There are so many great recordings of Mahler's Fourth in the world. There are Bruno Walter recordings with the Vienna Philharmonic, whose warmth and humanity is always profoundly moving. There's Otto Klemperer with the Philharmonia, whose affection and strength are always deeply impressive. There's the George Szell with the Cleveland Symphony, whose lucidity and luminosity are always incredibly impressive. There's Rafael Kubelik lovingly lyrical recording with the Bavarian Radio Symphony, Claudio Abbado's rapturously ...
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There are so many great recordings of Mahler's Fourth in the world. There are Bruno Walter recordings with the Vienna Philharmonic, whose warmth and humanity is always profoundly moving. There's Otto Klemperer with the Philharmonia, whose affection and strength are always deeply impressive. There's the George Szell with the Cleveland Symphony, whose lucidity and luminosity are always incredibly impressive. There's Rafael Kubelik lovingly lyrical recording with the Bavarian Radio Symphony, Claudio Abbado's rapturously singing recording with the Vienna Philharmonic, Wyn Morris' wonderfully poised recording with the London Symphony...the list goes on and on.The question is: is there room in the world for this 2003 recording by Michael Tilson Thomas and the San Francisco Symphony no matter how good it is? Of course, the answer depends on how many Mahler Fourths one can fit on the shelf, but if you have room for one more, get Tilson Thomas'. His interpretation is warm and affectionate, but lucid and...
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