A top conductor of large orchestral works of the late nineteenth century, Rafael Kubelik was born near Prague in 1914. The son of violinist Jan Kubelik (1880-1940), he studied violin, piano, composition, and conducting at the Prague Conservatory. He made his debut before the Czech Philharmonic Orchestra at age 19, and in 1939 became the music director of the National Opera in Brno, Czechoslovakia. In 1941, he became the music director of the Czech Philharmonic Orchestra, a post he held until 1948. In 1948, with the establishment of a Communist dictatorship in Czechoslovakia, Kubelik left his homeland and became an exile for the next 40 years…
You will probably be as incredulous as I was to learn that the greatest cycle of Mahler symphonies comes not from any of the usual suspects - Abbado, Bernstein, Chially, Haitink, Kubelik, Rattle, Sinopoli, Solti, Tennstedt - but from the unsung Gary Bertini, who spent the better part of his career as music director of the Cologne Radio Symphony Orchestra. Unlike any of those more publicized sets, each of which includes a misfire or two, Bertini is consistently successful from first to last; his performance of each of these works can stand comparison with the very best available.
Rafael Kubelik's highly chromatic, poetic Mahler recordings have been staples in Deutsche Grammophon's catalogue since their inception. Tempos overall tend to be quicker than the norm, yet never at the expense of glossing over the composers renowned wealth of inner details. Many Mahler aficionados still regard Kubelik's readings here of the Symphonies No. 1 and No. 7 as reference recordings. Distinguished soloists include Dietrich Fischer-Dieskau, Edith Mathis, Norma Proctor, Franz Crass, and Julia Hamari. The Bavarian Radio Symphony Orchestra as well as the various outstanding choirs employed throughout the cycle couldn't be more in sync with Kubelik's inspired visionary interpretations.
"…Still, the 1962 is not first rank for todays standards but is very good for the period. Recommended." ~sa-cd.net
The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's cottage at Maiernigg. Among its most distinctive features are the funereal trumpet solo that opens the work and the frequently performed Adagietto.
It is all too easy to take Gustav Mahler's symphonies and orchestral songs for granted in the 21st century's first decade. More than ever before, concert performances and recordings of these works abound, and at a level of proficiency that reveals the remarkable extent to which musicians worldwide have assimilated the composer's idiom. Given the music's primacy in today's central orchestral repertoire, we forget how the great Mahler advocates of the past had to champion his music in the face of adversity. "Who can bear those monstrous symphonies, those over-blown, out-of-date horrors," asked one leading music critic when the New York Philharmonic launched a Mahler Festival to celebrate the composer's 1960 centenary.