Customer Reviews

Mahler: Symphony No. 1

5 star:		(21)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Pierre Boulez continues to amaze us with each new recording. Listeners long on skepticism as to whether this conducting master of intellectulization of details - the modernist approach - can bury that old data storage. Boulez has managed to breathe life into Bartok, Stravinsky, and now he continues to rediscover Mahler. This recording of Mahler's Titan Symphony is a revelation - in the best sense of the term. The Chicago Orchestra has rarley sounded more brilliant and seems to be totally in synch with Boulez. The result is a sumptuous sounding romantic marvel. Mahler's symphonies can ramble and be disjointed and even sound bombastic in the wrong hands. I feared Boulez would opt for the note perfect, cerebral dissection of Mahler: yes, the score is thoroughly studied and rethought, but the penultimate Romanticism is very much here. Listening to this disc is a sonically, spiritually, and emotionally thrilling experience. And I thought I knew this work before.........! Fasten your seat belts a jump on for a mighty experience.

Rarely does one come across a recording as good as the performance, and vice versa. Boulez has done a remarkabke job, and Deutsche Grammophon's 4D audio recording is a landmark in audio recording technology. The thunderous 4th movement of the 'Titan' will knock your socks off !

Pierre Boulez's Mahler cycle is both frustrating and puzzling. Some of the performances are intense and some are underpowered and uninvolved. This is the most passionate so far, with the mighty Chicagoans blazing away, especially in the brass, which hold back nothing for their conductor. (Just listen to this recording and you'll hear why Bud Herseth is considered one of the greatest trumpet players ever.) The first movement opens suitably mysterious, though I would have preferred a bit slower. (I think Giulini's OOP recording, also with the CSO, is terrific here.) The off-stage brass sounds terrific. In fact, the sound throughout this recording is concert-quality, with a strong you-are-there aspect. This first movement comes off wonderfully, though I must revisit Bernstein's DG recording with the Concertgebow again, which impressed me tremendously when I last listened to it ten years ago. The second movement is a letdown--too smooth and "waltzlike" and not rustic enough. These are country peasants after all. Glib I guess would be a good word for this movement, and compared to some other greats (Kubelik, Horenstein, even Bernstein) this is lightweight. The third movement has the appropriate Yiddish quality, though maybe not enough; it's not as good as Kubelik's incomparable interpretation. Again, there's something glib about Boulez here. He always seems to be above the music he conducts rather than down with it. Because of that, movements that require a certain "humanity" or "spiritual" quality always come up short. But also because of that, movements like the finale of this symphony are right up his alley. Boulez enjoys opening up the heavens and hurling lightning bolts, and he does it well here--maybe a little too well, as there are moments where I think things almost become too unglued, compared to the preceedings. Still, it's a stunning effort, akin to Karajan's tumultuous finale of the Malher 6th (also on DG) and we really feel a sense of transubstantiation at the end, which many Mahler 1sts don't give, despite lots of emotional angst. This is Boulez's most electrifying recording since returning to the podium, in my opinion. Sound, as I said, is top-notch and very "concert-like"--the bloom of the hall is well-captured by DG's engineers. Which brings me to a question: once they ace a particular sound in a particular hall, why can't they always get it right? This is as good as it gets, sonically. For performance, it's still hard to top a lot of good Mahler Firsts out there: Giulini and Kubelik and Horenstein and Bernstein and Mitropoulos and others I'm no doubt forgetting. This one isn't qutie on that level, but it's worth having anyway, and boy, does Bud Herseth shine!

Gustav Mahler is well known for his symphonies. Most know that they are usually lengthy, but there is more to it; each of his symphonies are an experience, rather than enjoying a simple artistic musical work. Mahler's sense of dramatic timing is evident in his liberal use of tempo, dynamic, and articulation directions. His music also contains inventive and memorable melodies, along with colorful and imaginative orchestrations. His first symphony, subtitled Titan, is a youthful and energetic first foray into the symphony genre, a work that easily stands shoulder to shoulder with his mature symphonies.

The first movement (of four) is marked: like a sound of Nature, and the movement is very pictorial in that regard. Chirpings and warblings can be heard on the clarinet and flute, while distant trumpet and horn calls give a forest-like locale. The searing high strings hovering over the various mutterings, evoke a calm morning. Nature, however, gives way to a rustic dance, one which is quaint and happy. All of the elements come together at the end for a brilliant close. The rustic dances with drones and horn calls are carried over into the second movement, but in a waltz time. The opening basses, unrelentless in their highly repeated rhythms, underplay the woodwinds charming and tuneful motif. The trio section, in opposition, is rather stately, but is taken over by a dashing restatement of the opening; another brash ending. The famous third movement is well-known for its use of "Frere Jacques" in a minor mode, set as a funeral march. In addition, there is a frightful, mocking clarinet counter-melody which squawks at the procession. Thrice the march is interrupted by a snappier dance-like section: first a "gypsy" sounding polka; another time a peaceful jaunt into major, and before the end of the movement, the "gypsy" idea returns; the movement fades into nothingness. The final movement, 19-minutes in and of itself, ties the whole work together by bringing previous ideas back. The movement begins forceful and menacing, but Mahler chooses to move towards the positive. Stunning melodies, lush harmonies, and brilliant brass work conclude the nearly 53-minute symphony.

Pierre Boulez and the Chicago Symphony Orchestra perform with gusto and panache; Boulez follows Mahler's voluminous directions admirably and the natural drama shines through, as well as giving a feeling of constantly moving forward. The world-class Chicago Symphony Orchestra is on top of the music from the start, although in places, becomes a little reckless; nonetheless, I personally cannot frown on their wanton approach. The DG 4D sonics bring the ensemble to the forefront and they sparkle. This symphony is the best introduction to Mahler's symphonies, and this recording is easily recommendable for its forward moving, dramatic interpretation and delightful ambience.

The music-making on this CD is controlled, elegant, beautifully balanced, and only minimally romantic (remembering that Mahler was a full-blown late romantic). I can't share the common opinion here that Boulez has suddenly become more passionate and unbuttoned than he was elsewhere. To me, it's more that he is so exceptionally cool, if not cold, in his versions of the Mahler Second, Third, sixth, and Seventh that the other installments in his cycle seem by contrast to have more feeling. This First is still cool by the standards of Kubelik, Bernstein, Walter, Horenstein, Levine, and even Abbado, to name some earlier conductors who have made a notable success in this work.

Some other qualities stand out. The effortless virtuosity of the CSO is one, and it primarily shows up, not when the brass are going full tilt but in the difficult soft, slow passages of the opening movement, where Boulez creates a hushed, mysterious mood that is mesmerizing. But that comes at the loss of a certain simplicity and visceral drive until the two big climaxes. The peasant dance in the second movement banishes any feeling of clog-wearing peasants and proceeds at a clip. The third movement is a parody funeral march (based on an etching of woodland animals carrying the body of a fallen hunter), but Boulez is poker-faced throughout. The rhythm doesn't escape a certain limpness at times. Only the finale, I think, is a blazing success. It's not really passionate, but the controlled forcefulness of the CSO is remarkable. In all, there's too much of Boulez's usual mannerisms for me to think that I'm hearing genuine Mahler.

P.S. -- David Hurwitz, in his Amazon review, claims that Boulez is having a "naughty thrill" with this performance, a bizarre notion. And he calls the CD a "whale" of a good time. Google isn't a help because there are too many punsters out there -- jazz enthusiasts who are having a "wail" of a good time, Welshmen having a "wale" of a good time. Does anyone know the original usage? I've drawn a blank.

It is often said, with justification, that Mahler's Seventh Symphony is the most difficult to perform properly. One must get behind the notes to enter fully the spirit of grotesquerie that Mahler wrote into them, and only a few conductors have been able to do so, among them Rafael Kubelik, Claudio Abbado, and - Pierre Boulez.

Boulez is an anomaly among Mahler conductors, just as he is an anomaly among French conductors. Most French conductors who preceded him did not like rehearsing, and in fact found it an impediment to the "sirit of improvisation" that they wished to arouse in performance. But when Boulez came to international prominence in the late 1960s, he brought with him a composer's mind and a fastidious approach to score preparation and rehearsal. His intent has always been to try to give exactly what the composer put on paper. Sometimes, most notable in his recordings of Webern's orchestral music and Berg's "Wozzeck," he surprisingly failed to do so, but in most other cases he has been successful.

The problem with Boulez has not generally been one of veering away from the score as it has been with expression. His orchestral sound is warm but not passionate. His strict attention to detail and structure sometimes leaves the listener wondering if Boulez EVER feels passion about any score he conducts. Most of his performances, live or on records, are emotionally cool to the point of complete emotional detachment.

Mahler's First Symphony, to judge by the large number of recordings available and the equally large number of failures, is almost as difficult to pull off as the Seventh. Of the many versions I've heard, only four - Sir Adrian Boult, Rafael Kubelik, Riccardo Muti and Boulez - have really penetrated the score in terms of both giving one what Mahler wrote and at least trying to impart the sense of "unbalance" and emotional angst which is that composer's hallmark. Boult did so by conducting the symphony much faster in every movement than the composer indicated, though his is still my favorite performance of the symphony in terms of giving us the Mahlerian spirit. Kubelik phrases it in a quirky style more suitable to Czech music than to Mahler, in my opinion, though his reading is equally intense.

Boulez takes a middle approach that, in this particular symphony, in this particular recording, works wonders. He follows the composer's instructions not only to the letter, but in the minutest detail. He phrases it romantically, using generous rubatos and portamenti. He walks a fine line between cleanliness of execution - often a sore point in this symphony, even with Boult and Kubelik - and passionate interpretation. Yes, there are places where he errs: certain phrases, here and there, seem a bit too clean, a little less gemüchtlich. But on the whole, the performance is remarkable. I hear details of orchestration in this recording that escape others, and this is achieved without exaggeration. I hear not only power but schmaltz. And I hear a reading that, in the end, is immensely satisfying as a cross-breed between structure and feeling.

Perhaps he was able to accomplish this because he used the Chicago Symphony, one of the great Mahler orchestras. Certainly, James Levine's Mahler Fourth works equally well for the same reason. The musicians may or may not have taken emotional control of the symphony away from Boulez, but in the end I think he approved its release because it satisfied him on so many levels. It satisfies me, as well.

The Boult recording will always remain a special favorite of mine for its unbridled passion, but I recognize that this is an individualistic reading that veers away from the composer's written tempi and instructions. The Boulez is "home ground." And for those who think that the second movement is "way too fast," take another look at the score. It's written that way. This is not a ländler like the one in the second symphony; it is a rustic dance. I well remember the late Klaus Tennstedt yelling at his orchestra to exude the exact same effect.

Highly recommended. This is now my number one choice for the Mahler First.

This magnificient recording of Mahler's 1st Symphony is among the best. Although it may not be as dramatic as the acclaimed Bernstein/Concertgebouw Orchestra Deutsche Grammophon recording, it is still worth owning. Pierre Boulez makes a very persuasive case as an insightful, emotional interpreter of Mahler, who is more successful than Bernstein was in illuminating the rich textures of Mahler's score. Once again the Chicago Symphony Orchestra demonstrates why it is one of the four best performers of Mahler's symphonic music, along with its peers in New York, Amsterdam and Vienna (Those who may disagree should listen to its classic Deustche Grammophon recordings of Mahler's symphonies in the late 1970's and early 1980's under the batons of Claudio Abbado and Carlo Maria Giulini or the acclaimed Decca/London cycle conducted by Sir Georg Solti.). Deutsche Grammophon's state of the art sound quality is impeccable. Those seeking their first recording of Mahler's 1st Symphony or another to go with their classic recordings by Bernstein, Kubelik or Haitink won't be disappointed.

A nearly apocalyptic performance with a rare showing of Boulez' heartstrings. Among the best recent releases, to be sure, but this recording still falls short of the benchmark established by Riccardo Muti and The Philadelphia Orchestra (EMI Classics). You'll enjoy Boulez, but you'll be stirred and startled by Muti.

This recording of the Mahler First may not be as definitive as Kubelik nor as flashy as the Bernstein recording with the Concertgebouworkest Amsterdam, however, for excellent accuracy and drama, plus a knockout finale that will leave you breathless, this recording cannot be equaled. From the first eerie harmonics of the first movement's "Wie ein Naturlaut" to the triumphant horns of the last bars, this entire interpretation is intense and well-planned, without lacking in spontaneous gestures. The klezmer-like passages and outbursts in the otherwise somber third movement are marvelously whimsical. The contrast between the pastoral opening theme and ensuing fanfares is perfectly executed. The Chicago Symphony is not new to excellence in Mahler recordings, with one of the best "Resurrection" symphonies available, with Claudio Abbado. Boulez, somewhat surprisingly, retains the bulk of the German character of this work without it being light nor rushed. The Ländler of the second movement gains momentum as is appropriate while being expertly controlled under Boulez's baton, which is certainly adept at dance movements, having also produced (along with the CSO) one of the best recorded Firebirds. The CSO/Boulez combination is one of the strongest in new recordings, especially with the newly released Mahler 4th, which had me hooked after an initial listening over the public address system in the local record store. This Mahler will not disappoint you in any way!

The last two movements are outstanding - about as good as you'll ever hear them (I prefer a faster tempo for the "Frere Jacques" round in minor that begins the third movement - as executed by Jarvi and Norrington - but that's beside the point). But I'm dinging this down to four stars because of the scherzo. In short, it's too fast! Don't think so? Just click on the Windows Media excerpt above. These are country bumpkins ready for the disco floor - their big chance on the "Dirty Dancing" TV show. There's little if any rusticity or "swing" to their gait. Beyond that, this is very good. Even the sound is greatly improved over Boulez's Chicago Mahler 9th, recorded just a few years earlier.

Although it's not so sharply focused in the outer movements, for the Chicago Symphony, I prefer the older Giulini Mahler 1st on EMI. That just got reissued in a Giulini/CSO box set from EMI, that includes his hugely under-rated Chicago Bruckner 9, as well as his fine CSO Brahms 4th (Giulini's Vienna Phil. Brahms is depressingly slow). Giulini's M1 has just right amount of rusticity to the scherzo. Boulez is fast and slick, if also technically expert.