leonard bernstein press clips 7-30-09

8/14/2019 Leonard Bernstein Press Clips 7-30-09

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Bernstein's speeds for Haydn fast are just fast enough to minimize Haydn's clunkier side(a constant threat to stylistically uninformed performances), the drive is sometimesferocious in character but relatively plush in upholestery, laughter's everywhere the ear wanders and the composer's heartbreaking slow melodies are played with a rapt virtuositythat marked Bernstein's Big Apple orchestra in its prime. The Creation and the four

masses ( In Time of War, Nelson, Harmonie and Theresa ) are miracles of instrumental power and beauty. The celebrated vocal soloists occasionally sound transitional.

The recorded sound is smoother than I remember the vinyl to have been; there is moreinterior detail in the strings, more intimate detail in the woodwinds, and more gold in the

brass. Unexpectedly, a finely-judged aura of space surrounds the orchestra. [Similar towhat I heard with the new Bernstein Mahler reissue set...Ed.]

The packaging reflects Bernstein's film noir roots and toughness. The famous photographic portraits on the six foldable envelopes look fabulous. No liner notes, but better: details of where and when each recording was made.


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GUSTAV MAHLER: The Complete Symphonies Nos. 1 - 9 with Adagio of No. 10 &Das Lied von der Erde + Gustav Mahler Remembered - Soloists/New York Philharmonic/Israel Philharmonic (Das Lied)/ Leonard Bernstein - Sony Classical(12 CDs)

June 19, 2009

http://www.audaud.com/article.php?ArticleID=5992

The set of Mahler Symphony recordings that moved the composer from cult status to

mainstream.

GUSTAV MAHLER: The Complete Symphonies Nos. 1- 9 with Adagio of No. 10 & Das Lied von der Erde +Gustav Mahler Remembered by associates andmusicians who played under him - Soloists, incl. JennieTourel, Lee Venora, Gwyneth Jones, ChristaLudwig/New York Philharmonic/Israel Philharmonic(Das Lied)/ Leonard Bernstein - Sony ClassicalCarnegie Hall Presents 12-CD Boxed Set *****:

Although both Bruno Walter and Dmitri Mitropoulos had performed Mahler symphonies in an effort to increaseappreciation of the composer, it was the championing of thecomposer by Leonard Bernstein in the 60s and 70s thatreintroduced the Austrian composers rich scores to theworld, especially due to Bernstein first Mahler cycle for Columbia Masterworks in the late 60s. Bernstein provedthat Mahler was worth recording in the first place, andfollowed up on the recordings with one of his superb essays

on the subject in High Fidelity Magazine (reproduced in the note booklet to the set).Today it would be rare for any symphony program not to include at least one Mahler symphony each year.

Sony Classical has used the same box and disc sleeve design as their Original Jacketseries of reissues, and the whole dozen-CD set is offered at the most bargain price it hasever carried. Plus, for the first time the discs have all been remixed and mastered from theoriginal multi-track analog tapes. (Its too bad they couldnt be released in SACDversions as well.) These recordings have been reissued many times (most recently in2001), but the sonics now are generally more detailed, brighter-sounding and more


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Pros & Cons of Sony's Latest Bernstein Mahler Box

June 16, 2009

http://www.culturecatch.com/music/leonard-bernstein-gustav-mahler-complete-symphonies

By: Steve Holtje

Leonard Bernstein, et al.Mahler: The Complete Symphonies (Sony Classical)

Bernstein, like his early mentor Dmitri Mitropoulos, was a strong advocatefor Mahler before audiences had accepted the Austrians epic works, and it

was Bernstein's persuasive, emotional 1960s interpretations that finally "sold" theAmerican public on Mahler. Bernstein began recording this cycle in 1960, Mahler'scentenary year. When Symphonies Nos. 1-9 were issued together in 1967 in a 15-LP box,it was the first set of the completed symphonies by one conductor; it remains a mostattractive traversal with some still-unsurpassed peaks.

Eight years ago, Sony used remasterings done for the Bernstein Century series for a 12-CD set. This new set is largely similar, though with some crucial differences. One is thatthis time around Sony has gone back to the original multi-track analog tapes. Theoccasionally muddy sound of these recordings was long problematic, though theBernstein Century versions had improved things; here they are still not state of the art,

but sonic definition is better. This pays particular benefits in dense textures and vocalmovements; the finale of No. 2 is now even more luminous, and Nos. 7 and 8 are vastlyimproved.

Bernstein recorded two complete Mahler cycles, actually. This, his first effort, in generalis fresher, more spontaneous, and more energetic, while the later cycle for DeutscheGrammophon is more lushly played, a bit less detailed at times, and often slower.

The 1966 recording of the Symphony No. 1 "Titan" is somewhat controversial, as someobservers feel that the emotional extremes of Bernstein's reading are not suited to thisearly work (his later version is less feverish). However, many collectors nonethelessappreciate the vividly varied moods of the slow movement and the undeniably thrillingfinale.

Bernstein recorded the Symphony No. 2 "Resurrection" twice for Columbia; the 1973one using London forces is inferior to the powerful 1963 New York "Resurrection"included here, which also trumps the sluggish DG recording. The '63 take is infinitelymore emotionally shattering -- manipulative, perhaps, but gloriously so. The layout has


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been improved this time out by putting the break in this multi-disc work between the firstand second movements, as Mahler requested.

The six-movement Third (Mahler's longest), with children's choir and mezzo-sopranosoloist (here Martha Lipton in an effective outing that nonetheless can't match Christa

Ludwig in Bernstein's DG version, though otherwise the Sony is preferable), alsoreceives an earth-shaking reading. The 1961 New York Philharmonic's virtuosity isimpressive, especially the brass -- so crucial here. Nearly hitting the 100-minute mark,Bernstein consistently opts for slow tempos. In the prayerful finale he's a bit over 25minutes where, for instance, Klaus Tennstedt brings it in well under 21 minutes, butBernstein wrings more drama and heartfelt emotion from its multi-faceted moods thanany other conductor has. This performance belongs in all Mahler collections

The Fourth was Bernstein's first Mahler recording. Neither of his CD Fourths is entirelysuccessful (theres a concert DVD thats best). This one is rather bland in the firstmovement, but is otherwise commendable, with Reri Grist (the soprano soloist in the

finale) appropriately light-voiced, though perhaps more unpolished than most listenerswould like -- but Mahler didnt want polish applied to this deliberately nave text. TheDG remake, with a much better opening movement, turns off many collectors withBernstein's eccentric use of a boy soprano in the finale. Despite its problems, the firstversion will be preferred by most listeners, but there are many better readings. The Fifth,too, is not one of Bernstein's better Mahler efforts, seeming a bit self-conscious andfinding the brass a touch raucous. The famous Adagietto is quite slow at exactly 11minutes.

The Symphony No. 6 "Tragic" (which Mahler called "the sum of all the sufferings I haveendured at the hand of life") is tailor-made for Bernstein's high-strung approach. Yeah, he

sprints through the first movement, which bothers some commentators; taking theexposition repeat Mahler wrote in, Bernstein comes in just 15 seconds longer in themovement than Barbirolli did while skipping the repeat. But the tempo indication --Allegro energico, ma non troppo (energetically rapid, but not too fast) is open tointerpretation and nearly self-contradictory. Here and throughout this 1967 reading,Bernstein balances the work's contrasting moods well -- or rather, he engages them withan apt sense of manic-depressive mood swings. The conclusion is dramatically crushing.Another must-have.

Bernstein's colorfully dramatic approach is also ideal for the fantastical Seventh. This pungent 1965 reading is perfectly shaped, all his tempo choices quite apt. The bizarrehumor of the two Nachtmusik movements and the central Scherzo are brought out fully.This classic performance has arguably never been surpassed, and the flat sound-field of earlier incarnations has been ameliorated.

The unwieldy Symphony No. 8 "Symphony of a Thousand" is in two movements, thefirst setting Mahler's adaptation of a ninth-century Christian hymn for the season of Pentecost, the second setting the final scene of Goethe's Faust . The complete 1966reading here has soloists Erna Spoorenberg, Gwyneth Jones, Gwenyth Annear, Anna


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Reynolds, Norma Proctor, John Mitchinson, Vladimir Ruzdjak, and Donald McIntyre; theLeeds Festival Chorus, the London Symphony Chorus, the Orpington Junior Singers, theHighgate School Boys Choir, and the Finchley Children's Music Group; organist HansVollenweider; and the London Symphony Orchestra. It's hard to effectively conveymusic that seems to consist of a nearly continuous series of climaxes, but Bernstein does

it as well as anyone. He zips through the first movement in a few seconds over 24minutes, and clears the second in just over 55, but takes his time where appropriate andthus avoids sounding rushed. In a notoriously problematic work for recording engineers,the sound is not as clear and well balanced as it could be, but its much better than it usedto be.

The Ninth is a work Bernstein recorded not two but three times (and a fourth -- with theVienna Philharmonic exists on DVD). The three commercially released versions differ greatly. The first, in New York, is nerve-wracking, drenched in angst; the AmsterdamConcertgebouw version seems oddly erotic; the Berlin Philharmonic reading finds a hard-fought peacefulness. Its the NY one thats here, of course, and its one for the ages,

another must-own.The first movement of the Tenth (Bernstein never came to terms with the variousrealizations of Mahler's unfinished score for the other movements) receives anappropriately hyper-emotional reading of great richness.

Absent from the 2001 box, Bernsteins Israel Philharmonic rendition of Mahlers realTenth (written before the one numbered #10), Das Lied von der Erde , is wisely includedhere. Bernstein had recorded it in 1966 with tenor James King, baritone Dietrich Fischer-Dieskau, and the Vienna Philharmonic (Decca); in this set we hear a 1972 recording withtenor Ren Kollo, mezzo-soprano Christa Ludwig, and the Israel Philharmonic Orchestra.

Forgive me, but I cant choose between them. I do prefer the male/female soloist lineup,which was the composers preference as well, and while Fischer-Dieskau is justly reveredand delivers a finely detailed performance, on a sensual level Id rather listen to Ludwigsorotund tones any day, and shes no interpretive slouch either. Between Kollo and King, Ilean slightly towards Kollos voice but Kings deeper reading of the text. The Israel Philis totally outclassed by the Vienna Phil, which is no surprise and no insult either.

Alas, several items in the 2001 box are absent here. I realize that the title of this setspecifies symphonies, but so did its predecessor, which also included two versions of

Kindertotenlieder (one with Jennie Tourel and the NYPO, the other with Janet Baker andthe Israel Philharmonic), Tourel in a selection of three Rckert-Lieder ("Ich atmet einenlinden Duft," "Ich bin der Welt abhanden gekommen," and "Um Mitternacht") plus "Dasirdische Leben" from Des Knaben Wunderhorn , a 1962 recording of the Eighths firstmovement alone (offering listeners the opportunity to at least hear one part of this work

played by the New York Phil), and the Fifths Adagietto as performed (rather inaptly,IMHO) at Robert F. Kennedys 1968 funeral mass. At least some of these items -- say, allof Tourels lieder -- could have been included without requiring an additional disc.


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Somewhat making up for those omissions, this set restores the '67 boxs WilliamsMalloch-narrated nearly 48-minute audio documentary Gustav Mahler Remembered ,consisting of Part I, Reminiscences by Mahlers Associates and by Musicians who

played under His Baton -- back in the '60s, there were still six retired New York Philharmonic musicians who had played under Mahler (1860-1911)! -- and Part II,

Includes Personal Recollections of Anna Mahler (his daughter). Its absolutely rivetinghearing the musicians talk about Mahlers conducting style, personality, idiosyncrasies,etc., though of course its unlikely that most people will play it as often as any of thesymphonies.

It's nice to have new essays by Erik Ryding and Tim Page, Bernstein's famous High Fidelity essay "Mahler: His Time Has Come," and texts and translations (not to be takenfor granted nowadays). However, in another nit-pick, whereas the previous box includedmultiply-tracked movements keyed to tempo indications; for some reason, this has now

been dropped, though for most people that will be of little or no consequence

Basically, what it comes down to is that for around $55-60 (around $5 per CD) one canget THE pioneering, popularizing Mahler cycle. No set with 1-9, 10: Adagio, and Das Lied von der Erde surpasses this one in excitement, and only the harder-to-find GaryBertini set, with excellent digital sound, is arguably better. - Steve Holtje


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J U N E 2 0 0 9 I I C O N I 6 1

Scott Reeves Quintet ##### Shape Shifter Miles Ahead

I dont know this Scott Reeves fellow from ahole in the ground in fact, the only guy onhere that rings any bells is tenor saxophonistRich Perry. Musical genealogy isnt import this

very moment what does matter is this platter by flugelhornist/valve trombonist/composer Reeves is SUCH a gosh-darn finemainstream/modern bop live session. While clas-sic influences can be discerned at times Shaperecalls the mid-60s glory days of Blue Note (i.e., Freddie Hubbard, Art Blakey, JackieMcLean) this fivesome isnt interested in turning back the clock. While this is melodi-ous (well-thought/ well-structured originals, not just frameworks for blowing) & swingingmod-bop, free influences seep in every now n then, Perry has a lusciously bluesy tone,and the unison playing of Reeves and Perry has a gloriously, bittersweet ache to it. Pianist

Jim Ridl is lyrical and economical. Drummer Andy Watson is both solid and lively, got thatbeat and makes with some groovy fills n punctuations. Gloriously & crisply recorded atCecils in scenic West Orange, NJ, Shape Shifter is a nigh-on flawless jazz disc. (And thatsthe first time I think Ive ever us ed the word flawless. Really.) mileshighrecords.com.Nine tracks/75:16

Alasdair Roberts ### SpoilsDrag City

Sara Watkins #### Sara WatkinsNonesuch

I wish there was a UK O Brother Where AreThou counterpart, a movie thatd give a promi-nent role to British Isles folk music then lotsof people would be exposed to and crave moreof it. Then Scotsman Alasdair Roberts might get

a leg up popularity-wise til then, well have to make do with Spoils , his fifth album.Outwardly Robertss approach recalls English folk pioneers Pentangle spare, haunting,crisp acoustic guitars finger-picked (or making with rolling, modal chords); very early Simon & Garfunkle, Jethro Tull (in their less -rocking mode), and Fairport Convention,

who plugged-in for their take on Brit-folk (the chilling, eerie Hazel Forks, with its clang-of-doom electric guitar solo evokes Richard Thompson at his scariest). Vocally, imagine aClancy brother or Al Stewart with a very Scottish accent, and theres embellishment via

viol, dulcimer, and harpsichord. Spoils is enchanting (literally), ancient-sounding and cu-riously timeless. Eight tracks/45:53

Bluegrass/Americana combo Nickel Creek is on hiatus, so you know what that means solo albums! Fiddler/singer Sara Watkins gets to shine with help of producer John Paul Jones (if that name sounds familiar, its not because of high school History he was LedZeppelins bassist), who keeps things focused and uncluttered. Watkinss delicately soul-ful singing is like unto a cross between very young Dolly Parton and dusky, jazz-inflectedRickie Lee Jones. Theres exhilarating instrumental bluegrass (Jefferson), bluegrassgospel (Give Me Jesus), Western swing (Any Old Time), and tossing us a nifty curve, adandy slice of Southern country soul (Too Much). Tim OBrien, Greg Leisz, and Gillian

Welch lend their respective talents. Nothing momentous, just super-fine, dignified Ameri-can music. dragcity.com / nonesuch.com 14 tracks/49:35

Gustav Mahler/Leonard Bernstein #####The Complete SymphoniesSony Masterworks

One of the MAJOR honchos of modernmusic (arbitrary, of course; for sake of argu-ment, post-1945) was and remains LeonardBernstein (1918-1990). Longtime conductor of the NY Philharmonic and nine-time Grammy

Award-winner, he had a visceral, flamboyantstyle. Bernstein composed music for the stage( West Side Story ), operetta ( Candide ), film ( OnThe Waterfront ), ballet and orchestra, impress-ing and spanning generations. He had an inclu-sive outlook about music; he was an early champion of avant-jazz icon Ornette Colemanand that Liverpool combo the Beatles (when many so-called high art types dismissedboth as garbage), and embraced Gustav Mahler (1860-1911). Beginning in 1960, Bern-stein undertook recording all nine Mahler symphonies. These recordings (and live per-formances, of course) put Mahler on the figurative cultural map.

Some think of Mahler as the first true 20th century composer and/or the link be-tween the old Viennese school (Bruckner, Brahms) and the new (Schoenberg, Webern).In a sense long before William Burroughs, Andy Warhol, or those Beatles (Paul Mc-Cartney counts Mahler as a major influence), Mahler (for his vocal works) drew upontexts from folk-poetry, Chinese literature, Medieval Roman Catholic mysticism, and thatcheery thinker, Nietzsche, anticipating the mix-&-match/cut-up/juxtapose postmodernhoo-hah everybody thinks started in the 60s. Mahlers inspirations included nature, iron-ic pathos, spiritual redemption, death and resurrection, and his Jewish upbringing (helater converted to Catholicism). Mahlers music is grand without being grandiose, deeply and unabashedly emotional, darkly and sweetly tuneful. Ive noticed that people whogrew up on/were poisoned by rock & roll have an affinity for Mahler. A guitarist I knew remarked, regarding Symphony No.1 in D Major , Its so dense you could walk on it.Bernsteins conducting makes it vibrant, makes it sing. Bernstein/Mahler is a box set of Mahlers symphonies, given a really snazzy digital remastering sheen. Take a few weeksoff and immerse. sonymasterworks.com

Joel Harrison #####Urban Myths

HighNote

Jazz guitarist Joel Harrison is of the genera-tion that embraces a wide variety of inspiration

while devoting themselves to jazz. Harrison ac-knowledges rock music (hes recorded an entiredisc of George Harrison songs), bebop, modernclassical music, country, and trad Indian and

African sounds. Urban Myths finds Harrison tip-ping his fedora fusions first flowerings thelate 1960s and early 70s classics by Miles Davis,

Joe Zawinul, and Mahavishnu Orchestra. Yet theres nothing retro about Myths hedoesnt imitate the classic fusion sound but rather builds upon it. David Binneys piquantalto sax wails a la bop and free, Daniel Kellys keys have a rich soul-jazz flavor, and Harri-son adds some scorching blues-rock guitar to the mix. Also, no knock meant to anyone,but Harrison sounds nothing like Pat Metheny or Bill Frisell. (OK, maybe the teensiest bitlike Friz.) Sizzling, shimmering and stimulating, Urban Myths has alluring tunes, bracingensemble playing, and solos ranging from pretty to serrated. Theres good jazz and somegreat jazz out there, but Joel Harrison is one of the few thats making great jazz whilebreaking away from the pack. Its fab, daddy-o. Eight tracks, 55:40 jazzdepot.com / joel-harrison.com I

keresman on disc MARK KERESMAN

[email protected]

Ratings: # =skip it; ## =good; ### =very good; #### =excellent; ##### =dont miss.

Alasdair Roberts


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saintly about Mahler -- this you felt," or when another recalls a 1908 performance at Carnegie Hall of Schumann's Spring Symphony where the outburst in the first movement was achieved somasterfully that he "never heard such a sound like that in my life," it communicates in a waythat scholarly biographies can't quite match. And it's just too cool to hear a musician talk about Mahler trying to whistle to demontrate how he wanted "the boids" to sound in Beethoven's Pastoral . When youthink about guys with Brooklyn accents playing in Mahler's Philharmonic, the conductor/composer'sbrief American period seems closer, more real somehow.

The stories about Mahler's cruel streak, especially picking on an elderly bassist (You should be playingin the back room of a saloon, the conductor told him), are as fascinating as the anecdote about Mahler

inviting the entire orchestra to have a post-concert snack with him after they finally gave him the"volcanic" sound he wanted in Beethoven's Fifth. It's also revealing to hear the musicians makecomparisons between Mahler and Toscanini that aren't as flattering as you might expect to the Italian.And one of the best moments is when a player sings the portamento that Mahler wanted in his ownFourth Symphony, a portamento that most conductors shy away from today (Mengelberg's 1936,portamento-rich recording is decisvely vindicated by these remarks -- not that I ever doubted it).

Didn't mean to go on an on about all of this. But hearing these personal connections to Mahler on thesame CD set that preserves, in state-of-the-art remastering, Bernstein's personal approach to Mahler'smusic makes the set a double treasure.


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SAN FRANCISCO CLASSICAL VOICEMay 19, 2009

http://www.sfcv.org/listen/cd-reviews/mahler-lenny-was-one

For Mahler, 'Lenny Was the One'BERNSTEIN/MAHLER: THE COMPLETE SYMPHONIES

BY JANOS GEREBEN

Bernstein/Mahler:The Complete Symphonies

For most American music fans in the middle of the last century, Gustav Mahler meant Leonard Bernstein . He waswidely regarded as the single source of the Mahler revival or, for most listeners, their first experience. This is so,even though there have been tremendous performances and recordings of Mahler's music even before the 1960s or contemporaneously by Walter, Klemperer, Mitropoulos, Horenstein, Scherchen, Boult, van Otterloo, Szell,Ormandy, Barbirolli, and others, including Charles Adler, whose 1951 recording of the Symphony No. 3 was the firstand remained alone until Bernstein published his.

Even in Europe, where Mahler didn't need to be "revived" quite as much, Bernstein was appreciated greatly, hisrecordings with the Vienna Philharmonic (the "house orchestra" for the Vienna Staatsoper) being justly acclaimed,and his Mahler recording hegemony was nearly as complete as in the U.S.

Uniquely, Bernstein had succeeded Mahler, a generation removed, as music director of the New York Philharmonic,1958-1969, and both had a vital relationship with the Vienna Philharmonic, Mahler as music director from 1897 to1907 and Bernstein as principal guest conductor from 1970 to 1979.

Much Mahler has flowed under the bridge since, including closer to home the complete cycle performed

several times and recorded by Michael Tilson Thomas and the San Francisco Symphony, but MTT mentor Bernstein is still the Mahler champion unto himself, with his powerful, lively, dramatic performances, rightlycharacterized by Martin Bernheimer as "hyper-passionate, super-romantic, omni-tragic."

In 1960, with the blessings of the composer's widow, Alma, Bernstein began recording the first complete stereocycle of all nine completed symphonies by Gustav Mahler. That, and more, has been now published by SonyMasterworks in a remastered and remixed 12-disc edition. (The issue coincides with Carnegie Hall's presentation of "Mahler: The Symphonies in Sequence," through May 17.)


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In addition to the nine symphonies, the Sony set includes the Adagio from Symphony No. 10, Das Lied von der Erde , with Christa Ludwig, Rene Kollo, and the Israel Philharmonic; and a 1967 audio documentary called "GustavMahler Remembered: Reminiscences by Mahler's Associates and by Musicians Who Played Under His Baton,"including an interview with Alma Mahler (1879-1964).

The reissue of some four-decades-old recordings brings back (in a cleaner, fuller sound ) such artists as sopranoLee Venora and mezzo Jennie Tourel in the "Resurrection" Symphony; mezzo Martha Lipton in Symphony No. 3,soprano Reri Grist in Symphony No. 4; and sopranos Erna Spoorenberg and Gwyneth Jones, mezzos GwenythAnnear, Anna Reynolds, and Norma Procter, tenor John Mitchinson, baritone Vladimir Ruzdjak, and bass DonaldMcIntyre with the London Symphony in the Symphony of a Thousand .

Janos Gereben ( [email protected] ) is a regular contributor to San Francisco Classical Voice.


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May 4, 2009

http://interchangingidioms.blogspot.com/2009/05/lennard-bernsteins-legendary-recordings.html

Leonard Bernstein's Legendary Recordings: Complete MahlerSymphonies

By Chip Michael

Released on Sony Masterworks, remixed and remastered from the original tapes for the first time

Featuring The Long-Unavailable Audio Documentary Gustav Mahler Remembered As A SpecialBonus

... Leonard Bernsteins role in propelling Mahlers music from cult status into themainstream can never be underestimated... These original Bernstein Mahler disks werelandmarks in the history of recorded sound... The New York Times

Leonard Bernstein s championing of Mahler in the 1960s and 70s reintroduced theAustrian composers magnificent music to the world and installed his symphonies intothe standard repertoire of the greatest international orchestras. In the wake of worldwidecommemorations in 2008 of the 90th anniversary of Bernsteins birth, Sony Masterworkshas created a newly remastered and remixed edition of Bernsteins Mahler: The CompleteSymphonies , which can be regarded as the definitive version of this historic recording.

This specially priced 12-CD set features Leonard Bernstein conducting the New York Philharmonic in Mahlers Symphonies Nos. 17 and 9. He conducts the LondonSymphony Orchestra for Symphony No. 8 (Symphony of a Thousand) and the IsraelPhilharmonic Orchestra for the song-symphony Das Lied von der Erde . The firstmovement of the unfinished Symphony No. 10 is also included.

As a special bonus, this release includes a long-unavailable 1967 audio documentaryentitled Gustav Mahler Remembered: Reminiscences by Mahlers Associates and byMusicians Who Played Under His Baton, narrated by William Malloch. It is afascinating, intimate look into what it must have been like to know and work with the

brilliant composer and impresario.


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