Mahler: Symphonies Nos. 1-3.
Philharmonia Orchestra conducted by Lorin Maazel. Sally Matthews, soprano;
Michelle DeYoung, mezzo-soprano; BBC Symphony Chorus (in No. 2); Sarah
Connolly, mezzo-soprano; Philharmonia Voices and Tiffin Boys’ Choir (in No. 3).
Signum Classics. $38.99 (5 CDs).
Mahler: Symphony No. 6.
Bamberger Symphoniker-Bayerische Staatsphilharmonie conducted by Jonathan Nott.
Tudor. $19.99 (SACD).
Mahler: Symphony No. 8.
Manuela Uhl, Michaela Kaune and Marisol Montalvo, sopranos; Lioba Braun and
Janina Baechle, altos; Stefan Vinke, tenor; Michael Nagy, baritone; Albert
Dohmen, bass-baritone; Chor der Bamberger Symphoniker, Tschechischer
Philharmonischer Chor BrΓΌnn,
Windsbacher Knabenchor and Bamberger Symphoniker-Bayerische Staatsphilharmonie
conducted by Jonathan Nott. Tudor. $19.99 (SACD).
Gustav Mahler’s music has
been a central element of the repertoire for long enough now – some 50 years –
so that distinct styles of performing it have emerged. The earliest well-known
ones are those traceable to Bruno Walter, who knew Mahler personally and who
tended to emphasize the emotional elements of Mahler’s music at the expense of
its cragginess and careful structure; and Leonard Bernstein, who generally
conducted Mahler at fever pitch and with a white-hot intensity that was highly
effective even when it ran roughshod over the composer’s more delicate,
chamber-music-like qualities. No conductor today follows the Walter or
Bernstein approach strictly, but some lean more strongly toward what may be
called an old-fashioned way of handling this music, while others find new things
in it and tend to look in less-explored directions.
Lorin Maazel’s Philharmonia
Orchestra readings of the first three symphonies on Signum Classics are very
much of the old school. Recorded at live performances in April and May 2011,
these are big, broad, frequently stately performances that give full vent to
Mahler’s expansiveness and the gigantism of his concepts and the methods with
which he brought them to fruition. The biggest of the three symphonies, No. 3,
gets by far the best performance here: so large-scale, so all-encompassing and
so beautifully calculated to show the contrasts among the movements and the
gradual progress of the work from raw nature to universal love that it deserves
to be called transcendent. Maazel gives the middle
movements their full due, which is quite unusual in readings of this symphony:
the Tempo di Minuetto and Scherzando become fully integrated parts
of Mahler’s magnificent, sprawling conception. Too many conductors, old-school
or no, focus on the huge first movement, the vocal fourth and fifth ones, and
the gorgeous capstone of a finale, leaving the Tempo di Minuetto and Scherzando
sounding a bit like way stations passed on route from something wonderful to
something different but equally wonderful. Not so here: Maazel paints a very
broad canvas throughout, with those middle movements being as crucial to the
design as all the rest. There is something operatic in Maazel’s approach – part
of its old-school nature – and the result is highly effective from start to finish.
The First and Second are
equally well played but not interpreted at this lofty level. The issues in them
speak to Maazel’s old-fashioned handling of the music: he tries to bring extra
intensity to important transition points through tempo changes that are not in
the score and that Mahler – a brilliant conductor as well as composer – would
surely have included had he wanted them. Again and again, Maazel slows down
before an important downbeat or emotional flashpoint, then plunges ahead with
renewed vigor. He surely sees this approach as emphatic – there is no other
rationale for it – but in fact it serves mainly to slow the forward momentum of
the music at exactly the points at which it can least afford to be held back.
The fourth movement of Symphony No. 1 and the first movement of No. 2, both of
which can tend to meander, are particularly ill-served by this approach. There
are many felicitous touches in Maazel’s readings of these symphonies: the
contrasts and bizarreries of the third movement of No. 1 are especially well
handled here, and the vocal movements of the “Resurrection” are beautifully
sung and filled with feeling and a sense of wonder. But as in some other
old-style performances of Mahler, these readings suffer from an attempt to put
more into the music than is necessary for it to have maximum impact. Mahler
knew just what he wanted and just how to get it – the very best performances
use that fact as their starting point and extract from the music what is
already in it, rather than trying to add anything.
And that brings us to
Jonathan Nott’s handling of Symphonies Nos. 6 and 8. Nott is a new-style Mahler
conductor, and his insights into these works are always fascinating and often
genuinely revelatory. In the Sixth, Nott uses the march form, which pervades
this symphony, as the key to unlock its mysteries and the strength of its
communication. Like Maazel, he offers a very expansive reading – Tudor’s
engineers manage to get the full 80½ minutes onto a single SACD, which is an
impressive achievement – but unlike Maazel, Nott looks to the details of the
symphony rather than its large scale to produce its effect. The huge first
movement and even bigger finale, both of them essentially marches, stride forth
decisively and never lose their forward momentum, even when the gorgeous second
theme of the first movement appears or when the hammer blows of the finale
resound shatteringly (Nott uses two of them, not three – as is more common
nowadays than it used to be). One of Mahler’s salient characteristics is the
continual emergence from a gigantic orchestra of brief solos – passages for
individual instruments that help give his works their remarkable
chamber-music-like feel. This is something to which Nott is particularly
sensitive, for instance in this symphony’s Andante
moderato (placed third; some conductors place it second, but it works
better in third position by providing respite before the extremities of the
finale). Nott also takes full advantage of the truly remarkable sensitivity of
the Bamberger Symphoniker-Bayerische Staatsphilharmonie to this music: the
orchestra plays with visceral understanding of Mahler’s sound world and
rhythmic complexity – Maazel’s Philharmonia, although certainly a world-class
orchestra, does not have the burnished tone and apparent ease of sectional
balance that Nott’s ensemble possesses throughout. Nott takes full advantage of
his orchestra’s superiority in this music to highlight numerous elegant touches
in Mahler’s score, allowing inner voices to emerge from the ensemble and then
subside with a feeling of natural ebb and flow that makes the “story arc” of
Mahler’s Sixth seem supremely smooth as well as inevitable. This is a
remarkably fine performance that is very much in the new style of conducting
Mahler.
Nott’s Mahler Eighth is equally
fine. The attention in this work is most often on the sheer size of the forces
it requires – hence the “Symphony of a Thousand” designation, a neat
appellation of which Mahler disapproved. In fact, it is the detail of the
Eighth that is most remarkable, and Nott is fully aware of it: the booklets for
his Sixth and Eighth even contain a short essay by him on both symphonies, in
which it becomes obvious just how thoroughly he has thought through their
approaches and forms of expression. The odd combination of the ninth-century
hymn of the first part of the Eighth with the final scene from Goethe’s Faust as the second part makes analytical
sense when the words are examined closely – but to make musical sense, the juxtaposition requires an approach as sensitive
as Nott’s: he carefully brings forth the motifs from the first part that recur
and are expanded in the second, thereby showing how the medieval religious
fervor of the beginning is deepened and rendered substantially more complex by
Goethe’s scarcely orthodox handling of analogous themes at the conclusion of
his masterpiece. The mysticism and soaring beauty of the appeal to the eternal
feminine in Goethe have as their counterpart the invocation of the Holy Spirit
in the symphony’s first part, and it is particularly fascinating to realize
that the assertive, masculine God at the center of Western religion is wholly
absent from this entire symphony. What is going on here, although the language
is that of orthodox organized religion, is something entirely different – and
Nott’s performance allows the Eighth to expand into genuinely cosmic realms, the
expressions of glory and ecstasy mounting higher and higher until, at the end,
the symphony’s worlds-spanning (not merely world-spanning) grandeur emerges
triumphant. Nott’s interpretation stays quite true to Mahler’s tempo and
dynamic markings, not adding anything to the score that the composer did not
put there, but it extracts from the
score a great deal more than old-school conductors – more concerned with the
overwhelming nature of this symphony than with the intricate details of its
construction – generally bring forth. There is a clarity to Nott’s performance
that stays with the listener long after the sheer size of this monumental work
has been fully absorbed. Old-style Mahler conducting still has a great deal to
recommend it, especially for listeners new to the composer’s works. But
new-style performances such as Nott’s show why Mahler’s reputation and
importance continue to grow after so many years and so many concerts and
recordings: there is still much to be uncovered and discovered in these
astonishing scores, and the best new-style conductors continue to find gems sparkling
throughout them.
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