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.