Gustav Mahler


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Mahler: Symphony No. 10 & Kindertotenlieder

Mahler: Symphony No. 10 & Kindertotenlieder


La Mer

Recorded in Cologne on 24th October 1960

Kölner Rundfunk-Sinfonie-Orchester, Dmitri Mitropoulos


Symphony No. 10 in F sharp major

Recorded at Carnegie Hall on 13th March 1958

Dmitri Mitropoulos


Recorded at Carnegie Hall on 12th February 1960

Jennie Tourel (mezzo-soprano)

Leonard Bernstein

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Archipel Records - ARPCD0529


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The Marriage of Heaven and Hell

The Marriage of Heaven and Hell

Barber, S:

Agnus Dei


Gesänge (3) for six-part mixed choir, Op. 42


Denn er hat seinen Engeln befohl…


Schall und Rauch und Rosenstrauch


Die zwei blauen Augen von meinem Schatz (No. 4 from Lieder eines fahrenden Gesellen)

arr. Clytus Gottwald




Friede auf Erden, Op. 13

Chorus sine nomine, Johannes Hiemetsberger

Gramola - GRAM98913



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Hermann Prey – Arias & Songs

Hermann Prey – Arias & Songs

Bach, J S:

Cantata BWV56 'Ich will den Kreuzstab gerne tragen'


Lieder eines fahrenden Gesellen (4 songs, complete)


Bravo, signor padrone…Se vuol ballare (from Le nozze di Figaro)

Non piu andrai, farfallone amoroso (from Le Nozze di Figaro)

Rivolgete a lui lo sguardo (from Così fan tutte)

Donne mie la fate a tanti (from Così fan tutte)

Fin ch'han dal vino (from Don Giovanni)

Deh! vieni alla finestra (from Don Giovanni)

Der Vogelfänger bin ich, ja (from Die Zauberflöte)

Ein Mädchen oder Weibchen (from Die Zauberflöte)


Largo al factotum (from Il barbiere di Siviglia)

Sung in German


Wo find ich nur den Ort (from Alfonso und Estrella, D732)

Hermann Prey (baritone)

Hermann Prey has delighted opera audiences with his humour and the way he is able to bring characters to life. His lyric baritone voice is both noble and mellow. This CD presents him in some of his classic roles, including Figaro and Papageno.

Berlin Classics Portrait - 0300223BC



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Elisabeth Schwarzkopf in Strasbourg 1960

Elisabeth Schwarzkopf in Strasbourg 1960


Wo die schönen Trompeten blasen (Des Knaben Wunderhorn)

Ich atmet' einen linden Duft (Rückert-Lieder)

Ich bin der Welt abhanden gekommen (Rückert-Lieder)

Recorded on 29th May 1960 in Vienna

Wiener Philharmoniker, Bruno Walter


An die Musik D547

Auf dem Wasser zu singen, D774

Fischerweise, D881 (Schlechta)

Rosamunde, D797: Romance 'Der Vollmond Strahlt auf Bergeshöh'n'

Liebe schwarmt auf allen Wegen, D239 No. 6 (Goethe)

Der Einsame, D800

Seligkeit D433 (Holty)

Du bist die Ruh D776 (Rückert)

Strauss, R:

Freundliche Vision, Op. 48 No. 1

Ruhe, meine Seele!, Op. 27 No. 1

Zueignung, Op. 10 No. 1

Schlechtes Wetter, Op. 69 No. 5

Wolf, H:

Herr, was trägt der Boden hier (from Spanisches Liederbuch)

St Nepomuks Vorabend (No. 20 from Goethe-Lieder)

Gebet; Nun lass uns Frieden schliessen

In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder)

Wiegenlied im Sommer (from Sechs Lieder für eine Frauenstimme)

Geh' Geliebter, geh' jetzt (No. 34 from Spanisches Liederbuch: Weltliche Lieder)

Mausfallen-Sprüchlein (from Lieder für eine Frauenstimme)

Elisabeth Schwarzkopf (soprano) & Jacqueline Bonneau (piano)

The legendary Elisabeth Schwarzkopf performs a recital of songs (recorded on 15th June) by Schubert, Wolf and Richard Strauss. The bonus is three songs by Mahler, performed with the Vienna Philharmonic, also recorded in 1960.

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Archipel Records - ARPCD0522


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Romantica: Works for Violin & Organ

Romantica: Works for Violin & Organ

Bossi, M E:



Sanctus for violin & organ, Op. 48B No. 1


Symphony No. 5 in C sharp minor - Adagietto

trans. for violin and organ






Pieces (6) for violin and organ, Op. 150

César Velev (violin) & Dominico Severin (organ)

This is an unusual combination of instruments, yet all except two of the works in this recital (a Romanze by Reger and an arrangement of Mahler’s Adagietto) are original ones. Many of these composers were known for their concert organ works.

Syrius - SYR141441



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Mahler: Symphony No. 2 in C minor 'Resurrection'

Mahler: Symphony No. 2 in C minor 'Resurrection'

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 25 & 26 September 2009

Adriana Kucerová (soprano) & Christianne Stotijn (mezzo soprano)

London Philharmonic Orchestra and Choir, Vladimir Jurowski

The London Philharmonic Orchestra has a long heritage with Mahler’s symphonies cemented in a mid-European tradition through Tennstedt’s work with the Orchestra in the 1980s and early 1990s. Vladimir Jurowski has waited longer than many other conductors might before tackling Mahler mainly, he says, because to approach this music is “to touch on something that is for me extremely precious and personal”.

Mahler’s Second Symphony is a compelling start to Jurowski’s documentation of this great composer. His approach fully reveals the dynamic extremes in Mahler and this recording emphsises how much soft scoring there is, such is Jurowski’s sensitivity and control. Jurowski differs from Tennstedt in that there is no over emotional self-indulgence, he allows the music to do the talking and his tempos and pacing are faultless.

‘...when the chorus finally stood up and let rip in the closing moments, it set the seal on a masterful performance from a world-class orchestra-conductor team.’ The Guardian, September 2009

“This epic journey from dark to light is hardly short of recordings, but this live one can hold its head up high. The soloists are superb, and the LPO plays beautifully for Jurowski, who shows a total mastery of pacing. The huge narrative of the finale can easily sag, but here it leads unerringly to the magical choral entry.” The Telegraph, 23rd June 2011 ****

“A performance of revelations, big and small, and easily the most illuminating to have appeared on disc in a very long time...probably now the prime recommendation, the "library" choice, that has for so long eluded us...The really big factor here is Jurowski's command of Mahler's very particular and very dramatic way with rubato and the shock of newness that comes from those explicit extremes.” Gramophone Magazine, August 2011

“The interlude-minuet of bygone days is deliberately nuanced, like much else here. Then Jurowski pulls off his finest feat of tonal novelty in a hyper-modern scherzo...[Stotijn], Kucerová and the chorus then make a swiftish resurrection the most human and personable on disc, deserving all the wild cheers.” BBC Music Magazine, August 2011 *****

“His Allegro maestoso opening is fierce, fast and unyielding...The movement’s dissonant climax is an Expressionist shocker. We’ve tipped over the abyss and the closing pages are pitch black...Jurowski’s finale grips from the outset; offstage brass are perfectly caught, and I like the flowing tempo he adopts when building up to the massive, ecstatic eruption 13 minutes in.” Graham Rickson, The Arts Desk, 11th June 2011

“imaginatively conceived and very well played...Jurowski makes the whole structure cohere extremely well, and in his case swift doesn't mean superficial: there's great cumulative power as well as rhythmic precision...'Urlicht' is sung with great poise and dignity by Christianne Stotijn; she has a lovely sense of line and approaches the song with touching simplicity.” International Record Review, July/August 2011

GGramophone Magazine

Disc of the Month - August 2011

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LPO - LPO0054

(CD - 2 discs)

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Dimitri Mitropoulos conducts Debussy & Mahler

Dimitri Mitropoulos conducts Debussy & Mahler


La Mer

Saal 1, Funkhaus, Cologne, 24 October 1960


Symphony No. 3 in D minor

Saal 1, Funkhaus, Cologne, 31 October 1960

Lucretia West (contralto)

Dimitri Mitropoulos (1896–1960), a most distinguished Mahlerian, was one of the great conductors of his generation, the music director of the New York Philharmonic and a frequent guest conductor of the Vienna and Berlin Philharmonics as well as La Scala, Milan.

This Cologne performance of Mahler’s Symphony No.3 from 31 October 1960 is the only complete performance of the work conducted by Dimitri Mitropoulos, the only other being his 1956 broadcast with the New York Philharmonic which is distorted by cuts and amendments.

It is the only officially released recording of Mitropoulos’s performance and together with Debussy’s La Mer, is sourced from WDR’s own master tapes.

The Cologne concert took place two days before Mitropoulos’s death in Milan on 2 November 1960. The set is completed by Mitropoulos’s outstanding interpretation of Debussy’s La Mer. A worthy document of a great condutor.

SAMPLE TRACK Mahler: Symphony No.3 - 1st Movement

“These performances, taken from 1960 radio broadcasts, were the last Mitropoulos gave. During the symphony’s huge first movement, he suffered a heart attack; and, though he went on conducting, he died two days later... Yet this account is still fine enough to reveal his mastery of Mahler and his rapport with the Cologne orchestra, shown also in a brilliant, mercurial La Mer.” Sunday Times, 8th May 2011 **

“part of the fascination of this 1960 live performance is hearing the Cologne orchestra tackle what was then very unfamiliar repertoire. The playing is occasionally rough and imprecise, but it’s also wonderfully exciting. Mitropoulos seamlessly knits the kaleidoscopic first movement together, the trombone solo raw and passionate, the marching band sections rowdy but tightly controlled.” Graham Rickson, The Arts Desk, 4th June 2011

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ica classics Legacy - ICAC5021

(CD - 2 discs)

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Mahler: Symphony No. 7 in E minor

Mahler: Symphony No. 7 in E minor

Recorded live at the Concert Hall of the Culture and Convention Centre Lucerne, 17/18 August 2005

Claudio Abbado is undeniably the supreme Mahler conductor of our time.

The Lucerne Festival Orchestra has set new standards in the field of classical music.

The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.

Claudio Abbado is undeniably a supreme Mahler conductor and his best selling recordings with the Lucerne Festival Orchestra – symphonies No. 1, 2, 3, 4, 5, 6 and 7 (on Blu-ray No. 1, 2, 3, 4, 5 and 6) have already been released on EuroArts – have set new standards in interpretation of works by Gustav Mahler. Also the complete cycle of Symphonies Nos 1 – 7 is available as a Blu-ray disc box-set.

“It’s different having best friends together. Everyone is there to enjoy making music, to take pleasure, to play with enthusiasm, with passion. They are prepared to do any crazy thing I ask them for the sake of the music. To fly, to walk through fire.” Claudio Abbado

“Has there ever been a suaver, more transparent Mahler performance or one in which everything stays so beautifully in tune? ... Abbado’s music-making is a celebration of the purest joy.” The Gramophone Magazine

Picture format BD: 1080i Full HD - 16:9

Sounds formats BD: PCM 2.0, DTS HD Master Audio

Region code: All

Booklet notes: English, German, French

Running time: 78 mins

FSK: 0

Blu-ray Disc

Region: all

EuroArts Claudio Abbado Mahler Symphonies - 2054624



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Mahler: Symphony No. 3 in D minor

Mahler: Symphony No. 3 in D minor

1893-96, revised 1906, K.H. Füssl Edition

Recorded Live Concertgebouw Amsterdam on 3-5 February 2010

Bernarda Fink (mezzo soprano)

Royal Concertgebouw Orchestra, Netherlands Radio Choir, Boys of the Breda Sacrament Choir & Rijnmond Boys’ Choir, Mariss Jansons

The Royal Concertgebouw Orchestra is steadfastly progressing with its Mahler cycle under the direction of its chief conductor Mariss Jansons. Following the releases of the First, Second, Fifth and Sixth Symphonies, the orchestra now turns its attention to the Third Symphony. Jansons and his Amsterdam-based orchestra performed the Symphonies Nos. 2, 3 and 8 in the 2009–11 seasons as part of the full, chronological series of performances given by the Concertgebouw Orchestra of Gustav Mahler’s symphonies to commemorate his 150th birthday and the 100th anniversary of his death. The series is being performed under the direction of various conductors. Jansons stands out in these performances with an astonishing ear for the minutest of details. Jansons possesses the ability to integrate all into the virtually infinite overarching climaxes that can make listening to Mahler’s symphonies such an exciting experience.

“Everything about the shape, pacing and grandeur of Mr. Jansons’s account suggested that he and his players took Mahler’s grand design to heart. While individual details may seem beside the point, it was hard not to be awed by the solidity of the horn playing in the expansive, exposed line that introduces the work. And the shapely offstage posthorn solos in the third movement, to say nothing of the solo string and woodwind lines that emerge throughout the score, provided an appealing counterweight to the high-impact full ensemble playing. The strings, particularly in Mr. Jansons’s plangent reading of the finale, were rich-toned and supple, qualities matched by the remarkably focused woodwind and brass sections. And given Mahler’s penchant for explosive climactic writing (as often in midmovement as in his endings), the ensemble’s percussionists were in their element.” New York Times

“Tuning and ensemble are close to ideal throughout, the brass playing, particularly from the horns, is a continuous joy, the strings are lush and opulent, and the woodwind solos are all distinctive...What makes Jansons' reading distinctive is the rubato he introduces into the second and third movements...The orchestra are on top form, and the superior audio works to everybody's benefit.” Gavin Dixon, Classical Review, May 2011

“for sheer magic of recording technique this RCO issue takes some beating. Jansons demands a pianissimo that’s almost inaudible but such is the quality of the recording that every note is clear. The ferocity of parts of the first movement is complemented by the hushed rapture of the Adagio. The mezzo soloist is the marvellous Bernarda Fink, and the three choirs help make this an outstanding interpretatation.” Sunday Telegraph, 29th May 2011 *****

“The opening movement is an epic in itself, and Jansons leads a magnificent performance of it; spacious and mysterious and yet taut...Bernarda Fink is tremendous” The Telegraph, 2nd June 2011 ***

“Quiet dynamic marking are scrupulously heeded, lending a Humperdinckian charm to its revels and linking the symphony to the German Wald, the lost world of magic and unreality...The Wunderhorn allusions in the third movement (to donkeys and asses of all species) are deliciously pointed, gracefully eliding their sardonic textual commentary.” Gramophone Magazine, August 2011

“No orchestra has a greater Mahler pedigree than the Concertgebouw...In terms of sound and playing, this version of the Third Symphony, from concerts last year under the orchestra's current chief, Mariss Jansons, is as good as any...With Jansons, everything is just a bit too well manicured: every phrase perfectly weighted, every texture polished until it gleams.” The Guardian, 4th August 2011 ***

“Jansons is a fine guide to this elemental score and this is an account to stand alongside previous Concertgebouw readings: a richly rewarding listen.” International Record Review, July/August 2011

“there's much to admire about the sophisticated Concertgebouw colouration, and how well it words in the fabulous hall as recorded here. You know you're in good company as the eight horns bellow into resonant space at the start. Muted trumpets cut like a knife.” BBC Music Magazine, August 2011 ****

“the RCO brass and string majesty remains a thing of wonder. Bernarda Fink brings real gravitas and weight to the Nietzsche text and, with the finale on the horizon, Jansons keeps it simple: let the music do the work; clear contours, deftly articulated.” Classic FM Magazine, September 2011 ****

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RCO Live Mariss Jansons Mahler Symphonies - RCO10004

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Mahler: Symphony No. 1

Mahler: Symphony No. 1


Symphony No. 1 in D major 'Titan'

Orchestra del Teatro La Fenice di Venezia, Lorin Maazel

Lieder eines fahrenden Gesellen (4 songs, complete)

Musikverein Vienna 1952

Alfred Poell (baritone)

Vienna Philharmonic, Wilhelm Furtwängler

This performance was recorded on 11th September 1960. The bonus is Mahler's Lieder eines fahrenden Gesellen, conducted by Furtwängler in the Musikverein Vienna on 30th November 1952.

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Archipel Records - ARPCD0516


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