Mahler Symphony No 4 Synfrancisco Symphony Michael Tilson Thomas 2003 Lossless New
The 2003 recording of Mahler’s Symphony No. 4 by the San Francisco Symphony (SFS) and Michael Tilson Thomas
, this recording was a pioneer in high-resolution audio for U.S. orchestras. michaeltilsonthomas.com Lossless Formats : The recording is available as a Hybrid SACD 24-bit lossless download Audio Quality : Audiophiles from HRAudio.net The 2003 recording of Mahler’s Symphony No
But in 2025, the critical view has evolved. With the benefit of 20 years of listening, many argue this is the single best entry point for Mahler newcomers. It is less manic than Bernstein (Sony, 1960), less clinical than Boulez (DG, 1999), and better recorded than either. Tempos: Tilson Thomas avoids the saccharine slowness of
- Tempos: Tilson Thomas avoids the saccharine slowness of some historic recordings. The first movement (Bedächtig, nicht eilen) has a lilting, Ländler-like swing. The second movement (In gemächlicher Bewegung) features concertmaster Alexander Barantschik playing a violin tuned a whole step higher (scordatura), producing a ghostly, fiddle-like wail that Mahler intended to sound like “Death playing the dance.”
- The Finale: The symphony culminates in a soprano solo, “Das himmlische Leben” (The Heavenly Life). In 2003, the SFS featured soprano Laura Claycomb. Her voice is light, agile, and devoid of Wagnerian heft. She sings like a child peeking through the gates of heaven—innocent, joyful, but eerily distant.
The Soprano Factor: Laura Claycomb’s 2003 Session
Any discussion of Mahler 4 hinges on the finale. In the “lossless new” high-res transfer, Claycomb’s voice is a revelation. Listen carefully at 1:15 of the final movement (Kein Musik ist ja nicht auf Erden – No music is like that on Earth). The Soprano Factor: Laura Claycomb’s 2003 Session Any