavesClassicalGuide]

You're very welcome.

[@shawnhampton8503]

I am very proud that Dallas and Litton made your list. Great recording. The women of the chorus (I was in the chorus but am a Bass so was not singing) really shone. My fave is Abbado's Vienna Phil DG version from 81. Jessye Norman... and a very beautiful recording, which is so surprising as so many early DG digital recordings were awful. It is glorious, IMO.

[@DavesClassicalGuide]

The Abbado is pretty dreadful--underplayed, colorless, and not well engineered.

[@tommorrissey4726]

Re Haitink and the quirks of his studio recording, I recall reading (no cite, alas) that Mengelberg sat in the orchestra during Mahler's rehearsals with it and marked up a score to reflect Mahler's instructions. (I always reflect on that when I listen to Mengelberg's rather, uh, singular live recording of Mahler 4.) Wonder if Mengelberg's successors drew on that resource.

[@donaldjones5386]

I think Haitink did it 3X (possibly more). Amsterdam, Chicago, ?

[@G.v.5049]

What a great channel, what a great moderator ‼️

[@vinylarchaeologist]

Glad to hear that it's possible to get permission to play samples from the labels themselves. Does that mean that those labels do not take part in KZbin's Content ID (their automatic flagging and de-monetising of videos)?

[@DavesClassicalGuide]

They do, but they can unblock at will or, sometimes, give a blanket permission. It depends...

[@AlexMadorsky]

I bought the Gielen Mahler Cycle recently. Gielen’s psychological bond with this work and the massive forces it requires is evident. If it’s not the best I’ve heard, it’s pretty darn close. Generally I love Fischer, so I’ll listen to his 3rd next. The 3rd isn’t one of my favorite Mahler symphonies, so I don’t listen to it often and most of these recordings are foreign to me.

[@stephen_pfrimmer]

Thanks!

[@stephen_pfrimmer]

Dallas is OK

[@stephen_pfrimmer]

I don't know. I should listen. I heard Dallas and Fort Worth and could not tell the difference. I was not prepared to listen

[@DavesClassicalGuide]

Thank you very much!

[@1984robert]

I have Ivan Fischer's all Mahler recordings (except Das Lied) and I was regularly at their concerts at Budapest. Their Mahler 1st was one of my most memorable concert experience. I think the peak of his cycle is the first 4 symphony. The worst for me is his 9th. He already finished his cycle, he won't record (and won't conduct) the 8th because he don't like it.

[@Promytheas100]

Excellent talk - thank you very much!

[@salocindejuan9648]

First, David, let me thank you, for your excellent "cycle" of Mahler-Symphonies. Question: having you praised in many opportunities the "Czech sound", what is your opinion about Macal and his Mahler with the Czech Philarmonic Orchestra?

[@DavesClassicalGuide]

Not too interesting, I'm afraid, but I like the orchestra.

[@salocindejuan9648]

@@DavesClassicalGuide Thank you, David, for your prompt answer, and, in general, for the effort you put in answering questions. Now, regarding the Czech sound, I guess that if I want to assembly a Mahler cycle played by the Czech Philarmonic the best way would be to combine the cycle of Neumann with the 9th by Ancerl. Am I right, or do you have a better proposal? Best regards,

[@DavesClassicalGuide]

@@salocindejuan9648 I wouldn't try to get a complete cycle--just a few select performances, but the Ancerl 9th is a must.

[@stephencoats1501]

Just finished my premiere listen to Litton and Dallas on your recommendation. Oh lord what a triumph! Sleazy , brassy, gnarly, nasty and beautiful in turns when needed. In your face! Fresh and cheeky. For me the usual suspects and now Ivan Fischer, Yoel Levi, Chailly and Gielen are so good too. I now add Litton and Dallas! Thanks for the tip!

[@Ashley-qc2sc]

Thanks, this is a great survey of recordings of M3. I recently bought both the DG and Sony box sets of Bernstein’s complete Mahler symphonies. I’ll have to go and listen to the 3rd which I have heard yet.

[@nerowolfe5175]

I'll toss in a sleeper. I've only ever heard it on KZbin, but try out Andres Orozco Estrada/Frankfurt.

[@jwinder2]

I am coming to this video several years late, and tend to agree with most of the choices, but feel a need to mention the Leinsdorf/Boston performance; particularly the final movement. It was available for a while on a good cd remaster on RCA.

[@steveschwartz8944]

I first heard the symphony in Bernstein's performance during the 60s when I was in college. It was in the flush of the boom that finally brought Mahler out of his cult, and Bernstein's first Mahler cycle went a long way to make that happen. My fellow students and I were just starting to learn these symphonies (other than the 1st, 2nd, and 4th) as Columbia released them. Now, of course, there are a lot of Mahler 3rds out there, but one thing that I believe still makes the Bernstein account still stand out is its exploratory quality. Bernstein seemed also to discover Mahler as we were. There is an intellectual openness to his reading unmatched in others, and not just in the first movement. I could pick nits from certain moments (mainly in the "Es sungen drei Engeln" movement), but who cares?

[@GastonBulbous]

Great overview!

[@MahlerHolic1860]

I wish the Honeck was available at a decent price! It's ridiculous. I agree with Lenny at Number One! Fischer? Not for me!

[@chrisgately4358]

Regarding the Horenstein: On my LP copy, the Dolby noise reduction units were misaligned and I can hear them "pumping" in the first movement.

[@donaldjones5386]

Thanks for a very perceptive/informative review. Of course, I didn't know about several of these recordings, but Bernstein, Haitink, and Kubelik are among my favorites. One thing I always look for is "how the last movement holds together". It needs to build and not lag. If so, the ending can be electrifying. You got to this matter later on in discussing the Bernstein. One thing about "Mahler orchestras": the Concertgebouw, of course, but THE Mahler orchestra is right here in New York: the orchestra of Mahler himself, Walter, Mitropoulos, and Bernstein.

[@JohnAndrews-lb8yk]

Many thanks for a fine video, and I quite agree with your top choices. I was wondering what your opinion is of Levine's recording of the third. I've always been fond of it (although that may be partly for sentimental reasons...it was the first recording I ever heard of this work!)

[@halfcenturytruck]

Solti made it last about 2h IIRC, mostly due to making VI so damn slow

[@DavesClassicalGuide]

No, that's not true.

[@halfcenturytruck]

@@DavesClassicalGuide Interesting. I may have succumbed to the lore and lost the facts

[@thezealouscellist1966]

I remember reading a review in Fanfare of the CD reissue of the old F. Charles Adler recording, which was the only known one for about a decade. I remember the reviewer calling it "a contender only when there was nothing to contend with."

[@davidlemon3859]

You might want to check out that opinion. I have it on Music and Arts, now unavailable. (Came with the Adagio and Purgatorio of the 10th.) It was on Harmonia Mundi for a while too. But it's on You Tube.

[@thezealouscellist1966]

@@davidlemon3859 I found it on YT, also. But the review is from a 1986 issue of Fanfare.

[@steveschwartz8944]

I've been plowing my way through your Mahler recommendations, and I must heartily second your opinion. It's certainly the best 3rd I've ever heard. The first movement for me is the one that makes the most sense of the music.

[@jerelzoltick6900]

I have been listening to so many versions of the Mahler 3rd. The Recent Berlin Philharmonic 12/18/2021 with Zubin Mehta is spectacular. Beautifully played. Again the percussion at the end is played like Salonen - so effective. It is on the Berlin Phil site. What a great symphony ----- be well.. Again

[@westonpringle6757]

I really enjoy the Gielen Mahler Third. Mostly because of the blasting trombones! Especially about 20 minutes into the first movement there is a loud bass trombone, the way I play!

[@vincentd.1424]

I’m listening to the Bernstein recording (NYP) that just came in the mail while watching this video.

[@JB-dm5cp]

I like Rögner in Bruckner. I may want to listen to Rögner’s Mahler 3. My favorite Mahler 3 is the Cincinnati Symphony Orchestra with Lopez-Cobos and Michelle DeYoung. I might want to check out Gielen too. The Fischer sounds as exhuberant and alive and beautiful as one could wish.

[@ftumschk]

Up until now, I only had Rögner's Bruckner recordings. Luckily, iTunes has his Mahler 3 for just £5.99, so how could I resist?

[@UlfilasNZ]

Lopez-Cobos is my favourite of the American Mahler 3s, after Bernstein I. I prefer it to Ozawa or Levine, definitely. It's as well played as either, and much better recorded. My top 12 would also include Boulez and Abbado with the VPO.

[@barryguerrero7652]

I think those are all good. I especially like the Rogner (with umlauts). Like David said, it has real personality (something like that).

[@curseofmillhaven1057]

I think the Horenstein is the most overated version of the 3rd too - really rigid in tempo, and indifferently recorded. When I first heard it I thought what is the fuss all about? I think luckily I got to know the piece primarily through Tennstedt's LPO studio recording (which I still rate highly...the LPO isn't the finest ensemble but boy do they deliver Tennstedt's craggy vision here). I also had Kubelik's studio DG version on LP; that for me was way too restrained for a work which needs to be a bit more extrovert. The recording is also too closely observed and sounds cramped and too small scale for my liking. Love the Chailly, and Honeck (a thrift store purchase by the way - how did it end up there?). But yes, that first Bernstein is something special - it has a freshness I don't find in the DG remake. Would like to hear the Hatink now - oh my poor groaning shelves!

[@ftumschk]

The first Bernstein is superb; however, his DG recording has yet to be surpassed when it comes to the final movement. Simply glorious.

[@ThreadBomb]

Tennstedt!

[@curseofmillhaven1057]

@@williamstivelman6314 with respect the statement that Tennstedt or Mehta were 'never' compelling in the studio is just a sweeping generalisation isn't it? Yes Tennstedt did some glorious live stuff (Beethoven Eroica, Mahler 2nd) but also produced a very fine studio Wagner bleeding chunks disc and compelling Strauss Last Four Songs, and some of the aforementioned Mahler amongst other things. As for Mehta well I'll just give the example, one of numerous ones, of his Decca Mahler VPO 2nd - it's fantastic...as for Tennstedt's Chicago stay, got to say his LPO studio recording of Mahler 1 is better in it's raw honesty than his CSO version which really didn't make that much of an impression on me apart from slick playing.

[@ThreadBomb]

@@williamstivelman6314 I disagree. The recording studio instilled a much needed discipline in Tennstedt. The live versions tend to be the same thing but more sprawling and sloppy.

[@stephen_pfrimmer]

Thanks!

[@stephen_pfrimmer]

Thank you foe sharing. Play more percussion. We love all of your precious voices. We love you.

[@DavesClassicalGuide]

Thank you very much!

[@frankbruno8556]

Lorin Maazel can take TWO weeks😅 !

[@cayrephilippe2416]

Thank you for this very interesting review. What do you think of Barbirolli (BBC legends) on the one hand and Pierre Boulez, conducting the Vienna Philharmonic on the other?

[@HassoBenSoba]

53 years ago today (3/23/68) I bought my first two Mahler recordings: Sym 2 (Klemperer/Philharmonia) and Sym 3 (Bernstein #1). Lenny's is still TOPS, not only the performance, but what it represents in the "rediscovery" of Mahler, which I was very much aware of. I agree about the deficiencies of Horenstein..but man, the end of the first movement is still the most awesome IMHO..the sound of the brass, harps, the giant Tam-tam stroke..and the spacious sonics continue to thrill . (The late) Jimmy Levine/CSO is great, as is the Maazel/Vienna; other than the missed tam-tam at the big climax midway thru Mvt 1 and the ridiculously slow tempo in the Finale, it is a revelation. Do you know the short-live DeWaart/Netherlands Radio set that was briefly available on RCA? The Third is astoundingly good, and the 3 big Trombone solos in the first Mvt. are like something from another planet; I've NEVER heard them so beautifully shaped by player and conductor..by simply observing Mahler's markings to the letter (and of course, adding great quantities of ART). BTW..the earlier post re: Neumann's mis-transposed brass is correct: the Third and 4th Trumpets missed the instructions to change from F Trumpets to Bb..and thus, the two phrases (first w/horns, then w/ trumpets 1 &2) are pitched a FOURTH too high, and produce some lovely parallel 4ths and 5th. Funky. LR

[@DavesClassicalGuide]

Yes, I enjoyed that DeWaart 3rd very much. That cycle had some great performances, except, sadly, 6 and 9.

[@lordsoulis]

I enjoyed your review of the third. I have the Bernstein on LP and love it. I Wonder what you think of Tennstedt's Mahler? I have him with the LPO on the 3rd, 5th and 9th. I don't recall your ever mentioning him in any review. Best.

[@carloscosta3514]

I have Kubelik, live (Audite); Tennstedt, cycle (EMI); M. Gielen, cycle (Hanssler); Gary Bertini, cycle (EMI); L. Bernstein, cycle (Sony); B. Haitink (Philips); C. Abbado (DG); M. Honeck, (Exton); Z. Mehta, (Decca); Ivan Fischer (Channel Classics) and Pierre Boulez, "The New York Philharmonic - The Mahler Broadcasts 1948-1982, box", but my favorite by far is John Barbirolli, recording Free trade Hall, Manchester, 3 May 1969 with Halle Orchestra, Kerstin Meyer, Ladies of the Hallé Choir and Boys of Manchester Grammar Scholl (BBC Legeends).

[@johnpickford4222]

Carlos Costa: I’m glad that after listing ALL those recordings you mention the one favorite!! Enjoy.

[@2134yanto]

Hi Dave. I watched this video for the first time 3 days ago. I’ve literally only started listening to the Mahler symphonies over the last week, having listened to half a dozen of your recommendations for his 1,2 & 5. I’ve now heard 5 of your top choices for this, his 3rd symphony :- both of the Bernstein versions, Chailly, Fischer and just now Haitink/Concertgebouw. I’ve really enjoyed hearing all 5 and can certainly understand why you chose the Bernstein on Sony as your No1. I’d just like to add that while I’ve enjoyed all of them hugely and am beginning to understand the work a little, these videos, for someone as inexperienced as myself, are so helpful and informative. My favourite? Haitink. I thought it was superb

[@DavesClassicalGuide]

Thanks very much for sharing you experiences!

[@keithspillett5298]

I have three particular favourites. Two of them are on your list - Bernstein New York and Haitink Concertgebau - whereas the third ISN'T. This is the Solti LSO, which I actually LOVE for its utter vulgarity!

[@keithspillett5298]

Can't currently buy Neumann's version here in the UK, but I'll look out for a secondhand copy after hearing your excerpt!