This is the performance I have been waiting for. Twenty years separate it from Bemstein's earlier account with the NYPO (CBS, now mid-price)— and if you feel as I do, you'll view it as a 20-year rehearsal period to bring the reading to full maturity. Bernstein's basic view of the piece has undergone very little change in the interim. Fundamentals such as tempos remain more or less consistent (I still don't see eye to eye with him over the opening of the third movement—more on that anon), though certain phrases have naturally filled out and the expression is appreciably freer and easier now. In a sense, the piece sounds newer, and that's quite an achievement after 20 years. How acutely Bernstein still hears Mahler's early-morning silence.Read more The rising sixth for two oboes in bar 15 is like a deep intake of breath from this rapt observer; the richly harmonized horns some bars later are truly espressivo, their dreamy reverie broken only by the sudden if pizzicatos (like a startled animal) which Bernstein points up so vividly a bar later. I love, too, the way in which the chiming harp really tells as we move into the uneasy middle section (pity about the thump in the orchestra at this point): the chilling entry of tuba and bass drum at fig. 13 casts an appropriately long and ominous shadow across the proceedings. All this is most beautifully and subtly chronicled by the Concertgebouw players. How warmly and generously their strings phrase the wayfarer's music: it takes a great Mahler orchestra and a great Mahler conductor to imply so much suppleness and freedom within the bar without actually labouring the rubato. Their exhilaration in the coda (the euphoric explosion of brass fanfares is hair-raising) is second to none, and again it is the way in which the phrasing spontaneously sings that proves so uplifting.
Happily Bernstein hasn't re-thought his heavy, ungainly tempo for the scherzo. The trenchant accenting is what makes for the rhythmic vigour here: just listen to the second violins, violas and cellos at fig. 7 (1'59") with basses stomping heavily on the downbeat. Needless to say, Bernstein gilds the proverbial lily somewhat in the trio: 'Viennese' isn't the word, and he obviously believes (and why not?) that Mahler simply felt it unnecessary to mark in all the portamento—the opening violin phrases being one case in point. As I hinted earlier, I briefly part company with Bernstein over his quickish pacing of the Huntsman's funeral procession. Parody it may be, but Mahler does specify "grave" and "ceremonious" and these are not words that would readily spring to mind were I making my first acquaintance with the piece. Admittedly Bernstein is able to convey a convincing air of naivety at this tempo and his doublebass soloist has no chance of producing too beautiful a sound, as some players and conductors are wont to do. The seedy, cadaverous complexion of the solo is caught to perfection. As indeed are the tawdry colours of the gipsy-cumcafé music in all its corny schmalz. I particularly like the brassy, slightly flattened trumpet sound.
But I reserve my greatest enthusiasm for the finale; I've never heard an account like it. Masterly control and abandon (such as could only happen in a live performance) go hand in hand: the ferocious onslaught of the opening pages, the touch of rhetoric in the brass declamations of bars 6 and 19, the intense energy in the strings at fig. 11 (2'40"). And then, in repose, the lovingly attended second subject where Bernstein's light and shade in phrasing and dynamics is uniquely affecting. In the spare, expectant bars that follow, the tonal pallor he conveys is extraordinary, the sudden crescendo (in tremolando strings) from p to fff (so often something of a damp squib) absolutely electrifying. And so on to the tumultuous conclusion. I'm going to turn a deaf ear to the added timpani and bass drum on the final crotchet. This is a great performance of Mahler's first brave symphonic essay, impressively caught on the wing by DG's production team. I'd say it was an almost impossible act to follow.
-- Gramophone [3/1989] reviewing the original release of Symphony no 1, DG 427303 Read less
Works on This Recording
Symphony no 1 in D major "Titan"by Gustav Mahler Conductor:
Royal Concertgebouw Orchestra
Period: Romantic Written: 1888/1896 Length: 55 Minutes 53 Secs. Notes: Composition written: Leipzig, Germany (1888). Composition revised: Germany (1896).
Symphony no 5 in C sharp minorby Gustav Mahler Conductor:
Vienna Philharmonic Orchestra
Period: Romantic Written: 1901-1902; Vienna, Austria Length: 29 Minutes 27 Secs.
Digital Gus by LennySeptember 29, 2014By owen r. (lakewood, CA)See All My Reviews"This Mahler First replaces Bernstein's earlier NYPO recording as one of my favorites. The actual performances are about the same but this newer recording is audibly superior although it does have that brittle quality in the upper register so common to earlier digital. Penguin Guide referred to the earlier NYPO recording as a ''red bloodied performance.'' That certainly applies to this later recording which belongs at the top of any list. This First as well as the accompanying Fifth have that frisson you get with Bernstein live. Up to now my favored Fifth was Karajan's 1973 performance followed by the narrowest margin by Barbarolli's 1969 recording. Bernstein's rendition is now crowding the top of the list. Very confusing, but I'm just an untutored heathen so who am I to say which is best? Grammophon stated that this Fifth was ''unlikely to be surpassed in the foreseeable future.'' Tony Duggan on MusicWeb-Int. found this to be ''a performance of thrilling power and eloquence that storms the heights and depths of this work like no other...a roller-coaster of a performance.'' If you were not lucky enough to get this set at Arkiv's insanely low $9- sale price take heart because at the regular price for these two discs you are paying what just one of them originally sold for!"Report Abuse
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