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5.0étoiles sur 5
Chailly, RCGBO & Mahler: Finally, the heights (sound+perfor), Juil 4 2004
Finally. I have had considerable doubts about many of the previous recordings in this ongoing Mahler complete symphony series. Often, to me and my ears, Chailly sounds like he is glossing over, and sometimes even compressing or truncating, many of the many specific expressive indications that Mahler took great pains to write into his scores. The foreshortening of dynamic ranges, for example, often bothers me quite a bit. Mahler is famous for writing extremes into his phrasing, ranging from triple or quadruple soft (pppp) to triple or quadruple forte/loud (ffff). While this can be easily dismissed by carelessness on the conductor's part, or by the inabilities of a given band to carry the range as indicated; the fact is, if Mahler is going to express himself, he needs careful and scrupulous observance of his markings. This is particularly true when such detailed dynamics as are marked are cross-happening throughout different departments of the huge orchestra. Mahler knew what he wanted musicians to play, and as a conductor he had decades of experience with high-level bands that he usually left playing at an even higher level. If you observe the markings, in my view, you can get away with quite a few other variations in your approach, including tempo. Some Andante movements are slower or faster than others, but nonetheless express genuine Mahlerian style and narration.In the past recordings, these are the points where I have felt let down by Chailly. The Concertgebouw has a fabulous and honestly-earned Mahler tradition, dating all the way to Willem Mengelberg and Otto Klemperer. And as regards the Haitink-led versions, I think the orchestra mostly carried the conductor to whatever success he achieved in those recordings. With Chailly, however, it often seemed to me that he was overriding the orchestra's knowledge of how exacting Mahler might sound, in favor of a sort of operatic, generalized interpretation. Well, no more. In this one, Chailly has finally allowed himself to settle into the deep and abiding performance practices of the Mahler traditions that this world-class orchestra has long embodied. He does contribute something to their understanding, in the way of a certain operatic and songful flow. But in this case, his operatic sensitivities do not preclude being much more faithful to observe Mahler's myriad expressive markings. The success of this performance also includes a clarity of the polyphony .... whether chamber-like in texture, or grand full orchestra ... that is indispensable in great Mahler. The soloist Petra Lang carries the Nietzsche movement off at a high level of vocal and interpretive insight. It is a difficult thing to sing this night-music, I imagine. First of all, you are almost completely exposed as a singer, and if you do not have the vocal resources to manage, or you do not know how to marshal your voice to the expressive line, your lack is obvious to all listeners. Secondly, although Mahler writes wonderful music for his Wunderhorn songs, they cross over to instrumental phrasing and expression, as the orchestra plays with you. Petra Lang continues her artistry in the next movement, joined by the children's chorus and the women. All are exquisitely bell-like and raucous, managing to suggest a rather lively and country-wided view of heaven and its redemption of humankind as common folk, not nobility. Then the orchestra takes over in the famous culmination of the final movement. With string tone that must be the envy of many a player in big-name orchestras all over the world, the RCGBO puts us on immediate notice that this last movement of the Third Symphony will be the mystical fulfillment of Mahler's comprehensive vision. ("The symphony must be a whole world," Mahler said.) Each instrumental department gradually joins in, as Mahler expertly weaves and interweaves materials from prior movements, at the same time demonstrating so joyously to the human ear how masterfully he could transform what (at first hearing) appear only to be innocuous and mischievous folk themes. My measure of the Third Symphony has long been the revered recording by Jascha Horenstein with the London Symphony Orchestra. I almost never find other versions its full equal, although I have added Boulez, Solti, Abbado, Neumann, and Bertini to the nearby shelf. Now, I believe a very close second has arrived. Chailly still cannot match the dark, malevolent detail of the Jascha Horenstein; but he matches its overall grandeur of musical vision, at last successfully bringing his songful ear to the rich and pervasive Mahlerian genius of this great orchestra. If only earlier recordings of other symphonies had been so blessed as is this one. No one who listens to this recording can fail to mention the SACD high resolution surround sound. Perhaps those other, earlier Chailly versions of Mahler symphonies are lacking, because they are not yet available via this incredible, vivid sound. More successfully than it is possible to describe, you are placed in the Grotesaal of the Amsterdam home of these wonderful players. The sheer tonal presence of their genius is captured and recreated by the quality of recording. A giant coup is delivered in the surround sound mix, neither too close nor too distant. You can tangibly sense the hall without being bombarded by echoes and reflections that interfere with paying attention to the main event of the RCGBO playing in front of you. Very highly recommended, SACD version. This will be one of the demo discs in lots of equipment rooms, unless I am very mistaken. Five stars, counted very slowly at twilight on a very good day.
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