MAHLER Symphony No. 2 • Benjamin Zander, cond; Miah Persson (sop); Sarah Connolly (mez); Philharmonia O & Ch • LINN 452 (2 SACDs: 90:09)
Most of us are old enough to remember when a new recording, or a performance, of the “Resurrection” was rare enough to be an event. Nowadays, it happens so often we run the risk of becoming jaded, perhaps even by the music itself. Fortunately, this new recording, while not groundbreaking, in any sense of the word, reaffirms both this Symphony’s transformative power andRead more Benjamin Zander’s excellence as a Mahlerian.
Zander, it will be recalled, recorded a chunk of Mahler’s symphonies for Telarc before that label itself went through its own transformation several years ago. The fear was that Zander’s cycle would be stopped short, but here it is picking up where it left off, and rumor has it that the Seventh and Eighth symphonies also will be recorded and released by Linn Records in due course.
The conductor’s profile as a Mahler conductor has not changed in the interim. He remains a highly conscientious, objective interpreter who resists the temptation to juice up the music. The days of Leonard Bernstein (for example), who worked hard to “sell” these symphonies to a larger audience, are behind us. Mahler has taken his deserved place in musical history and requires no one’s defense and no one’s special pleading. Zander’s recordings remind me of Rafael Kubelík’s in their lack of exaggeration. A ff is not interpreted as an invitation to play fff, and a pp is not interpreted as an excuse to play ppp.
The first movement, which sensibly has the first SACD to itself (sensibly, because Mahler asked for a long pause between the first and second movements) lasts 22:02, and the tempos throughout are nicely judged. One risk with music this demonstrative is that listeners will get tired out by a succession of purple passages and one climax after another, but Zander has an excellent sense of the movement’s architecture and pacing. In the second movement (10:01), the opening theme is given character by little hesitations or falterings in its forward progress. This easily could have been overdone, but Zander resists the temptation. In fact, this entire movement has a nicely restrained feeling, which makes the sudden climaxes and interruptions even more effective. I love the slightly gauche way in which the orchestra plays the “St. Antonius” theme in third movement (12:44); it’s done like a peasant dance, but again, what other conductors might have underlined, Zander quietly suggests. In both of these movements, Zander is subtle enough to leave you wondering whether or not Mahler intended an element of parody at all.
Sarah Connolly is gorgeously human and comforting in the “Urlicht” movement, and Zander’s tempo (5:47 is the movement’s timing) allows the music to breathe deeply without losing its forward motion. The first time I heard this, the sun came out from behind the clouds just as Connolly was singing “Da kam ein Engelein” (Then came a little angel). While I can’t attribute that effect to Connolly or to Zander, I took it as a sign of good karma related to this new recording!
The lengthy final movement (38:57) goes very well, and if Zander doesn’t always exploit atmosphere (for example, in the section corresponding to what Mahler described as the song of a nightingale), drama unfolds as the music takes its course, and by the time the chorus first enters, we feel that we have been taken on a great journey and that it is nearing its end. The only miscalculation is that, when they first enter, Persson and Connolly are too close to the listener to be realistic; it’s as if both of them are singing over the listener’s shoulder. The choir sings and is recorded with great presence, and the passage leading up to and including “Bereite dich” is exceptionally moving. The orchestral postlude does not come as an anticlimax, and by the time the Symphony comes to a close, one feels, if not resurrected, then at least renewed.
I played this recording three times in succession in one afternoon. I was not exhausted by it; in fact, I couldn’t wait to put the first disc back in the player and start all over again. Perhaps some will want a “Resurrection” that temporarily obliterates everything else, but I found Zander’s sane, organized, and humane reading very effective, and I think it will have a long shelf life. With Linn’s exciting, clear engineering, as an added attraction, this new “Resurrection” certainly belongs among the work’s top 10 recordings.
By the way, apparently there is a three-disc version of this set in which Zander, as with the Telarc releases, discusses the Symphony on the third disc. My review copy had two discs and did not seem to be missing a third, but a note on the back cover invited the reader to download Zander’s discussion from Linn’s website.
Symphony no 2 in C minor "Resurrection"by Gustav Mahler Performer:
Sarah Connolly (Mezzo Soprano),
Miah Persson (Soprano)
Period: Romantic Written: 1888/1896; Germany Venue: Watford Colosseum, London, England Length: 89 Minutes 40 Secs.
Symphony No. 2 in C Minor, "Resurrection": I. Allegro maestoso
Symphony No. 2 in C Minor, "Resurrection": II. Andante moderato
Symphony No. 2 in C Minor, "Resurrection": III. In ruhig fliessender Bewegung
Symphony No. 2 in C Minor, "Resurrection": IV. Urlicht
Symphony No. 2 in C Minor, "Resurrection": V. Im Tempo des Scherzos
Average Customer Review: ( 1 Customer Review )
Blazing MahlerJanuary 7, 2014By Joseph Lieber, MD (Great Neck, NY)See All My Reviews"Zander's Mahler's Second symphony is clearly at the summit. With so many terrific performances to choose from, Zander and the Philharmonia have to bring in something special. They do!! From stunning playing, singing and sonics this is a "Resurrection" to get even if you have a shelf full as I do. The power, the detail and the lyricism are all there to be heard. Bravo!!!"Report Abuse