John Smyth wrote:

>I'm afraid Chailly's Mahler 8th just isn't doing it for me.  Jane Eaglen's
>pinched high C in the midst of the Alles Vergangliche made me long for
>Elizabeth Connell's superior, (and oh *so* rapturous), execution on EMI
>with Tennstedt.  Has anyone done it better?

Yes.  Horenstein.

>Granted: smaller choir and almost non-existent off-stage brass

Which are pretty big minuses.  Mahler asks for a double chorus, Tennstedt
gives him a single chorus.  Imagine how we would feel if we heard the
Mahler 2nd with half a chorus.

>but Tennstedt's handling of the final chorus coupled with the urgency
>and exaltation of the coda is hard to forget in my book.

Have you heard Horenstein in the final chorus?  I think you should.

>As is the warmth of the orchestra and blessed boys of Er Uberwacht....

The performers who are there are excellent, I do agree.

>Of all the modern performances Tennstedt's is the only one I have come
>across where conductor and performers manage to hold the mystical aspects
>of Mahler's music right through to the final chords.

Modern performances is the caveat here.  Many praise Sinopoli.  I have
a few doubts.  I quite like Abaddo though my freiend Deryk Barker will
mention the apparant lack of organ here.

Check out my survey of Eighths:

   http://www.musicweb.uk.net/Mahler/Mahler8.htm

Tony Duggan,
England