Over in the "Rihm Shot" thread, Mats wrote, about the Cage string quartets:

>I got it sent to me in a package together with Oskar Frieds, might I say,
>rather surprising Mahler.

This two-disc release in the Naxos Historical series (Naxos 8.110152-53)
has been a topic of great interest on the Mahler-List.  For those listers
who may not be aware of this set, it contains the first recording of the
Kindertotenlieder, conducted by Jascha Horenstein no less (1928); a
remastered Mahler 2 conducted by Fried, the first recording of any Mahler
symphony (1924); and a number of Mahler lieder under various conductors,
recorded anywhere from ca.  1915 to the early '30's.  Fried knew Mahler
and worked on Mahler's music with the composer, so these recordings are
probably the closest we'll ever come to hearing what Mahler had in mind.
The symphony was recorded acoustically, and you'll recognize that
immediately.  Most of the songs, including the Kindertotenlieder, were
recorded electrically.  The sound is vintage, but undoubtedly as good
as it will ever get thanks to the brilliant work of Ward Marston.  There
can be two takes on the sound: either you will not like it, as it does
not measure up to current standards; or you will, as it will instantly
transport you to the Hofoper and the Ringstrasse in Vienna.  One of the
singers, Sarah Charles-Cahier, was hired by Mahler himself some 25 years
before these recordings were made; she's caught here after the prime of her
career but who cares? This gives us a clue as to what Mahler saw in her.

Mats, for you was that a good "rather surprising" or a bad "rather
surprising?"

Mitch Friedfeld