[SACD-R][OF] Bernard Haitink, Royal Concertgebouw Orchestra - Mahler – Symphony No. 5 in C sharp minor - 2007 (Orchestral)

Reviews from allmusic.com:
By Blair Sanderson:
Bernard Haitink recorded Gustav Mahler‘s Symphony No. 5 in C sharp minor with the Royal Concertgebouw Orchestra in 1970 in a quadraphonic format for Philips Classics; that recording is at last available as a multichannel hybrid SACD in this remastered edition from PentaTone. This extraordinarily vivid performance excels in all matters of interpretation, execution, and expression, and had it been heard on a quad system in its day, it would have been a sensationally popular recording, not just for its brilliant sound but also for its heights of musicality and profound depths of feeling. Every effort has been put into making this SACD version true to its original sources, from connecting the direct stream digital converter to a precisely tuned analog tape machine, to preserving the original four-channel format without adding echo, extra channels, or boosting the sound in any way. What comes out of the speakers sounds phenomenally spacious, natural, and crisp in all details, thanks to the elaborate microphone placement and the careful planning that went into recording this amazingly lucid performance. Not only are secondary and tertiary parts plainly audible, and pitches at every dynamic level captured in the wide frequency range, there are striking displays of color that are seldom heard so distinctly, and the faintest effects in Mahler‘s orchestration are scrupulously reproduced. Audiophiles and beginners alike will find this SACD to be one of the most compelling listening experiences of the year, and worth adding to any collection; no matter how many copies of Mahler‘s Fifth you may already own, this fabulous recording is required listening. Absolutely recommended!
Amazon Customer Reviews:
By J Scott Morrison:

Bernard Haitink’s Mahler tends to divide listeners. There are those who feel he is too restrained and those who feel that, unlike say Bernstein, his moderation is precisely what Mahler requires. This release is as far as I know the third incarnation of this recording. It was originally made in 1970 and issued on quadraphonic LP. Later it came out as a plain-vanilla CD in pretty good sound. This one, as you can see, is a hybrid SACD disc, playable on both SACD and plain CD players. It has four recorded channels and when played back on a SACD player it presents the listener with sumptuously detailed sound and a very wide dynamic range.
As for the interpretation itself, this earliest of Haitink’s three studio recordings (later he recorded the Fifth with the Berlin Philharmonic and with the Orchestre National de France) seems to me the most assured of the three. The first movement gets off with a somewhat hesitant trumpet fanfare but soon acquires the agonized (and agonizing) sound of a monumental funeral march. The second movement, for all its being a fairly classic sonata allegro, has a wildness that we have not heretofore encountered in Mahler. Here we leave the Wunderhorn era behind. Haitink and the Concertgebouw play it brilliantly without going over the top. The Scherzo is clearly the centerpiece of the work, both symmetrically and musically, with its extraordinary contrapuntal density, brilliant orchestration and its two Trios and it is given an invigorating performance. The Adagietto takes about ten minutes, considerably quicker than Haitink’s Berlin recording, and benefits from that. It is neither a self-indulgent wallow nor a maudlin love song. The silken sheen and depth of the strings of the Concertgebouw are at their best here. The Rondo-Finale is just a bit of a letdown after what has gone before, although the Concertgebouw brass and winds cover themselves with glory. I’m not quite sure what the reason for this mild disappointment is. I find Haitink’s Paris performance more convincing. And when compared with the Rondo-Finale of Bernstein’s, Barbirolli’s or Zander’s recordings, the movement comes out just a bit perfunctory.
The main attraction of this recording is its sound in SACD format. The plain stereo layer of this disc is more than acceptable but has been superseded — leaving matters of interpretation aside — by any number of subsequent recordings.
Scott Morrison

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