Gut, dass hin und wieder an die Rolle Rafael Kubeliks in der Verbreitung der Werke Gustav Mahlers erinnert wird. Diese Aufnahme ist umso erfreulicher, weil sie uns eine Fünfte beschert, deren Ausdrucks-Spannweite erheblich größer ist als in der Studio-Einspielung bei DG. Diese sorgsam erarbeitete und sehr spontan und intensiv musizierte Symphonie fließt von der ersten bis zur letzten Minute, ohne dass die Spannung und die Kraft der Musik auch nur kurzfristig abnehmen. Das ist leidenschaftliches Musizieren ohne Exzesse, hin und wieder, besonders im ersten Satz etwas grün und frisch, stets erfüllt und, wenn notwendig, auch nachsinnend-ernst. Ein absoluter Höhepunkt ist das hingebungsvoll gespielte Adagietto, zum Sterben schön der Übergang zum Rondo-Finale, das man selten so musikantisch, so voller Charme und voller Poesie gehört hat.
Eine hinreißend schöne Interpretation, die man wärmstens empfehlen muss.

Some years ago I was involved in a discussion concerning Wilhelm Furtwängler's potential artistic heir. Who might he be? There was no lack of candidates. My suggestion, for the following reasons, was Rafael Kubelik. Both were composers; both preferred an old-fashioned orchestral layout (violins divided, etc) and achieved weight of sonority by allowing a chord to fall naturally rather than slamming it shut. Both favoured flexibility within the bar, an often orgiastic excitability and, most important in this particular context, an overall preference for live performance over recording.

For example, compare Kubelik's 1975 DG studio recording of Beethoven's Fourth Symphony with the Israel Philharmonic with the live Bavarian RSO Audite version of four years later. The IPO account is taut and incisive, with an explosive fortissimo just before the coda (at 5'52", i.e. bar 312) that sounds as if it has been aided from the control desk. Turn then to the BRSO version, the lead-up at around 4'25" to that same passage (here sounding wholly natural), so much more gripping, where second fiddles, violas and cellos thrust their responses to tremolando first fiddles. The energy level is still laudably high but the sense of intense engagement is almost palpable. Again, with the Boston recording of the Fifth, handsome and well played as it undoubtedly is (and with the finale's repeat intact, which isn't the case on Audite), there is little comparison with the freer, airier and more responsive live relay. I'm thinking especially the slow movement, so humble and expressive, almost hymn-like in places – for example, the Bachian string counterpoint from 4'27''. Also, the Boston recording places first and second violins on the left: the Audite option has them divided, as per Kubelik’s preferred norm.

Audite’s Tchaikovsky coupling is an out-and-out winner. Kubelik made two studio recordings of the Fourth Symphony (with the Chicago SO and Vienna PO), both set around a lyrical axis, but this live version has a unique emotive impetuosity, especially in the development section of the first movement. The Andantino relates a burning nostalgia without exaggeration, whereas the scherzo – taken at a real lick – becomes a quiet choir of balalaikas. The April 1969 performance of the Violin Concerto was also Pinchas Zukerman's German début and aside from Kubelik's facilitating responsiveness, there's the warmth and immediacy of the youthful Zukerman's tone and the precision of his bowing. Both performances confirm Kubelik as among the most sympathetic of Tchaikovsky conductors, a genuine listener who relates what he hears, not what he wants to confess through the music.

Much the same might be said of Kubelik's Mahler, whether for DG or the various live alternatives currently appearing on Audite. In the case of ‘Das Lied von der Erde’ there is no DG predecessor, but even if there was, I doubt that it would surpass the live relay of February 1970 with Waldemar Kmentt and Dame Janet Baker, so dashing, pliant and deeply felt, whether in the subtly traced clarinet counterpoint near the start of ‘Von der Jugend’ or the way Baker re-emerges after the funereal processional in ‘Der Abschied’, as if altered forever by a profound visitation.

Some years ago I was involved in a discussion concerning Wilhelm Furtwängler's potential artistic heir. Who might he be? There was no lack of candidates. My suggestion, for the following reasons, was Rafael Kubelik. Both were composers; both preferred an old-fashioned orchestral layout (violins divided, etc) and achieved weight of sonority by allowing a chord to fall naturally rather than slamming it shut. Both favoured flexibility within the bar, an often orgiastic excitability and, most important in this particular context, an overall preference for live performance over recording.

For example, compare Kubelik's 1975 DG studio recording of Beethoven's Fourth Symphony with the Israel Philharmonic with the live Bavarian RSO Audite version of four years later. The IPO account is taut and incisive, with an explosive fortissimo just before the coda (at 5'52", i.e. bar 312) that sounds as if it has been aided from the control desk. Turn then to the BRSO version, the lead-up at around 4'25" to that same passage (here sounding wholly natural), so much more gripping, where second fiddles, violas and cellos thrust their responses to tremolando first fiddles. The energy level is still laudably high but the sense of intense engagement is almost palpable. Again, with the Boston recording of the Fifth, handsome and well played as it undoubtedly is (and with the finale's repeat intact, which isn't the case on Audite), there is little comparison with the freer, airier and more responsive live relay. I'm thinking especially the slow movement, so humble and expressive, almost hymn-like in places – for example, the Bachian string counterpoint from 4'27''. Also, the Boston recording places first and second violins on the left: the Audite option has them divided, as per Kubelik’s preferred norm.

Audite’s Tchaikovsky coupling is an out-and-out winner. Kubelik made two studio recordings of the Fourth Symphony (with the Chicago SO and Vienna PO), both set around a lyrical axis, but this live version has a unique emotive impetuosity, especially in the development section of the first movement. The Andantino relates a burning nostalgia without exaggeration, whereas the scherzo – taken at a real lick – becomes a quiet choir of balalaikas. The April 1969 performance of the Violin Concerto was also Pinchas Zukerman's German début and aside from Kubelik's facilitating responsiveness, there's the warmth and immediacy of the youthful Zukerman's tone and the precision of his bowing. Both performances confirm Kubelik as among the most sympathetic of Tchaikovsky conductors, a genuine listener who relates what he hears, not what he wants to confess through the music.

Much the same might be said of Kubelik's Mahler, whether for DG or the various live alternatives currently appearing on Audite. In the case of ‘Das Lied von der Erde’ there is no DG predecessor, but even if there was, I doubt that it would surpass the live relay of February 1970 with Waldemar Kmentt and Dame Janet Baker, so dashing, pliant and deeply felt, whether in the subtly traced clarinet counterpoint near the start of ‘Von der Jugend’ or the way Baker re-emerges after the funereal processional in ‘Der Abschied’, as if altered forever by a profound visitation.

Some years ago I was involved in a discussion concerning Wilhelm Furtwängler's potential artistic heir. Who might he be? There was no lack of candidates. My suggestion, for the following reasons, was Rafael Kubelik. Both were composers; both preferred an old-fashioned orchestral layout (violins divided, etc) and achieved weight of sonority by allowing a chord to fall naturally rather than slamming it shut. Both favoured flexibility within the bar, an often orgiastic excitability and, most important in this particular context, an overall preference for live performance over recording.

For example, compare Kubelik's 1975 DG studio recording of Beethoven's Fourth Symphony with the Israel Philharmonic with the live Bavarian RSO Audite version of four years later. The IPO account is taut and incisive, with an explosive fortissimo just before the coda (at 5'52", i.e. bar 312) that sounds as if it has been aided from the control desk. Turn then to the BRSO version, the lead-up at around 4'25" to that same passage (here sounding wholly natural), so much more gripping, where second fiddles, violas and cellos thrust their responses to tremolando first fiddles. The energy level is still laudably high but the sense of intense engagement is almost palpable. Again, with the Boston recording of the Fifth, handsome and well played as it undoubtedly is (and with the finale's repeat intact, which isn't the case on Audite), there is little comparison with the freer, airier and more responsive live relay. I'm thinking especially the slow movement, so humble and expressive, almost hymn-like in places – for example, the Bachian string counterpoint from 4'27''. Also, the Boston recording places first and second violins on the left: the Audite option has them divided, as per Kubelik’s preferred norm.

Audite’s Tchaikovsky coupling is an out-and-out winner. Kubelik made two studio recordings of the Fourth Symphony (with the Chicago SO and Vienna PO), both set around a lyrical axis, but this live version has a unique emotive impetuosity, especially in the development section of the first movement. The Andantino relates a burning nostalgia without exaggeration, whereas the scherzo – taken at a real lick – becomes a quiet choir of balalaikas. The April 1969 performance of the Violin Concerto was also Pinchas Zukerman's German début and aside from Kubelik's facilitating responsiveness, there's the warmth and immediacy of the youthful Zukerman's tone and the precision of his bowing. Both performances confirm Kubelik as among the most sympathetic of Tchaikovsky conductors, a genuine listener who relates what he hears, not what he wants to confess through the music.

Much the same might be said of Kubelik's Mahler, whether for DG or the various live alternatives currently appearing on Audite. In the case of ‘Das Lied von der Erde’ there is no DG predecessor, but even if there was, I doubt that it would surpass the live relay of February 1970 with Waldemar Kmentt and Dame Janet Baker, so dashing, pliant and deeply felt, whether in the subtly traced clarinet counterpoint near the start of ‘Von der Jugend’ or the way Baker re-emerges after the funereal processional in ‘Der Abschied’, as if altered forever by a profound visitation.

Do you remember the 1960s? A time before Mahler symphony series were two-a-penny, when conductors like Abravanel, Bernstein, Haitink and Solti vied to be the first to complete the intégrale on LP (not that any of them would have thought of including Deryck Cooke's performing version of the Tenth)? Rafael Kubelik's ground-breaking DG cycle was generally (though not universally) rated a highlight of his period as chief conductor of the Bavarian Radio Symphony Orchestra (1961-79). More recently, the conductor's Mahlerian credentials have been boosted by the appearance of some memorable live concert relays, including a quite outstanding (albeit repeat-shy) account of the First Symphony and a Fifth full of insight (Audite, 4/00). I cannot say that the present release holds comparable interest. Its source is a well-preserved, bass-light Bavarian Radio tape dating from the same period as DG's studio sessions. Hence it offers neither an alternative interpretative slant on the work nor even a radically different sonic experience.

True, the conductor excels himself in the slow movement. Here you'll find the luminous string tone, natural pacing and inner simplicity of his best work, along with sonic unvarnished wind and brass playing. (Don't forget how unfamiliar this music must have been at the time: the Sixth had to wait until 1966 for its French première). The eccentric booklet notes tell us that this Andante moderato 'takes off the stifling corset that prevents one from breathing freely in the other movements'. This isn't - I think - meant to allude to Kubelik's brisk, inflexible pacing, but I found such an approach problematical, particularly in the first two movements where expressive contrasts are consistently underplayed. Given the overall timing shown above, you may be surprised to discover that Kubelik does in fact make the first movement repeat. Only Neeme Järvi races through the music marked Allegro energico via non troppo (but never mind the qualifier) - at quite such a lick. And although Bernstein runs them close, his famously neurotic march has a rhythmic certainty and an alertness to detail and nuance that elude Kubelik in his headlong dash across country. The generalised élan of the finale is rather undermined by the fluffs and false entries, while its coda serves as an unlikely showcase for brass timbre of a more distinctive and regional variety than is beard from this source today. All in all, a bit of a gabble but a gift for confirmed Kubelik fanciers.

Gut, dass hin und wieder an die Rolle Rafael Kubeliks in der Verbreitung der Werke Gustav Mahlers erinnert wird. Diese Aufnahme ist umso erfreulicher, weil sie uns eine Fünfte beschert, deren Ausdrucks-Spannweite erheblich größer ist als in der Studio-Einspielung bei DG. Diese sorgsam erarbeitete und sehr spontan und intensiv musizierte Symphonie fließt von der ersten bis zur letzten Minute, ohne dass die Spannung und die Kraft der Musik auch nur kurzfristig abnehmen. Das ist leidenschaftliches Musizieren ohne Exzesse, hin und wieder, besonders im ersten Satz etwas grün und frisch, stets erfüllt und, wenn notwendig, auch nachsinnend-ernst. Ein absoluter Höhepunkt ist das hingebungsvoll gespielte Adagietto, zum Sterben schön der Übergang zum Rondo-Finale, das man selten so musikantisch, so voller Charme und voller Poesie gehört hat.

Eine hinreißend schöne Interpretation, die man wärmstens empfehlen muss.

Rafael Kubelik gehörte zu den Dirigenten, die sich schon für die Sinfonik...

Nach einer exzeptionellen Fünften Gustav Mahlers mit dem Symphonieorchester des BR unter Kubelik legt Audite nun eine nicht minder begeisternde Erste vor, die 1979 live im Münchner Herkulessaal aufgenommen wurde.

Kubelik, einer der großen Missionare der Mahler-Musik, hat Mahlers Erste in den Fünfzigerjahren mit den Wiener Philharmonikern und später in einer Studioproduktion im Rahmen des gesamten Mahler-Zyklus mit dem Symphoniorchester des BR für die DG erneut aufgenommen: beide Aufnahmen reichen an die zwingende und suggestive Interpretation, die auf der vorliegende CD festgehalten wurde, bei weitem nicht heran.

Die Naturlaute sind hier ebenso unmittelbar präsent wie die psychischen Erlebnisse des Helden, der Konflikt ist ebenso spürbar wie die Ruhe, die Ironie so ätzend wie die Gelöstheit wohltuend. Die Abgründe des letzten Satzes öffnen sich dramatisch die höllische Kraft der Musik erfasst den Zuhörer brutal. Kubelik akzentuiert das bedrohlich, um den Kontrast zum Traum vom Paradies noch aufregender und spannender zu gestalten.

Von den vielen guten Versionen dieser Symphonie, die ich kenne, ist dies zweifellos eine der besten. Das Phänomenale daran ist, dass sie auch dem, der das Werk gut kennt, neue Aspekte vermitteln kann... Eine Sternstunde!

Er war ein Dirigent mit bemerkenswerten internationalem Renommee, als...

Pero el concierto no perdió nada a pesar del inmenso bartokiano que era Fricsay, ya que el impulso emocional de Kubelik, su intensidad, perfecta realización, colorido orquestal, emoción, atmósfera angustiosa y pesante y una intensidad que en muchos momentos recordaba a Furtwängler, logró una recreación que con pocas dudas podemos situar en una de las cimas más altas entre las veintitantas versiones que hoy se pueden encontrar en la discografía.