Left unfinished at the death of the composer, Gustav Mahler's Tenth Symphony has exerted an enormous fascination on musicologists as well as musicians – a kind of Holy Grail of 20th-century music. Recognized as an intensely personal work, it was initially consigned to respectful oblivion, but over the years, Alma Mahler, the composer’s widow, released more and more of Mahler’s sketches for publication, and gradually it became clear that he had in fact bequeathed an entire five-movement symphony in short score (i.e. written on three or four staves). Of this, nearly half had reached the stage of a draft orchestration, while the rest contained indications of the intended instrumentation. Over the years a number of different completions or performing versions of ‘the Tenth’ have seen the light of day. One of the most often performed and recorded of these is that by Deryck Cooke. Cooke himself insisted that his edition was not a ‘completion’ of the work, but rather a functional presentation of the materials as Mahler left them. Cooke’s performing version of the symphony is the one that Osmo Vanska has chosen to use for the seventh installment in his and the Minnesota Orchestra’s Mahler series, a cycle characterized by an unusual transparency and clarity of sound as well as musical conception.

REVIEW:

From the outset, Vänskä’s handling of the opening Adagio is sublime, its long themes opening up in endless waves thanks to the clean-toned Minnesota strings and the conductor’s perfectly judged balance between purposeful progress and emotional repose. BIS’s engineering is immaculate, simultaneously spacious and detailed, and presented with convincing weight and clarity. The contrast between the pristine pianissimo strings and the moment the Adagiofinally heaves its heart into its mouth is overwhelming.

The first Scherzo is nimble and fleet of foot, Vänskä’s insistence on delicacy over grotesquery tying it neatly to the first movement. Again, incident is brought out with considerable imagination and there’s some superb solo work from the Minnesota principals. This is musical storytelling at its finest.

In Vänskä’s hands the “Purgatorio” movement is a gossamer reflection of the younger composer in the carefree days of the Fourth Symphony upon which the clouds occasionally darken. Building his argument, Vänskä urges the fourth movement second Scherzo along while ensuring plenty of contrasts. “The devil is dancing this with me; madness, seize me and destroy me,” Mahler wrote at the top of this movement, ending with, “You alone know what it means. Ah! Ah! Farewell my lyre! Farewell, farewell, farewell, farewell. Ah! Ah!”.

Linking the two final movements is a dramatic coup. The sudden impact of the muffled drum – inspired by a funeral procession that Mahler and Alma witnessed from the window of their New York hotel room – is heart-stopping, as is the following progression in which the musical spools of Mahler’s life seem to gradually unravel towards that final page where Mahler scribbled, “für dich leben! für dich sterben! Almschi!” (To live for you! To die for you! Almschi!). Over 25 unmissable minutes, Vänskä interweaves the moving with the mercurial in a riveting demonstration of musical storytelling.

As this Minnesota cycle enters the final furlong, this Tenth is a major achievement.

– Limelight (Clive Paget)

Kalevala, the Finnish national epic, begins with the creation of the world – from a duck's egg – and goes on to relate a series of tales of magic and adventure. One of the most memorable characters is Kullervo, a flawed hero whose tragic story is told in the course of six songs or runos. These describe multiple murders, rape, incest and finally suicide – a powerful brew that has inspired several Finnish artists. Among them is Jean Sibelius, who in 1891 was a young music student in Vienna. At home in Finland a wave of nationalism was gaining momentum and the Kalevala was an important symbol in the struggle for independence from Russia. Sometimes called a choral symphony, Sibelius's Kullervo was premiered in 1892, receiving a mixed reception and the work was soon overshadowed by the First Symphony. Only in the 1970s did it became more widely known, at which time the score caused something of sensation. Faithful to the urgency and brutality of the score, the present recording was made at live performances at Symphony Hall in Minneapolis, with Osmo Vänskä directing the forces of the Minnesota Orchestra, joined by their Finnish guests Lilli Paasikivi, Tommi Hakala and the eminent YL Male Voice Choir.

For its final concert of the 2021–22 season and Osmo Vänskä’s last as artistic director, the Minnesota Orchestra chose to present Mahler’s mammoth Eighth Symphony, which calls for one of the largest complement of performers in the history of music, a symbol of the communitarian spirit of collective cultural, social, and religious-philosophical endeavor in what has been referred to as a ‘Mass for the Masses’.

Mahler’s Eighth Symphony, unlike his others, reveals no contrary despairing voice. It is instead a monumentally affirmative expression of human spiritual achievement achieved through the union of two seemingly incompatible texts: the Latin hymn Veni Creator Spiritus and the conclusion of the second part of Goethe’s Faust. Its première in Munich in September 1910 gave rise to the greatest triumph of Mahler’s career, and a rollcall of European royalty and the artistic élite attended the final public rehearsal and the performances.

The Minnesota Orchestra and Osmo Vänskä are here joined by Carolyn Sampson, Jacquelyn Wagner, Sasha Cooke, Jess Dandy, Barry Banks, Julian Orlishausen, Christian Immler as well as the Minnesota Chorale, the National Lutheran Choir, the Minnesota Boychoir and the Angelica Cantanti Youth Choir.

For the latest instalment in their Mahler series, the Minnesota Orchestra under the direction of Osmo Vänskä presents what many consider to be the pinnacle of the Austrian composer’s entire work, the Ninth Symphony, his last completed symphony. After a vast and emotionally intense first movement that shows an astonishing fluidity of form, theme, texture and tonality, ‘the most glorious thing Mahler has written’ according to Alban Berg, the second movement brings joy and playfulness and seems to evoke both an urban Straussian world and folk music cultures. To the bitter irony and anger of the third movement the last movement, a mystical Adagio, seems to respond with ineffable tenderness. Often regarded as the composer’s monumental – both in terms of scale and emotional scope – leave-taking of the world, the Ninth Symphony can also be understood as a requiem for his daughter who died a few years before, an acknowledgment of the transience of life, a memorial to Vienna, an evocation of fading Austrian and Bohemian landscapes, a homage to a vanishing European cultural world.

It was with performances and recordings of the music of Jean Sibelius, his great compatriot, that the Finnish conductor Osmo Vänskä first attracted the attention of a wider international audience. Beginning in the early 1990s, seminal recordings with the Lahti Symphony Orchestra of tone poems and the seven symphonies became synonymous with a new interpretative approach to the composer's music, with words such as 'clarity', 'intensity' and 'freshness' reappearing in review after review. Vänskä has remained true to Sibelius (and BIS), and recordings made by him over the past 20 years form the backbone of the label's newly completed Sibelius Edition, but in the meantime his international career has also flourished, including a highly successful partnership with the Minnesota Orchestra. On disc this has resulted in an acclaimed cycle of Beethoven's symphonies, and most recently with a recording of Bruckner's Fourth ('Romantic') Symphony, which in Pizzicato Magazine was described as 'exceptional... without doubt one of the finest recordings of the work...' Now, some 15 years after the appearance of his previous cycle of Sibelius's symphonies, Vänskä has returned to the works in recording, and with his Minnesota players he has recorded the first disc in a new cycle. The Sibelius expert Robert Layton, in his introduction to the programme, presents the Second Symphony as 'the symphony by which many music lovers find their way to Sibelius', and in his discussion of the Fifth he quotes the composer himself, in a comment about symphonic form: 'a river with innumerable tributaries feeding it before it broadens majestically and flows into the sea'.

Albert Camus once wrote ‘when I describe what the catastrophe of modern man looks like, music comes into my mind – the music of Gustav Mahler’. If asked to specify a particular work, it is quite possible that Camus would have proposed Symphony No. 6 in A minor – the symphony that Bruno Walter claimed portrayed ‘a terrifying, hopeless darkness, without a human sound’. Nevertheless, the period during which Mahler wrote his Sixth was one of the most successful and happiest of his life – prior to any marital difficulties, at the time of the birth of his second daughter Anna, his professional reputation growing. Alma Mahler, in her memoirs, suggested that the symphony was in fact predicting instances of future distress in the composer’s own life, and she and various commentators have proposed various interpretations of different elements. Most famous of these are possibly the hammer strokes in the Finale, falling, according to Alma, like ‘blows of fate’ on the ‘hero’ of the symphony. But Osmo Vänskä has a reputation for engaging with even the most iconic scores at face value, avoiding preconceived ideas and ‘time-honored’ traditions.

His and the Minnesota Orchestra’s recording of Mahler’s Sixth follows upon the 2017 release of the composer’s Fifth Symphony. Nominated to a 2018 Grammy Award, that interpretation has been described as ‘at once committed and detached, intense and transcendentally timeless’ (Norman Lebrecht) and ‘an exceptional performance that promises great things to come’ (allmusic.com).

REVIEWS:

The Finnish maestro opts for the revised order of middle movements, the searing andante preceding the scherzo, with its “old fatherly”, Ländler-like trio. The Minnesotans shine in the eerie sonorities of the finale, building to another allegro energico, but ending, movingly, in the minor tonality.

– Sunday Times (UK)

The interpretation here is intensely focused and utterly compelling, and the playing is impassioned and unnervingly vivid in the multichannel format, so listeners who loved the exceptional analog versions by Solti and Tennstedt or modern digital recordings by Abbado, Tilson Thomas, and Pappano can be sure that Vänskä's audiophile version ranks just as high in quality. The integrity of the performance and the expressive heights that are achieved carry the day and make Vänskä's recording essential for Mahler buffs.

– All Music Guide

Gustav Mahler's Second Symphony started life as a single-movement tone poem called Todtenfeier (‘Funeral Rites’). Completed in 1888 – one year before Richard Strauss's Death and Transfiguration – it echoed the composer's vision of seeing himself lying dead in a funeral bier surrounded by flowers. Deciding to use it as his opening movement, Mahler didn't finish the complete five-movement symphony until more than six years later, the longest time he spent on any work. The huge scale of the work apart, its weighty subject matter may well have contributed to the slow progress: Mahler himself outlined a scenario making references to the ultimate meaning of life and death (first movement), recollections of lost innocence and the desperation of unbelief (second and third movements), the return to naïve faith (fourth movement) and final redemption from the last judgement (finale). To convey this he took recourse to the human voice: incorporating a solo alto in the 4th movement Urlicht, he went on in the finale to risk comparison with Beethoven's Ninth Symphony by introducing a choir, as well as a soprano and alto soloist.

Minnesota Orchestra and Osmo Vänskä have received praise for their previous Mahler recordings (‘Vänskä and the orchestra are among the finest exponents of Mahler’s music...’, allmusic.com). The team is here joined by soloists Ruby Hughes and Sasha Cooke and the Minnesota Chorale in the deeply moving close to the vast and tumultuous panorama that is his Second Symphony.

REVIEW:

[Vänskä] adopts a nicely relaxed approach – and pace – for the second movement. The strings play very stylishly and the recording differentiates very well indeed between the various string parts. The third movement is also largely a success; the sardonic humour comes across quite well – as is in keeping with the original Knaben Wunderhorn song on which the movement is based. The orchestra points the music very effectively with special praise for the woodwind in this regard. The wild premonition of the finale (8:03) is projected with dramatic force and urgency. Sasha Cooke sings "Urlicht" very well indeed.

The huge finale is unleashed in dramatic fashion and the vivid impact of the bass drum stroke is typical of the quality of the BIS recording. Vänskä handles this vast musical fresco pretty well. The drama is projected strongly, not least in the huge march episode that follows those two apocalyptic percussion crescendi (9:21). The grosse Appell is impressive (17:16): the distant brass is very well handled in the recording and the solo piccolo and flute distinguish themselves. When the choir begins to sing (20:01) their sound is hushed but distinct, which is as it should be. Ruby Hughes’ silvery voice rises gently and sweetly from the midst of the singers at the end of the first long phrase. Miss Hughes does very well, too, in the ‘O Glaube’ duet with Sasha Cooke.

The performance is highly accomplished. Vänskä has a good choir at his disposal and two excellent soloists. As for his orchestra, they play the music marvellously. There are many idiomatic touches such as string portamenti while accents – so crucial in Mahler – and dynamics are scrupulously observed.

– MusicWeb International

Osmo Vänskä has been described as ‘our greatest living Sibelian’ (The Sunday Times, UK), a reputation which is founded not least on his two symphony cycles on disc, both released by BIS. The first one was recorded in 1996-97 with the Lahti Symphony Orchestra, and firmly established Vänskä as a force to be reckoned with. 14 years later he returned to the studio for a second cycle, now with the Minnesota Orchestra, of which he has been music director since 2003.

The Minnesota recordings were released on three discs during the years 2012 – 2016 to critical acclaim: besides top marks from reviewers around the world, the series garnered distinctions such as Editor’s Choice (Gramophone), Orchestral Choice (BBC Music Magazine) and Recording of the month (MusicWeb International). The disc of Symphonies Nos 2 and 5 was included on the New York Times list of the Best Classical Music Recordings of 2012 and nominated to a Grammy for Best Orchestral Recording, an award which its sequel (Nos 1 & 4) received the following year. Recommended by the German web site Klassik.com upon its release, the final album, with Symphonies Nos 3, 6 and 7, was recently included on Gramophone’s list of ‘Top 10 Sibelius recordings’. The three releases have now been gathered into a box set, with the addition of the same team’s 2016 recording of Kullervo, Sibelius’s first large-scale orchestral work and sometimes called his ‘choral symphony’.

Past praise for previously released volumes included in this set:

Sibelius: Symphonies No 1 & 4 / Vanska, Minnesota:

The passion and sweep of the First is even more electric than in the Lahti First. The Fourth emerges equally well as a hugely powerful utterance. With superb sound as always from BIS, this new disc has set the bar for all to follow and past ones to be measured against.

– Gramophone

Sibelius: Symphonies No 2 & 5 / Vanska, Minnesota:

These fearless, magnificently played performances, recorded in astonishing detail by the BIS engineers, and accompanied by an authoritative note by Robert Layton, join a very exclusive and elevated class of the finest recordings of these works.

– MusicWeb International

In Gustav Mahler's first four symphonies many of the themes originate in his own settings of folk poems from the collection Des Knaben Wunderhorn (The Boy's Magic Horn). A case in point, Symphony No.?4 is built around a single song, Das himmlische Leben (The Heavenly Life) which Mahler had composed some eight years earlier, in 1892. The song presents a child's vision of Heaven and is hinted at throughout the first three movements. In the fourth, marked ‘Sehr behaglich’ (Very comfortably), the song is heard in full from a solo soprano instructed by Mahler to sing: ‘with serene, childlike expression; completely without parody!’ The symphony is scored for a typically large, late-romantic orchestra (though without trombones and tuba) and an extensive percussion section which includes sleigh bells as well as glockenspiel. However, Mahler mostly deploys his forces with a transparency and lightness more akin to chamber music or eighteenth-century models like Mozart or Haydn. The Fourth has become one of his best-loved symphonies and is here performed by Minnesota Orchestra and Osmo Vänskä, joined by the angelic voice of English soprano Carolyn Sampson.

REVIEWS:

This is a difficult symphony to hold together and far too many performances are let down by indifferently realised finales. Vänskä connects it very well to the closing mood of the third movement, but an immense responsibility lies on the soprano soloist in the closing Das himmlische Liebe from Des Knaben Wunderhorn. The Klemperer studio recording was fatally undermined by Elizabeth Schwarzkopf’s too-knowing, overly sophisticated, rendition: the work needs a mixture of radiance and simplicity – this is a child’s vision of heaven, with Saint Martha in the kitchen. I have never heard the piece as I hear it in my head, but Carolyn Sampson captures very much of the radiance, despite some darkness in the lower register and some indifferent articulation. Perhaps the ideal voice would be that of a younger Emma Kirkby, and she certainly performed the piece, notably with Norrington at the Carnegie in 2001, but, to the best of my knowledge, never recorded it.

The first two movements are splendidly realized, combining poetry with a sense of momentum, and just the right touch of the spectral in the soloist’s tuned-up violin in the second movement.

The quality of recording is beautifully clear – as one expects from BIS – and I like very much their robust, bio-friendly, slim packaging, a huge improvement on easily-broken jewel cases.

Make no mistake: this Mahler 4 ranks with the very best, and I shall return to it very often.

– MusicWeb International

This cast does not generate as dreamy, airy, wafting textures as those of Szell and Bernstein; the textures here are plainer but make something no less convincing: the matter-of-fact clarinet, the barely-poco-vibrato string tone, and Sampson’s warm but never sugary tone.

Some will complain that Vänskä still doesn’t conduct Mahler as we know and love; judging by only the second movement, I would agree. But for the rest, I find his approach perfectly subjective and cinematic. The outstanding recording quality and superb musicians combine with Vänskä’s light touch to make a wonderful addition to this cycle.

– TheClassicReview

In an effort to arrange the first performance of his Seventh Symphony, Gustav Mahler declared it to be his best work, ‘preponderantly cheerful in character’. His younger colleague Schoenberg expressed his admiration for the work, and Webern considered it his favorite Mahler symphony. Nevertheless, it remains the least performed and least written-about symphony of the entire cycle, and has come to be regarded as enigmatic and less successful than its siblings. One reason for this has been the huge – even for Mahler – contrasts that it encompasses: from a first movement which seems to continue the atmosphere of the previous symphony, the ‘Tragic’ Sixth, to a finale that has been accused of excessive triumphalism, and which Mahler himself once described as ‘broad daylight’. Between these two poles, he supplies no less than two movements entitled Nachtmusik (‘night music’) framing a scherzo to which the composer added the character marking schattenhaft (‘shadowy’). Mahler famously said that ‘a symphony must be like the world. It must embrace everything.’ The Seventh is as true to this dictum as any other of the symphonies, offering a wealth of emotions, moods and colours. The composer makes full and imaginative use of the orchestra’s extended wind and percussion sections – including cowbells, whips and glockenspiel – as well as a mandolin and a guitar, adding a troubadour-like aspect to the nightly serenade of the fourth movement.

All of this is brought to life by the players of the Minnesota Orchestra under Osmo Vänskä, as they continue a cycle praised for the performances as well as the recorded sound.

REVIEWS:

I might have predicted that this of all the Mahler symphonies would chime with Osmo Vänskä’s very particular gifts as a conductor. The brilliance and clarity of this performance (and recording – BIS’s technical prowess much in evidence), to say nothing of Vänskä’s way with rhythm and articulation, is in itself the source of much pleasure.

– Gramophone

Vänskä’s apparent eccentricities here are mostly to accentuate Mahler’s own in his most outlandish ad unpredictable symphony. All the brass do the Minnesota Orchestra proud, and if the strings aren’t of central-European richness, Vänskä usually moulds them to produce the desired effect. The sounds are beguiling to the last, and the essential triumph of engineering in this most testing of symphonies is peerless.

– BBC Music Magazine

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

REVIEW:

All of the discs in this set have been reviewed individually, and in detail. Still, it's worth pointing out that this is unquestionably one of the great Beethoven cycles, and on SACD there's certainly none better. Osmo Vänskä manages to have the best of both worlds--an interpretive perspective enhanced by the latest scholarship, as performed by a great orchestra on a mission. And this is exactly what Beethoven needs: a point of view, and total commitment. There are no weak performances here. In the "Eroica" I was just a touch disappointed in the first movement when Vänskä's pursuit of the barely audible pianissimo threatened to become a mannerism, but that is about the only criticism possible to level at this set.

His Fifth blazes; the Seventh offers the apotheosis of excitement that never spins out of control. The early symphonies have charm and humor in abundance. The Fourth and Eighth reveal Beethoven's masterly command of movement and proportion with effortless enthusiasm. In the Sixth we find a perfect balance between programmatic description and symphonic logic. It's all capped by one of the great Ninths, with a perfectly timed Adagio and a gloriously sung finale. If you haven't been purchasing these discs as they were released, then get the box. It's one of the few cycles that maintains the highest standards all the way through, and the sonics are uniformly stunning.

--David Hurwitz, ClassicsToday.com

As a team, Osmo Vänskä and his Minnesota Orchestra began their collaboration with BIS in 2004, launching a Beethoven symphony cycle that made reviewers worldwide sit up and take notice: "a modern reference edition" was the verdict on web site ClassicsToday.com, while Gramophone Magazine described it as "a Beethoven reforged for today's world". Twelve years later saw the release of the third and final disc in the Minnesota-Vänskä cycle of Sibelius's symphonies, with individual discs receiving distinctions such as a 2014 Grammy Award (for symphonies Nos. 1 and 4), Gramophone's Editor's Choice, Choice of the Month in BBC Music Magazine and inclusion on the annual list of best classical recordings in New York Times.

The present disc launches yet another series, of even more monumental proportions, with Gustav Mahler's Fifth Symphony, recorded by the orchestra under Osmo Vänskä in Orchestra Hall in Minneapolis in June 2016. Composed in 1902, the purely instrumental work followed upon three symphonies that had all included vocal parts. This and the opening trumpet motif, an allusion to the rhythm that begins Beethoven's Fifth have been interpreted as Mahler's return to a more conventional idea of the symphonic genre. Other features are less traditional, however –a sometimes bewildering mixture of musical idioms reminds us of the melting-pot that Vienna was at the time, with allusions to Austrian, Bohemian and Hungarian styles. To an unsuspecting audience, the famous Adagietto for strings and harp –probably the best-known of all of Mahler's music –must also have been surprising, appearing at the heart of a work which is otherwise lavishly scored and orchestrated.

REVIEW:

The orchestral playing is crisp; the conductor, although determined to avoid histrionics, cognizant that emotional extremism is an essential part of Mahler’s idiom even if it need not be indulged. While some might prefer to look elsewhere for the customary Mahlerian blend of anguish, heft, and geniality, there’s more going on here than a thoughtful seating plan and state-of-the-art production.

BIS’s SACD format is certain to wow audiophiles. Even heard through two channels the recording is spacious yet precise and, true to form, the dynamic range is vast, complementing Osmo Vänskä’s partiality for music-making on the threshold of audibility.

– Gramophone

Few works of art - musical or otherwise - are as firmly established in the canon of global culture as Beethoven's Ninth Symphony. The sheer size and complexity of it is daunting even today, and at the time of its composition it was a highly revolutionary work. Even so, the audience at the first performance, in 1824, was enthusiastic - as audiences have been ever since. Its appeal has not only stood the test of time, however - the Ninth holds significance for people all over the world, regardless of country: the closest we have to a truly universal piece of music. To record such a work is not a task to take lightly. In preparation for the great occasion, Osmo Vänskä and his Minnesota Orchestra paced themselves by recording two previous discs of Beethoven symphonies, both of which have been greeted with great acclaim. 'It's obvious from the first bars of the Eroica that this is something special... these are great interpretations and a true 21st century take on the music...' wrote the reviewer in Classic FM Magazine of recently released BIS-SACD-1516, while Financial Times' critic stated about the same disc: 'I choose my words carefully when I say this is the best recording of Beethoven symphonies since Carlos Kleiber's with the Vienna Philharmonic a generation ago.' The recording of the Ninth was preceded by three concert performances, and the Minnesota Chorale - one of the finest symphonic choirs in the USA - was meticulously prepared for both concerts and recording. The quartet of soloists has been handpicked and gives a final edge to this huge ensemble in the final movement's Ode to Joy, filling it with all the excitement that this exciting music invites. About a previous disc the critic of the web site Classics Today wrote: 'There's no question that Osmo Vänskä is a true Beethoven conductor.' There is also no question that Vänskä's account of the greatest of the Beethoven symphonies is something that must be experienced!