The specialist German label Audite has already released several recordings from Rafael Kubelik’s years as Chief Conductor of the Bavarian Radio Symphony Orchestra, including two valuable CDs of concerto recordings featuring Clifford Curzon. Here it turns its attention to Mahler, presenting a live recording from 1981 which complements Kubelik’s commercial recording of the Fifth Symphony with the same forces for DG.

Kubelik took charge of the Bavarian Radio orchestra in 1961, and so this particular performance is a product of the close relationship between conductor and orchestra which had developed over a period of 20 years. The result is a notable reading: Kubelik gets completely inside the music, creating a performance of exceptional drive and intensity. The second movement, for instance, has a truly demonic character. The subsequent Scherzo is equally powerful, and the famous Adagietto is strongly contrasted, with an atmosphere of great repose. Only in the final movement does Kubelik’s intensity start to diminish. Taken as a whole, however, this performance represents a definite development on Kubelik’s earlier studio recording. It places his interpretation strongly within the expressionistic style of Mahler conducting, as epitomized most powerfully by Leonard Bernstein and Klaus Tennstedt.

The Bavarian orchestra plays with great eloquence, commitment and virtuosity, not least in the second movement, which constitutes the emotional core of Kubelik’s stormy view of the work. The only drawback, which does give cause for concern in this particular work but which presumably reflects the conductor’s intentions, is an at times raucous first trumpet.

As was so often the case, the Bavarian Radio recording of a performance in the Herkulessaal is a model of refinement. It presents an excellent overall aural picture, with wide perspective, in which all the strands of Mahler’s complex symphonic argument can be clearly heard without any artificial highlighting.

In sum, this recording, supported by brief but pertinent documentation is a valuable document of Kubelik’s later years, of his relationship with the orchestra with which he worked for the longest period of his whole career, and of a truly memorable interpretation of music clearly close to his heart.

The specialist German label Audite has already released several recordings from Rafael Kubelik’s years as Chief Conductor of the Bavarian Radio Symphony Orchestra, including two valuable CDs of concerto recordings featuring Clifford Curzon. Here it turns its attention to Mahler, presenting a live recording from 1981 which complements Kubelik’s commercial recording of the Fifth Symphony with the same forces for DG.
Kubelik took charge of the Bavarian Radio orchestra in 1961, and so this particular performance is a product of the close relationship between conductor and orchestra which had developed over a period of 20 years. The result is a notable reading: Kubelik gets completely inside the music, creating a performance of exceptional drive and intensity. The second movement, for instance, has a truly demonic character. The subsequent Scherzo is equally powerful, and the famous Adagietto is strongly contrasted, with an atmosphere of great repose. Only in the final movement does Kubelik’s intensity start to diminish. Taken as a whole, however, this performance represents a definite development on Kubelik’s earlier studio recording. It places his interpretation strongly within the expressionistic style of Mahler conducting, as epitomized most powerfully by Leonard Bernstein and Klaus Tennstedt.
The Bavarian orchestra plays with great eloquence, commitment and virtuosity, not least in the second movement, which constitutes the emotional core of Kubelik’s stormy view of the work. The only drawback, which does give cause for concern in this particular work but which presumably reflects the conductor’s intentions, is an at times raucous first trumpet.
As was so often the case, the Bavarian Radio recording of a performance in the Herkulessaal is a model of refinement. It presents an excellent overall aural picture, with wide perspective, in which all the strands of Mahler’s complex symphonic argument can be clearly heard without any artificial highlighting.
In sum, this recording, supported by brief but pertinent documentation is a valuable document of Kubelik’s later years, of his relationship with the orchestra with which he worked for the longest period of his whole career, and of a truly memorable interpretation of music clearly close to his heart.

The specialist German label Audite has already released several recordings from Rafael Kubelik’s years as Chief Conductor of the Bavarian Radio Symphony Orchestra, including two valuable CDs of concerto recordings featuring Clifford Curzon. Here it turns its attention to Mahler, presenting a live recording from 1981 which complements Kubelik’s commercial recording of the Fifth Symphony with the same forces for DG.
Kubelik took charge of the Bavarian Radio orchestra in 1961, and so this particular performance is a product of the close relationship between conductor and orchestra which had developed over a period of 20 years. The result is a notable reading: Kubelik gets completely inside the music, creating a performance of exceptional drive and intensity. The second movement, for instance, has a truly demonic character. The subsequent Scherzo is equally powerful, and the famous Adagietto is strongly contrasted, with an atmosphere of great repose. Only in the final movement does Kubelik’s intensity start to diminish. Taken as a whole, however, this performance represents a definite development on Kubelik’s earlier studio recording. It places his interpretation strongly within the expressionistic style of Mahler conducting, as epitomized most powerfully by Leonard Bernstein and Klaus Tennstedt.
The Bavarian orchestra plays with great eloquence, commitment and virtuosity, not least in the second movement, which constitutes the emotional core of Kubelik’s stormy view of the work. The only drawback, which does give cause for concern in this particular work but which presumably reflects the conductor’s intentions, is an at times raucous first trumpet.
As was so often the case, the Bavarian Radio recording of a performance in the Herkulessaal is a model of refinement. It presents an excellent overall aural picture, with wide perspective, in which all the strands of Mahler’s complex symphonic argument can be clearly heard without any artificial highlighting.
In sum, this recording, supported by brief but pertinent documentation is a valuable document of Kubelik’s later years, of his relationship with the orchestra with which he worked for the longest period of his whole career, and of a truly memorable interpretation of music clearly close to his heart.

The specialist German label Audite has already released several recordings from Rafael Kubelik’s years as Chief Conductor of the Bavarian Radio Symphony Orchestra, including two valuable CDs of concerto recordings featuring Clifford Curzon. Here it turns its attention to Mahler, presenting a live recording from 1981 which complements Kubelik’s commercial recording of the Fifth Symphony with the same forces for DG.

Kubelik took charge of the Bavarian Radio orchestra in 1961, and so this particular performance is a product of the close relationship between conductor and orchestra which had developed over a period of 20 years. The result is a notable reading: Kubelik gets completely inside the music, creating a performance of exceptional drive and intensity. The second movement, for instance, has a truly demonic character. The subsequent Scherzo is equally powerful, and the famous Adagietto is strongly contrasted, with an atmosphere of great repose. Only in the final movement does Kubelik’s intensity start to diminish. Taken as a whole, however, this performance represents a definite development on Kubelik’s earlier studio recording. It places his interpretation strongly within the expressionistic style of Mahler conducting, as epitomized most powerfully by Leonard Bernstein and Klaus Tennstedt.

The Bavarian orchestra plays with great eloquence, commitment and virtuosity, not least in the second movement, which constitutes the emotional core of Kubelik’s stormy view of the work. The only drawback, which does give cause for concern in this particular work but which presumably reflects the conductor’s intentions, is an at times raucous first trumpet.

As was so often the case, the Bavarian Radio recording of a performance in the Herkulessaal is a model of refinement. It presents an excellent overall aural picture, with wide perspective, in which all the strands of Mahler’s complex symphonic argument can be clearly heard without any artificial highlighting.

In sum, this recording, supported by brief but pertinent documentation is a valuable document of Kubelik’s later years, of his relationship with the orchestra with which he worked for the longest period of his whole career, and of a truly memorable interpretation of music clearly close to his heart.

... A more recent vintage of comparison was provided by two Audite releases of Mahler symphonies featuring the Bavarian Radio Symphony Orchestra conducted by Rafael Kubelik. Knowing David Gutman's hard line on Mahler performances. I was delighted to read his closing remarks. 'All in all, a breath of fresh Moravian air ...,' he wrote, '... and a wonderfully civilised alternative to the hi-tech histrionics of today's market leaders.' Too true. 'That the pulse has slowed just a little is all to the good...' says DG and again I'd concur, although the timing difference between the 1967 First Symphony (DG, 5/90) and this 1979 live version is more marked than you might at first expeet. Listening (and looking) reveals 50'0'' for Deutsche Grammophon and 51'33'' for Audite, but the addition of the first-movement repeat in 1968 cuts the DG timing by a further two minutes (at least in theory). The new Fifth is marked by the sort of 'rocketing' dynamic inflexions (notably among the woodwinds) that were typical of Kubelik's Munich heyday. You notice them, especially, at the start of the finale, but the birdsong charaterisations in the first movement of the First
Symphony are hardly less striking. Both Performances are deeply poetic (I second DG's positive response to the Adagietto), less dramatic, perhaps, in orchestral attack than their studio predecessors, but kindlier, softerhued and - in the closing minutes of the Fifth's stormy second movement - markedly more grand. ...

... A more recent vintage of comparison was provided by two Audite releases of Mahler symphonies featuring the Bavarian Radio Symphony Orchestra conducted by Rafael Kubelik. Knowing David Gutman's hard line on Mahler performances. I was delighted to read his closing remarks. 'All in all, a breath of fresh Moravian air ...,' he wrote, '... and a wonderfully civilised alternative to the hi-tech histrionics of today's market leaders.' Too true. 'That the pulse has slowed just a little is all to the good...' says DG and again I'd concur, although the timing difference between the 1967 First Symphony (DG, 5/90) and this 1979 live version is more marked than you might at first expeet. Listening (and looking) reveals 50'0'' for Deutsche Grammophon and 51'33'' for Audite, but the addition of the first-movement repeat in 1968 cuts the DG timing by a further two minutes (at least in theory). The new Fifth is marked by the sort of 'rocketing' dynamic inflexions (notably among the woodwinds) that were typical of Kubelik's Munich heyday. You notice them, especially, at the start of the finale, but the birdsong charaterisations in the first movement of the First
Symphony are hardly less striking. Both Performances are deeply poetic (I second DG's positive response to the Adagietto), less dramatic, perhaps, in orchestral attack than their studio predecessors, but kindlier, softerhued and - in the closing minutes of the Fifth's stormy second movement - markedly more grand. ...

... A more recent vintage of comparison was provided by two Audite releases of Mahler symphonies featuring the Bavarian Radio Symphony Orchestra conducted by Rafael Kubelik. Knowing David Gutman's hard line on Mahler performances. I was delighted to read his closing remarks. 'All in all, a breath of fresh Moravian air ...,' he wrote, '... and a wonderfully civilised alternative to the hi-tech histrionics of today's market leaders.' Too true. 'That the pulse has slowed just a little is all to the good...' says DG and again I'd concur, although the timing difference between the 1967 First Symphony (DG, 5/90) and this 1979 live version is more marked than you might at first expeet. Listening (and looking) reveals 50'0'' for Deutsche Grammophon and 51'33'' for Audite, but the addition of the first-movement repeat in 1968 cuts the DG timing by a further two minutes (at least in theory). The new Fifth is marked by the sort of 'rocketing' dynamic inflexions (notably among the woodwinds) that were typical of Kubelik's Munich heyday. You notice them, especially, at the start of the finale, but the birdsong charaterisations in the first movement of the First
Symphony are hardly less striking. Both Performances are deeply poetic (I second DG's positive response to the Adagietto), less dramatic, perhaps, in orchestral attack than their studio predecessors, but kindlier, softerhued and - in the closing minutes of the Fifth's stormy second movement - markedly more grand. ...

Speaking of such a performance, Rafael Kubelik's 8th on Audite was also captured...

Speaking of such a performance, Rafael Kubelik's 8th on Audite was also captured...