Stenz’s is a broadly paced opening, with off-stage trumpets providing an excellent sense of acoustic space and depth. The theme based on “Ging heut Morgen” has freshness rather than exuberance at the arrival of morning. The orchestral climax at the end of the movement is truly impressive. The second movement is forceful without becoming too impulsive or propulsive, exuding confidence more than swagger. The trio section has the lilt of the dance about it, an elegant intermezzo in the midst of the bustle of the main theme.

The double bass solo that opens the third movement is mournful and just a touch sour, as it should be. Stenz’s funeral march keeps up a steady pace without feeling sluggish…There is a real klezmer swing to the “Hungarian” music, and the band that follows is crisp rather than pompous. The “Wayfarer” song theme is poignant and not a bit saccharine. The opening of the fourth movement fits perfectly Mahler’s description of the “outcry of a deeply wounded heart.” The progress from Inferno to Paradise is dramatic yet full of Mahlerian pauses and sighs. The first, deceptive trumpet and horn chorale is as convincing as the final one on many other recordings, while the actual “Paradise” chorale crowns a thoroughly satisfying performance.

Those seeking a Mahler cycle in excellent SACD multichannel sound need look no further than this one on Oehms… © 2013 Fanfare Read complete review

The finale bursts into life…[Stenz’] performance is exciting and, as the movement unfolds, has much to commend it. The long, romantic D flat melody (from 3:41) is beautifully spun at first and gradually builds to a strong climax. The return of the opening maelstrom (7:12) is fast and furious and Stenz is very impressive in the following pages. The passage from about 10:50 to 15:20, during which Mahler revisits both the material from the very opening of the symphony and also the finale’s D flat melody is well done; Stenz generates a good atmosphere hereabouts and then the short string fugal passage at 15:20 is fast and urgent. The final few minutes blaze and the bass drum roll that underpins the closing bars adds an exciting point of detail.

There’s much to appreciate in this recording of the First symphony…It’s a good addition to Markus Stenz’s cycle. © 2012 MusicWeb International Read complete review