Gustav Mahler’s symphonies are among the most profound and emotionally expansive works in the orchestral repertoire. Spanning the intimate and the cosmic, they demand interpretive insight and expressive power in equal measure. Over the years, many conductors and orchestras have offered compelling interpretations of these monumental scores. In this article, I highlight my ten favourite Mahler symphony cycles, presented in no particular order, which capture the depth, drama and beauty of his extraordinary symphonic legacy.
Gary Bertini / WDR Sinfonieorchester (Warner)
Although Bertini’s Mahler cycle is not widely discussed, Mahler’s idiom is evident throughout. These are detailed and thoughtful interpretations with an impressive overall effect, even if the orchestral playing does not quite match that of the very best ensembles. Nevertheless, these are interpretations that move and stay with you.
Pierre Boulez / Wiener Philharmoniker / Cleveland Orchestra / Staatskapelle Berlin / Chicago Symphony Orchestra (Deutsche Grammophon)
Boulez’s interpretations of Mahler’s symphonies are controversial. If you’re looking for strong emotional expression in this music, you’ll need to look elsewhere, such as the Tennstedt or Bernstein cycles. Boulez’s interpretations are analytical and sometimes restrained. He looks for structures and patterns, which makes his interpretations feel refreshingly liberating, as with Nos. 3, 5 and 6 symphonies. Additionally, Boulez’s version of Das Lied von der Erde, included in this box set, is one of the best available.
Simon Rattle / City of Birmingham Symphony Orchestra / Berliner Philharmoniker (Warner)
Like Boulez, Rattle is an analytical conductor of Mahler’s music, but he is better able to let loose and indulge in it, as can be heard in his epic interpretations of No. 2, 9 and 10 (in its complete version). Although Rattle sometimes gets bogged down in the details, he often imbues the music with power and virtuosity. There is also something new to ponder in terms of interpretation throughout.
Bernard Haitink / Concertgebouworkest (Decca)
Haitink is widely regarded as one of the most important Mahler conductors of the post-war era. He recorded his complete cycle early in his career, producing an impressive soundstage, although many of his later recordings are even more intense in their expression. Yet this box set offers something unique: interpretations with a consistent theme. The performances are characterised by great seriousness and often an autumnal melancholy, combined with rare elegant orchestral playing.
Giuseppe Sinopoli / Philharmonia Orchestra (Deutsche Grammophon)
Sinopoli was a controversial conductor who, in many ways, did things his own way. His interpretations of Mahler are often slower than those of others, but they have a monumental power and beauty that make this cycle so memorable. The Philharmonia Orchestra has rarely sounded as convincing in modern times as they do here. Several of the interpretations also have a searching, visionary quality, as in the performances of Nos. 2, 6, 8 and 9.
Riccardo Chailly / Concertgebouworkest / Deutsches Symphonie-Orchester Berlin (Decca)
Chailly’s interpretations are among the most thoughtful and powerful available. The orchestral playing is also consistently excellent, and the sound is clear and dynamic. However, Chailly’s performances have an intellectual flavour which sometimes compromises spontaneity. His interpretations of Nos. 5, 7 and 9 are among the very best. The complete version of No. 10 (Cooke) is also included in the box set.
Eliahu Inbal/hr-Sinfonieorchester (Denon)
Inbal’s 1980s cycle is one of the most underrated. His meticulous approach to Mahler pays off in the long run — he considers every detail and contextualises it. He also brings out the melancholy of the symphonies, and the sound quality is outstandingly clear and detailed. However, try to get hold of the original Denon recordings rather than the Brilliant release.
Klaus Tennstedt / London Philharmonic Orchestra (Warner)
Tennstedt is one of the most intense Mahler conductors to be found on record. He had the ability to capture the emotional depth and tragic elements of the music. While his live performances are generally preferred, this box set of his complete studio recordings is still highly recommended and contains many excellent performances. However, No. 10 is performed here only in Mahler’s one-movement version. Additionally, there are unique live recordings of Nos. 5–7 as a bonus.
Georg Solti / Chicago Symphony Orchestra (Decca)
Solti’s interpretations of Mahler’s works are one of the most dramatic available, with striking contrasts and maximum virtuosity. While he may not delve as deeply as Bernstein or Abbado, few cycles consistently offer as much excitement and adrenaline as Solti’s. The interpretations of Nos. 2, 5, 7 and 8 offer an additional edge, providing a hair-raising intensity. However, Solti never recorded No. 10.
Leonard Bernstein / New York Philharmonic / Wiener Philharmoniker / Concertgebouworkest (Deutsche Grammophon)
There are several different ways of approaching Mahler’s symphonies. Bernstein’s interpretations are among the most personal available on record — he pushes things to the limit with his often slow tempos, as can be heard in his second cycle on Deutsche Grammophon. These are performances that are hard to resist, full of strong emotions and intense expression. Bernstein is at his best in Nos. 1–3 and 5–7, while his interpretation of No. 9 is perhaps the most extreme of all.
Bonus
Claudio Abbado recorded all of Mahler’s symphonies twice on CD (except for No. 8, which was only recorded once in Berlin). His earlier recordings with Wiener Philharmoniker and the Chicago Symphony Orchestra (Deutsche Grammophon) are highly recommended, as they have a completely different intensity to his later recordings with the Berliner Philharmoniker (same label). Unfortunately, there is no complete box set of these 1970s and 1980s recordings; they must be purchased separately or via a number of other box sets.
