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Hurwitz has his own biases. But it is hard to deny that the anglophone classical music world was until recently (until the 1990s or later) strongly dominated by British magazines and publications (like the Penguin guide) and their biases that were often pro-British (among other things).

But bashing such perennial Pengraphone favorites is also a bit cheap and predictable because Hurwitz (and others) have done it for years.
 

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Hurwitz has his own biases. But it is hard to deny that the anglophone classical music world was until recently (until the 1990s or later) strongly dominated by British magazines and publications (like the Penguin guide) and their biases that were often pro-British (among other things).
One could also make the opposite claim for the American classical world. I have often noticed marked differences in US and English taste, particularly when it comes to singers.
 

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One could but as a continental European I am as wary about Americans being competent in CM as about Brits :) and, more importantly, I don't think there are/were publications from the US, France or Germany that were internationally as powerful as "Gramophone" and the Penguin guide. So it seems not unfounded that British reviewers had an undue weight because of these prominent outlets. It's certainly mostly a thing of the past now, of course.
 

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I don't think it should surprise us that people tend to prefer performers whose performance styles conform to their own national tastes (and whom in the past they might have been used to hearing 'live'). But it does strike me that Mr H, among his many prejudices, seems particularly averse to anything English.
 

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I now have the Klemperer/Wunderlich/Ludwig/Philharmonia recording.

This music suits Klemperer excellently. There is something about his tempos, pulse and articulation that really works. A trademark even although I cannot put my finger on it.
 

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I now have the Klemperer/Wunderlich/Ludwig/Philharmonia recording.

This music suits Klemperer excellently. There is something about his tempos, pulse and articulation that really works. A trademark even although I cannot put my finger on it.
I still have that feeling after all the years I have that recording , for me it´s unbeatable .
 

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Schuricht with Thorborg and Ohmann is my favourite performance with fairly decent sound for its age.
 
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Like a lot of works that have many excellent recordings, my favourite DLVDE is often the one I'm listening to at the time.

But I'll give a shout-out for a 'recent' recording that I honestly think is up there with the best.

Sarah Connolly quite simply has a beautiful voice and she has such an ability for phrasing and empathy for the meaning of the work. Toby Spence may not be capable of the most idiomatic performance of this piece, but his performance does nothing to detract (as some tenors can) from the quality of the overall performance.

Der Abshied is fittingly the best performed of all the movements, with Sarah Connolly finding the light as well as the deep shade of this movement. She is both gentle and appropriately powerful.

In fact, I was quite surprised just how good this performance is.

I think the LPO is actually a top-class Mahler orchestra with a long performance history of M's works, and Yannick Nézet-Séguin admirably matches his illustrious forebears.

It goes near the top of my favourite DLVDEs.

 

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Like a lot of works that have many excellent recordings, my favourite DLVDE is often the one I'm listening to at the time.

But I'll give a shout-out for a 'recent' recording that I honestly think is up there with the best.

Sarah Connolly quite simply has a beautiful voice and she has such an ability for phrasing and empathy for the meaning of the work. Toby Spence may not be capable of the most idiomatic performance of this piece, but his performance does nothing to detract (as some tenors can) from the quality of the overall performance.

Der Abshied is fittingly the best performed of all the movements, with Sarah Connolly finding the light as well as the deep shade of this movement. She is both gentle and appropriately powerful.

In fact, I was quite surprised just how good this performance is.

I think the LPO is actually a top-class Mahler orchestra with a long performance history of M's works, and Yannick Nézet-Séguin admirably matches his illustrious forebears.

It goes near the top of my favourite DLVDEs.

The most recent Das Lied that has impressed me is this one with Jurowski:



I also rather enjoyed this one:

 
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