Richard Halley, On the Air Magazine (WQXR,
KGGO, KKHI, etc.) Dec. 1995: "Last January's (1995) performance
of the Mahler Symphony no. 8 was recently released, and it is
nothing short of astonishing. Founder/conductor Robert Olson
has outdone himself, giving a world-class performance. Pacing
is expansive; dramatic tension is sustained through even the longest
slow passages. ... This CD combines the excitement of live performance
with the engineering quality of a studio recording, making it
a must for serious Mahler Collectors.
Bill Gowan, Daily Herald (Chicago area). TOP
10 CDs, Dec. 1995: "Take an orchestra that meets but once
a year, a conductor who has never done Mahler's Eighth before,
and what do you get? Maybe the finest performance of this
symphony ever put to disc. There's total commitment here, from
the organ chords that introduce the opening Veni Creator Spiritus
to the final declaration of Alles vergängliche for
full chorus.
Benjamin Pernick Fanfare Nov/Dec 1995 :
"Stokowski/New York, 1950. Horenstein/London 1959. Bernstein/Salzburg,
1975. These three legendary Mahler Eighths are now about to be
joined by a fourth: Olson/Colorado , 1995. Played only once
(January 15, 1995) at Boulder CO's MahlerFest VIII, this great
performance is the equal of any Eighth I've ever heard. Many
factors contribute to its success: a very fine group of vocal
soloists; a responsive, inspired orchestra and chorus; Olson's
firm grasp of Mahler's architecture; and, above all, impeccable
phrasing and unerring tempos largely attributable to his strict
adherence to the score. The organ comes through exceptionally
well and is one of the best on record. Rarity of rarities, the
timpani register with great impact. ... There are not many Mahler
recordings I would consider essential. This is one of the select
few."
Jerry Fox American Record Guide Nov/Dec 1995:
"This Eighth is in the same class as the best on records
Horenstein, the two Bernsteins, Stokowski, Tennstedt, Inbal.
... The reasons for this huge success are clear and simple:
all the performers were deeply committed, and therefore fervently
expressive probably more than many of the sometimes jaded
big-name soloists and orchestras in other recordings. ... The
brasses were particularly impressive. The tuba playing was incredibly
full-toned. I had never realized the importance of Mahler's tuba
line. The trombones had that wonderful raspy quality, as in the
Concertgebouw Orchestra in Mengelberg's day. The nine horns were
note-perfect (this was a concert performance). The trumpets'
triplets were crisp and absolutely even. The timpani player was
so involved that his playing was almost manic in spots. Just
listen to the brief but arresting solos at track 5, 0:58 in I,
and at track 20, 5:01 in II. The pacing at 23 1/2 minutes (I)
and 58 minutes (II) seems about perfect. The great opening chords
dominated by that magnificent organ, and that electric entry of
the chorus, telegraph that we are about to share in an overwhelming
experience. Enthusiastically recommended."
Stephan Vesta, Stereophile, August 1996: "The present production has several things going for it, not the least of which is the outstanding engineering. Several commercial recordings of this monumental work have a more immediately overwhelming impact, particularly early on, but none has ever had such a natural "you are there" presence. ... Robert Olson leads a firm, confident reading always guided by the long "singing" line while providing plenty of punch in the tuttis. ... This won't really serve if you're having only one, but experienced collectors will find it a rewarding supplement, both for its interpretive intentions and the topnotch recorded sound.