The Mahler Symphonies: Part 3 (Symphonies 8-10; Das Lied von der Erde)

SYMPHONY NO. 8
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The massive eighth symphony is what I like to think of as the opera Mahler never wrote. It's an audacious work for several hundred performers and consists of two lopsided movements- a short, bristling setting of the latin hymn "Veni, Creator Spritus" and then a lengthy second movement setting the final scene from Goethe's "Faust". Most people get an adrenaline rush with the first movement and find themselves bored in the second. On record, the symphony either thrills you or makes you never want to hear Mahler again. Part of the problem is the massive forces require some spectacular recording techniques and often, lesser labels are not up to scratch. There are a number of very fine recordings available (and a rather fine version on dvd featuring Bernstein) but be very wary. These two, however, will serve you well.

 For many people, Solti's classic recording is the definitive word on this symphony and it's not hard to see why. Solti has assembled some amazing talent as soloists (something most modern recordings sorely lack) and his style of aggressive Mahler suits the louder portions of this work to the ground. But the surprising part of this is the beautiful moments in movement two which are sublime. Crammed onto one disc and freshly remastered, this recording sounds finer than ever. If your budget is tight, then this is the one for you. 

 Michael Tilson-Thomas' recording is simply one of the finest achievements of his long and distinguished career. As the climax to his recorded cycle, it sends it off in grand style. There is not one tempi that isn't perfectly placed and the forces respond beautifully to his direction. His soloists are top shelf singers (even if they may not be household names) and the playing of the SFSO and the combined choirs is flawless. Importantly, the recorded sound is magnificent and you get a true sense of occasion here. This is definitely one to savor many times over.

  You may also be well served by recordings by Rattle, Sinopoli and Tennstedt but avoid the rather lacklustre efforts of Chailly, Gergiev and Haitink.

SYMPHONY NO.9

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 One of the most haunting and harrowing works ever written. It is highly possible to be moved to tears listening to this piece. As a friend of mine once commented shortly before his passing- "if the universe has to end, please let it be to this". This is a powerful and magnificent work.

  I wrote about this recording many years ago on a now defunct blog where I called it simply one of the finest Mahler recordings ever and, I believe, one of the most definitive recordings of the work. Karajan and the Berliners did a rather stale studio recording in the late seventies but this one- recorded live- just nails it right. Karajan relishes the sadness in this work and you can almost feel the tears coming off his baton. For a man facing his own mortality (he would die 5 years after this was recorded), he understands this symphony. Upon it's first release, the mix was not particularly good but now it has been remixed and remastered and all the full splendor of this performance is achieved. This one is as essential as they come.

 Klemperer's recording is also a classic and, like Karajan, was recorded near the end of his life. Having met Mahler himself, the connection is obvious here. It's a passionate and heartfelt reading that sits easily alongside the later Karajan recording. They say old age brings wisdom and it seems so true of this symphony.

Other wonderful recordings include Simon Rattle's recent effort with the Berlin Phil, Claudio Abbado and the Vienna Phil and Bernstein's recording with the Berlin Phil. (a rare time when maestro Karajan let his arch rival conduct his orchestra). For the nostalgic, naxos has a performance by Bruno Walter (who premiered the work) and the Vienna Phil. which, whilst limited in sound, is still remarkable.

SYMPHONY NO.10

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 Mahler's unfinished work is mostly performed as the stand alone first movement (the only one he completed entirely before his death). Deryck Cooke's performing version of the rest of the symphony is pretty much the go to for complete performances of the work. It is a curiosity as a whole and is, like all completions, a compromise. I won't bother recommending specific recordings of the first movement because they all pretty much are the same (and usually tacked on to the end of another symphony just to fill up disc space). 

Simon Rattle's first recording of this was way back in the early 80's and was considered the definitive reading of Cooke's version... until this one. 25 years of study and performance has made this the most "Mahler-like" of all performances on record. Like Tilson-Thomas and the 7th, this symphony is Rattle's calling card when it comes to Mahler.

DAS LIED VON DER ERDE

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Mahler's unofficial symphony (also not performed in his lifetime) is a dark, brooding final vocal statement. The vocal solos are usually performed by an alto and a tenor, with the tenor singing the more exciting of the work's six movements. Recordings tend to hinge on the performance of the soloists and these two are definitely worth a listen.

  I'm not a big fan of Haitink's Mahler finding them all rather wishy washy and drab without much gusto, but somehow, that approach works for this recording. It also helps enormously to have two outstanding soloists. The recording is vivid and Haitink captures the mood perfectly. His final movement is heartbreaking.

 Yes, I know I keep rabbiting on about Karajan but the man knows his Mahler. This recording is on par with Haitink's and also has the benefit of two Germans singing the solos. The Berliners, as usual, are peerless and faultless in their playing and this feels so natural to them.

 I hope that these entries have helped you wade through the mire of Mahler recordings. I freely admit that I favour the interpretation of certain conductors over others and I tend to lean toward more recent recordings than earlier ones. The beauty of music is that it can be interpreted in many ways and still be enjoyed. 

The Mahler Symphonies: Part 2 (Symphonies 5-7)

SYMPHONY NO. 5
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 One of the more well known of the symphonies (largely due to the famous adagietto for strings and harp which is the fourth movement) is well represented by recordings. In truth, it is really hard to isolate just a couple examples. The usual suspects are all worth a listen (MTT, Bernstein, Chailly, Tennstedt, Rattle) but for my money, here are the two that I enjoy the most.

  Claudio Abbado's performance is simply brilliant. His tempi are perfect and the Berliners (well drilled in this symphony- see below) respond with due skill. The recorded sound is magnificent and there is a huge sense of occasion to the performance. Well worth a listen.

 One of the biggest regrets in recorded music is that Herbert von Karajan never did a complete Mahler cycke. I suspect that if he had, it would sit top of the pile for complete cycles. The fact is that Karajan (along with Bernstein and Barbirolli) were responsible for bringing Mahler's work into the mainstream. Karajan was meticulous in his work (he rehearsed these symphonies on and off for months beforehand) and turned the Berlin players into the force they are today. Some critics see his Mahler as too "studied" or "sterile". I agree with the former and not the latter. Mahler left an incredible number of markings on his score and Karajan made sure they were all observed. This recording brings this to the fore. To be honest, listening to Karajan work with the Berlin Phil by themselves without the foibles of singers and/or soloists is the classical music equivalent of hearing Joe Satriani jam out on his favourite axe. It's an amazing experience. In this symphony, he brings out every little nook and cranny of the work without compromise and the result is, frankly, exhilarating.

SYMPHONY NO. 6
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 This work is one of the most harrowing, yet beautiful, works from Mahler's output. There is little sunshine in the work (which has the unsubtle nickname of the "Tragic" symphony") and the last movement, especially, may just make you want to take up drinking. Sadly, there are many recordings of this work that simply don't get it. Orchestras can sound muddied and confused and conductors struggle to control the forces at their disposal. Some big names make a complete hash of this symphony- Bernstein's recording on DG is one of the lowlights of that cycle as well as recordings by Rattle, Solti, Sinopli and Abbado's first recording of the work with the Chicago Symphony (his second- with the Berliners is a much better affair). But when the players and conductor are in sync, then magic happens. Here are my two favourite recordings.

 Yup, Karajan continues what he started with the fifth. The same meticulous prep work has gone into this one and it is a faultless performance. The Berliners just work so hard throughout this amazing recording. If the outer movements are harrowing, the slow third movement is some of the most beautiful playing you are likely to hear- no matter how many times I hear this movement I am almost always at a loss for words at the end. The sound mix is brilliant and recent remastering has brought this out even more.

 The first entry into the MTT/SFO cycle was this amazing (and grammy award winning) recording. Taped in front of a live audience less than 48 hours after the tragic events of 9/11, the mood is not lost on the players or conductor. Responding to the tragedy, Tilson Thomas out-emotes Bernstein by about 20 to 1 without compromising the arc of the work. It is a gripping performance of overwhelming sadness.

SYMPHONY NO. 7
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 I have been called weird for citing this as my favourite of Mahler's symphonies (even having one person declare that my opinion on Mahler was null and void because of this). I don't care. Something about this symphony gets to the heart of my soul and the outer movements, especially, are two of my all-time favourite movements in Mahler's symphonic canon. Sadly, like the 6th, this symphony has had some legendary misses. Klemperer recorded a version that lasts nearly half an hour longer than most performances (yet it strangely sucks you in!), Gergiev, Rattle, Sinopoli, Chailly and Barenboim have all failed to grasp this behemoth of a work. Bernstein turned this into a concerto for orchestra and decided that Mahler's own markings were largely irrelevant and so made his own mish-mash of this symphony. For what it's worth- here are my two favourites-

  There's nothing wrong with MTT's recent recording with SFSO but this one, like his 3rd, is superbly recorded and finely conducted. There probably is no other conductor on the planet that uses the Mahler 7 as his calling card and it's easy to why he does (and others don't). There is not a quaver that is wasted in this. Every thought is spot on and the players respond accordingly. It's easy sometimes to forget that the LSO have been one of the greatest orchestras on the planet for a very long time. This recording reminds us why.

 Solti's Mahler, for me, tends to fall into the category of "pleasant and inoffensive enough" for the most part.  I have always admired the way Solti loves accents in a musical score- every one (especially brass) gets punched to the back wall. Sometimes, this is to its detriment. Solti never wallows or wears his heart on his sleeve (like, say, Bernstein or Karajan) but he is rarely sloppy or heartless. This recording is one of the highlights of his cycle with the Chicago Symphony. Recent remastering has made this recording sound even more spectacular than it was when first recorded- the Decca engineers of the day were masters of the analog form. The grandeur and spectacle of the outer movements is counter balanced by the nuanced and subtle playing of the inner movements.
 I would also recommend Claudio Abbado's first recording with the same orchestra if you can track it down.

The Mahler Symphonies: Part 1 (Introduction and Symphonies 1-4).

A slight deviation from my usual ruminations because I have been asked by a few people to recommend recordings of the Mahler symphonies. If this doesn't sound like an exciting prospect to you, then I suggest you may want to skip this and the next two blogs I post.

I've been listening to Mahler's music since I was about 18 and to say it turned my world on its head is an absolute understatement. Over the years I have been fortunate to see every symphony (except the 2nd) live, and in one glorious stroke of luck, I sang in the 8th symphony not once but twice.

 When I started listening to the symphonies there were only a small number of recordings around (and certainly no streaming services like Spotify to help you out). Since then, so many new recordings have come out that it is hard to pick a "good" recording. The simple fact is, that any performer/orchestra that is good enough to have money thrown at them to record these works must have something to offer. I have by no means heard every single recording of the symphonies (especially the super rare recordings which pedants always pull out as their personal favourites just to sound intelligent) but I have heard enough to know what I like.

Part of the problem is that these symphonies are designed to be heard in a concert hall with the outside world shut out- not over headphones while you tap away at a keyboard or go for a walk- so you can fully focus on what they are about. My first recommendation is to find a way to sit in silence and enjoy the symphony without distractions. If it's a vocal symphony (nos. 2,3,4 and 8) then have a copy of the libretto nearby.

I fully expect people to disagree with me on some of these choices (if not all) so please leave your comments below and add to the discussion....

SYMPHONY NO.1
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 If you are new to the world of Mahler then, really, this is the perfect way to find yourself into his sound world. The symphony is only an hour long and quite captivating. From the opening sounds of the strings playing high harmonics to the glorious brass-laden finale, this one is a fantastic piece. There are a number of great recordings of this but here are a couple I highly recommend.

 Claudio Abbado's live recording with the Berlin Phil is a marvel of energy and mood. There is a real tension in what he does and he never lets it falter throughout. Recorded when he first joined the Berliners as their chief conductor there is a real sense of occasion and the rapturous applause at the end is well-deserved. Naturally, the orchestral playing is peerless even if the maestro does choose some interesting tempi in the middle movements.

My absolute favourite recording of this work. Full of drama, power and passion plus superbly recorded by a man who learnt his Mahler from one of the best. MTT is all over this symphony like rash and you never doubt the man's ability with this work. Just wished he'd ironed his collar on the cover though...

Also notable is the Leonard Bernstein recording on DG and Simon Rattle's effort with the CBSO on EMI.


SYMPHONY NO. 2
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The mighty "Resurrection" symphony is one of the finest achievements in the symphonic repertoire in my humble opinion. No matter how you hear it, you will never forget the first time you experienced the work. Many people get reduced to tears by the time the work finishes 90 minutes after it starts. There are so many wonderful recordings of this work but let me highlight two.

  Simon Rattle's recording has pretty much been the benchmark since it was first released in 1987 and it is easy to see why. The gravitas of the work is not lost on the young conductor and he elicits so much power from the CBSO that it makes your speakers explode (almost). Funnily enough, he has recently re-recorded this with the Berliners and not much has changed in the quarter-century in terms of interpretation proving that when you are on a good thing, stick to it.

 I try to avoid the whole DVD thing, but Bernstein's legendary film of the second with the London Philharmonic is a revelation. Whether it's the live atmosphere, the superlative playing, or even the amazing acoustics of Ely Cathedral where it was filmed, it just works. Bernstein's Mahler defined a generation and his films of the symphonies (all done in the 70's when he was truly at the top of his game) are nothing short of miraculous- but it is the second that tops the lot.

I can also recommend the wonderful recording by Otto Klemperer on EMI


SYMPHONY NO.3
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 This behemoth of a symphony (the Guinness world record holder for longest symphony in standard orchestral repertoire) is like a giant onion with so many layers. For first-timers, I definitely recommend taking a potty break unless you're feeling really in the moment. In concert though, this is an incredibly moving and powerful work. Very few conductors truly master this one.

  Bernstein's reading is probably one of the most dramatic and epic performances around. Recorded in the 80's (only a handful of years before his death) it is the culmination of a lifelong love affair with Mahler. There is no nuance untapped, no emotion not wrung to the nth degree. My only gripe with this particular recording is the Harlem Boys Choir who sound like they are ready to punch on and rumble when they are supposed to be delicate angels singing "Bimm Bamm".

Bernstein's protege has clearly learnt well. Whilst his more recent recording with the SFSO is spectacular, it is this one where he truly shines. The London players respond to his every whim like the seasoned pros they are (and doubtless, many of the players at the time also worked under Bernstein and so have a clear idea of what to expect). The recorded sound is excellent. If you can track this one down, darken the room and let the sound envelop you.

I can also highly recommend Abbado's early recording with the Vienna Philharmonic.

SYMPHONY NO. 4
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The "easy listening" symphony of the cycle as it was once described to me. Certainly after the grandiose 2nd and 3rd symphonies, this really is a gentle breeze of a work. I must say that it is probably my least favourite of the bunch (although that is not to say I dislike it, I just don't listen to it as often).

 This recording, for me, is as close to a definitive recording of the work as you are ever likely to get. I'm not the biggest of Chailly's fans when it comes to his Mahler (he often sounds like he's trying just that little bit too hard to match it with the greats) but on this he absolutely lands a golden punch. Tempi and ensemble are absolutely spot on and the cherry on the top is the flawless singing of Barbara Bonney who totally captures the spirit of the last movement perfectly. One for the top shelf.

If Chailly's is the benchmark now, it replaced this recording. Tennstedt brings a remarkable sensitivity to his performance here (and that pretty much defines his entire Mahler output- sometimes to his detriment) and Lucia Popp is the perfect foil for his final movement. You won't go wrong with either of these.

Abbado's reading with the Berlin Phil and Renee Fleming is also worth a mention as is Simon Rattle's effort with the same orchestra.

That's enough for one blog...to be continued...