Sym 2/Totenfeier

This new recording displays, again, the sumptuous sound of the orchestra, and Chailly's somewhat analytical, but passionate, way with the composer. A friend described Chailly's recent Mahler Eighth as closer to chamber music, and I suspect the same comment might apply here. Make no mistake: the grandeur of this most heavenly of Mahler symphonies is there, and the choral ending will take your breath away. But in the interim, especially the sarcastic middle movement, there is a transparency and intimacy that may be at odds with the prevailing view of what Mahler "should" sound like. For example, if you like Solti's propulsive Mahler, you probably won't enjoy Chailly's version, which is definitely more relaxed. To some degree, Chailly's slower tempi may reflect his recording venue; the sound decay in the Concertgebouw is longer than in some halls, so a more relaxed tempo pays dividends in avoiding smudging and blurring.

However, I also think Chailly wants us to hear every note in this remarkable score, and this clarity - again, something like being able to pinpoint the individual voices in a good string quartet - seems just right.

An outstanding version of this piece, although to repeat: it won't be for everyone.

But there's much to like in the Chailly. The recording is natural and ambient, if lacking presence (*really* lacking compared to the Mehta), and Chailly shows himself to be a true fanactic for detail, probably to the point of hindering the music's forward momentum at times. Still, he's a genius who deserves his own way, and I found his decisions convincing. It's one of the slowest fifth movements around, though it doesn't feel that slow. He gets things just right with the offstage business leading into "Aufersteh'n", and apart from the chorus's inarticulate droning (yes it's supposed to be soft, but it's also the central message of the symphony; at the very least, by verse 2 you should be able to discern text without having to turn the volume above 5) the interluding instrumental passages here are perfectly paced and beyond gorgeously played by the Concertgebouw. (If you're sentimental like me, you'll be imagining sun-kissed waves gently lapping at the shores of eternity, or some such nonsense.) The soloists are nicely expressive, and the choir is fine but sounds underpowered at the climax -- could just be the somewhat distant recording perspective.

All in all a beautiful rendition, still lacking that special something that Chailly achieved in Mahler 5. The extra Totenfeier movement is an interesting bonus.