Sym 9

I own numerous versions of what could be the greatest symphony ever written, and I believe this glorious recording with Dohnanyi and his Clevelanders is without question the most spectacularly well played. Mr. Dohnanyi has a fantastic ear for balances, which is extremely obvious throughout the symphony, and the orchestra responds in kind. The performance does not, however, sport the miraculously profound interpretation of Jascha Horenstein in his 1950's version with the Vienna Symphony. This is the only real drawback to the Cleveland recording, which is superior in every way, but which does not plumb the absolute depths of expression as Horenstein does. Had I not picked up the Horenstein recording on a whim I would have been blissfully ignorant of that fact upon listening to the Dohnanyi. This is not to say Dohnanyi is not a noble interpreter; he is one of the greatest and most underrated of recent times (listen to his mid-80's recording of Beethoven's 5th for an example how exciting and emotional a recording can be that is still extremely respectful of the score). He gave a Mahler 1 performance here in Dallas last May that was one of the greatest concerts I have ever been to. Nonetheless my first recomendation for Mahler's 9th for the interpretation is the Horenstein. But the Cleveland recording is by far the most well-played, as well having an excellent interpretation (listen to the glorious string playing in the last minutes of the piece).

I was profoundly impressed by Dohnanyi and the Clevelanders when they played this greatest of Mahler symphonies at Carnegie Hall. Unfortunately, it's impossible to encapsulate that amazing experience in a recording. In CD, the directness of Dohnanyi fails to put him on a par with other great interpreters of this symphony. The electricity generated in the concert hall is somehow missing. It's still a very considerable achievement. The Cleveland Orchestra's playing is polished, transparent. The very first climax in the Andante has a beautifully controlled crescendo that shows what this performance is about. Not radical at all. Not too dark, not sunny (if it's possible to be sunny with the Ninth). This middle-of-the-road approach is an asset, but also a liability. Because it's possible to have more excitement with Zander or Karajan or Barbirolli. Anyway, a very satisfying performance.

Dohnanyi somehow does not seem to be able to bring the emotions out of this work. His recording seems to float over the surface without ever penetrating to the depths that one surely requires from such an amazing work. The first movement is the key to the piece. Karajan, Tennstedt, Barbirolli and more recently Rattle and Zander all bring out the menacing despair that destroys the serenity, time and again, leaving it weak and almost unrecognisable, but Dohnanyi either does not want to emphasise the first movement, or is underplaying it so as to make the final adagio the key to the work. Either way it fails. It is acceptable, in places, but surely Mahler's ninth deserves more than that!