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...

Sydney (Part One)

It's hard to believe I have been here in Sydney for a little over five days. When I arrived it was hot and humid. It stayed that way all weekend and for the majority of Monday as well. The weather here has been so interchangable. I think I've possibly experienced all four seasons this week. Mind you, at least it stayed the same for the whole day, unlike in Melbourne where the weather has more mood swings than a woman with PMS!

While I've been here I have been incredibly fortunate to stay with two of the nicest people I could have imagined. Bronwyn and I go way back (in fact I believe I took her to her first orchestral concert). Although we reconnected a couple years ago, we hadn't seen each other face to face for at least 15 years. When she said I could stay with and her fiancee, Ben, I was totally stoked. They have been wonderful hosts, allowing me to eat, sleep and come and go at all times of the day and night. The fact that they have opened up their hearts as well as their home will never be forgotten by me.

Of course, the reason I'm in Sydney is to perform in the Mahler 8th Symphony with the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy. Mahler's music has been the soundtrack to my life for the better part of twenty years now and to sing in this monumental work, with the SSO and Ashkenazy at the Opera House was an opportunity I would not pass up. The rehearsals have been great (although the backstage area is like a labyrinth- I'm sure there have been more than one or two Spinal Tap moments from visiting artists). The singing has been first class and I can't wait for the performances tonight and on Saturday. That has definitely been the highlight for me.

Sadly it hasn't been quite the sightseeing adventure I had planned. The major thing I wanted to do was visit Martin Place and see Sunrise being filmed. That I did! I even met Mel, Kochie and Nat. Kochie's first to question to me after he found out I was from Adelaide was whether I barracked for Port Power. Sorry mate, no I don't. It's interesting to see the actual size of the studio in real life. It's a lot smaller than I imagined it was. And the fun thing about seeing into the studio was being able to see the hosts do things like scratch their bums and wash their glasses when they think nobody is looking.

The reason it hasn't been quite as glorious a trip as I had planned was that on Monday, after a LOT of walking around Sydney, I developed rather bad blisters on my feet, not to mention that the pollution and humidity has played havoc with my voice. I think also the fact that the touring party is basically split up into two groups- the over 55's and the under 25's (of which I am neither)- has meant that I really didn't fit into any group activities which meant that I am pretty much on my own when it comes to sightseeing. It has been a little depressing but I am refusing to let these setbacks bring me down. I will continue to bathe in the sunshine Mahler's music brings me.

Anyway, I shall finish my ruminations on the sydney trip once I get back to Adelaide.

Until next time blogrollers!

On the 80's, Mahler and a man called Lance

I don’t know whether it’s just my generation or not, it could possibly be me looking at the era through rose-coloured glasses but I firmly believe that the 80’s was the last decade when music was, by and large, fun. Nobody really seemed to take themselves too seriously. Oh sure, there were serious performers like Bruce Springsteen, Bob Dylan etc, but when you hear the popular music of the day it was largely about having a good time and the good things in life.
Last year I bought two 80’s compilations- “101 80’s Hits” and “101 More 80’s Hits”. This compilation, more than anything, proved that creativity in music really died after the 80’s. It was during this time that artists really felt the cold hard hand of the accountants. It’s fair to say that record company pressure had been around for ages before then, but by this time there was a lot more experience under the belt so that execs thought they knew how the public responded. When I think about the bands I liked in the 80’s I think of artists like Europe (“The Final Countdown”), Adam And The Ants, The Bangles and more established bands like Queen, ELO and Kiss. But when you hear songs from that era it all just seems a much simpler and happier time. Recently I’ve been listening to Bucks Fizz. Prior to about 2008 my sole song of theirs that I knew from my childhood was “Land Of Make Believe”. It was a song that got me through some pretty sad times at primary school. To this day, as cheesy at it is, it still makes me smile. But now I’ve listened to a lot more of their material and am amazed at just how good this band was. Their songwriters were outstanding and they have an amazing ability to harmonise. Remember this was an era when there was no protools. Harmonies had to be spot on (even if recorded separately) and this band were outstanding at that.
At the risk of sounding old and fuddy-duddyish I truly believe that the music that is pumped out today is nothing more than marketing. There’s little creativity- certainly in the mainstream market. Artists have to write singles and do videos- not to mention look good. Sadly, ability to actually sing seems to be secondary to how good you look. Imagine Buddy Holly rocking up to a record company today (“Ok geekboy- get your rid of your glasses and stop writing songs about Peggy Sue”) or even Bill Haley (“Dude, stop eating the Christmas hams, you’re becoming one of them. And sheesh, we need to do something about your hair!”). What’s also lacking is fun. Music today is either downtrodden and angry or saccharine sweet treacle. There’s virtually no middle ground at all.
There was a time when I religiously watched the top 40 countdown and knew all the movements in and out of the charts but after about 1992 I just couldn’t be bothered. Ask me to name a top ten song in this weeks chart and I’ll flounder. There are some good artists out there for sure, and many of the more established artists are making great music so I’m not totally in the dark, but it’s still sad that the joys of discovering new music are well and truly over.

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Over the next 6-7 weeks I am going to be involved in something I never thought would happen to me. I’m singing in the Eighth Symphony of Gustav Mahler. Mahler’s music has been a very special part of my life. Ever since I was about 16 I have been listening to his music both in the concert hall and on CD. Of course, being in Adelaide the chances of seeing the symphonies performed live are few and far between. It wasn’t until last year that I saw his Third Symphony live. To this date I still haven’t seen either the 2nd or the 7th Symphonies live either. But the 8th....that’s the granddaddy of them all. It’s not called the “Symphony Of A Thousand” for nothing. Two massed choirs, boys choirs, 120-piece orchestra and eight soloists make a rather loud and truly awesome sound. What has made this experience so special for me is that I will be singing in the choir as part of the Adelaide contingent that is going to Sydney. We’ll be performing the work with arguably Australia’s greatest orchestra- the Sydney Symphony Orchestra and legendary conductor/pianist Vladimir Ashkenazy at the Sydney Opera House. Oh. My. GOD!!! I haven’t been to Sydney since January 1991 when I was at National Music Camp at King’s College (I still have the t-shirt and cap) so I can’t wait to see what the city has to offer. But as excited as I am to be going to Sydney, it’s the realisation that I’ll be singing this amazing work in two different cities that really excites me. Not only that, but I’ll singing with some of Adelaide’s finest talents. If you’re either in Sydney or Adelaide do everything in your power to get along and see this once in a lifetime event.

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Lance Armstrong has undoubtedly raised the profile of the Tour Down Under throughout the world. I don’t deny that this man is an inspiration both on and off the race course. But when he arrived this week he did something enormously stupid. He was asked at his press conference whether he would vote for Mike Rann in the election if he could. It was probably one of those cheeky questions reporters ask thinking that it would make great copy on the news that night. Well they would have been right. He said he would- even though he had no idea about who his opponents were or what they stood for. Naturally enough, the Libs weren’t too impressed. I wonder if Izzy hopped on the phone to Lance’s people and asked to meet him? It would seem to me that if you were going to be asked on record about something like that you would politely decline by saying you didn’t follow local politics and it wasn’t your place. If I was a powerful and influential man and went to the US as the guest of someone and was asked which guy I’d vote for in the next election and I said- for example- the Democrat candidate, I’d be willing to bet the Republicans would go ballistic. What does this ridiculous Aussie know about our country and the intricacies of its politics? Unless Lance has studied our politics over the 51 weeks in the year when he’s elsewhere, or more importantly, applied for citizenship to Australia and then settled in Adelaide then I would humbly suggest he keep his nose elsewhere. Nothing pisses me off more than other countries or international celebs telling us what to do in our own backyard. Especially when the countries can hardly brag on the same issue themselves. When the whole Red Faces debacle blew up last year and all those Americans jumped up and down calling us racist I wanted to ask them how they knew what we did to the indigenous people here? Had they seen the way we try and help them? More importantly, why brand 21 million people racist over the actions of half a dozen men- who incidentally are not even Australian. So with respect to Mr. Armstrong- stick to cycling and cancer awareness. Leave the politics to us.