请教，两个马勒套装选哪个好？ [复制链接]

原帖由 古典之最168 于 2010-7-21 1:23:00 发表 我选EMI，因为EMI把里面所有的歌词都电子版的了。 DG是否有附录歌词？

DG的没附歌词，不过可以到网上去找EMI附的那个电子版来代用:-）

ClassicsToday上对EMI的评价，又是老熟人David Hurwitz：

First, some housekeeping. Despite the claim on the front of the box, this is not Mahler's complete works. Die Drei Pintos is missing, even its Entr'acte, which is a pity because the opera is a lovely work written wholly in Mahler's own (orchestral) style, now readily available in a handsome modern edition published by A-R. If EMI, never a particularly big "Mahler" label (perhaps because of its strong British bias), didn't want to make a new recording it surely could have licensed the excellent Bertini complete recording from RCA. This also would have given some welcome attention to the conductor responsible for the best Mahler cycle on the label, one who otherwise isn't represented at all in this collection. But more on that later.

Also, Mahler's Bach Suite and transcriptions of Schubert and Beethoven quartets are not included; they surely should have been as they have entered the modern repertoire and enjoy some popularity. Let's look briefly, then, at what you do get, and consider some possible alternatives.

Symphonies: No. 1 is Giulini/Chicago, a sober but interesting interpretation, less exciting than it might be, but a worthy example of the conductor's art. Mackerras, though, or Litton would have been better choices, never mind the best option of all: Muti/Philadelphia. No. 2 is the Klemperer, a classic, and still one of the great ones. No. 3 is Rattle, one of the better performances in his cycle, but still hardly a match for Bertini. The choice of Horenstein for No. 4 represents one of this erratic conductor's better Mahler recordings, and Margaret Price in the finale is lovely--but again, Previn and Pittsburgh (with Elly Ameling) are audibly superior in every respect. Tennstedt's live Fifth was an inspired choice, an incredibly intense performance.

Barbirolli's Mahler Sixth also represents a distinctive and worthy view of the work, and he has the inner movements in their trendy if less convincing new order: Andante before Scherzo. Rattle's Seventh is utterly forgettable, and badly recorded to boot, but Tennstedt's Eighth is one of the best, especially in the second movement (though Bertini is also fabulous in this work, so why have two performances by Tennstedt?). Bertini's Ninth also would have been infinitely preferable to Barbirolli's indifferently played, woodenly recorded, and expressively tepid Berlin performance. EMI even could have maintained its pro-British bias by selecting Pesek's Liverpool version (on Virgin), a wonderful, underrated effort. Rattle rounds out the cycle with his generally excellent Berlin Tenth (Cooke version).

Turning to the songs, the Fischer-Dieskau/Furtwängler Wayfarer cycle and Baker/Barbirolli Rückert songs are classics. The Walter/Ferrier Kindertotenlieder is an acquired taste. Klemperer's Das Lied (Ludwig/Wunderlich) is a classic, alongside Szell's Des Knaben Wunderhorn (Schwarzkopf/Fischer-Dieskau). The early songs with piano all are well sung by a talented group of singers, and there's a bonus disc consisting of the Rückert-Lieder sung in piano versions by Thomas Hampson (just okay), and a bazillion versions of "Ich bin der Welt abhanden gekommen". Very poetic, but somewhat silly. Oh yes, Rattle's Das Klagende Lied: good, but certainly not special, and not that well recorded for a modern version. Speaking of which, as you might expect, the engineering varies considerably. If you just want the symphonies in a box, Bertini remains the way to go. Of course, neither the conductor, orchestra (Cologne Radio), or engineering are British. They're just better.

--David Hurwitz

ClassicsToday上对DG的评价，还是老熟人David Hurwitz：

For a collection of almost complete Mahler (as with the EMI box, Die Drei Pintos--the complete opera--is missing since the only complete recordings are the excellent RCA and the so-so Naxos) this DG set is generally well-thought-out but certainly not ideal. Aside from the opera, Mahler's Bach Suite is omitted (a mistake there, since Chailly recorded it superbly), as are his arrangements and rescorings of works by other composers. This is a pity: his Schubert and Beethoven quartet transcriptions for full string orchestra deserve to be here. There are also some curious choices that easily could have been improved upon, given the range of options available from the Universal catalog. So let's consider the individual selections briefly.

Symphonies: Kubelik's No. 1 is a classic and an obvious first choice, despite strong competition from Bernstein, Boulez, Solti, Ozawa, and Chailly (though we do get Ozawa's Blumine). The Mehta/Vienna "Resurrection" likewise is an excellent version, though not better than Bernstein's. We also get the not terribly exciting Boulez Totenfeier, for completeness' sake if for no other reason. Haitink's first recording of the Mahler Third, with the Concertgebouw and Maureen Forrester, is one of the great ones (his Berlin remake was a disaster), while the Boulez/Cleveland Fourth also finds these forces at their best. The Bernstein/Vienna Fifth isn't just a great performance, it's also very well recorded (it was made in Frankfurt, not in Vienna). Then we hit a bump in the road.

Abbado's Berlin Mahler Sixth (Andante before Scherzo) is a light, shallow performance audibly inferior to his first, Chicago recording (never mind Bernstein's magnificent Vienna version). Sinopoli's Seventh is dreary, dull, and in the finale sloppily played. Had DG chosen the Sinopoli Fifth and Bernstein's Seventh, then this set would have been measurably improved. It also would have rectified the one scandalous and really inexcusable omission: the absence of the New York Philharmonic, one of the three historically most important and idiomatic "Mahler orchestras" (the others being the Czech Philharmonic and the Amsterdam Concertgebouw). Of course, Solti's Mahler Eighth also is a reference recording, especially for the superb singing, as is Karajan's live Ninth. Chailly's complete Tenth (Cooke version) probably is the best available, and his Das Klagende Lied isn't far behind.

Turning to the songs, the Giulini/Fassbaender/Araiza Das Lied von der Erde is very good, but Haitink/King/Baker should have been the version of choice. Abbado's Des Knaben Wunderhorn, with Otter and Quasthoff, sounds just as characterless now as it did when it was issued (Chailly is infinitely superior), while the Hampson/Bernstein recording of the three major song sets (Wayfarer, Dead Kids, and Rückert) isn't as good as it should have been, largely due to Hampson. He bills himself as a Mahler authority, and maybe he is, but he's not a great Mahler singer, which is more to the point. Just compare this to Haitink/Prey in the Wayfarer songs and Kindertotenlieder. The early songs are presented with some in their original piano versions and others as orchestrated by different hands, a creative and very enjoyable idea.

Sonics, obviously, are variable, but certainly decent enough given the different recording dates and venues. This is a very good set for the most part, but it could have been (should have been) the best selection possible, and it's not quite. What's more, this still could have been achieved maintaining the "one conductor per numbered symphony" concept, and including the New York Philharmonic in the process (the Bernstein Seventh). Compared to EMI's rival set, this one is generally stronger in the symphonies, while EMI has the edge in the songs and Das Lied von der Erde. In the symphonies alone, neither supersedes the best complete symphony cycles for these same labels (Bernstein for DG, Chailly for Decca, and Bertini for EMI). At the price, though, this is still a good deal, and a reasonable way for newcomers to get almost all of Mahler in one highly diverse shot.

大致意思就说：
（1）交响曲选DG的，声乐选EMI的；
（2）若EMI选了Bertini的全套交响曲来替换现有的选择，就是EMI胜出了。