Customer Reviews

Mahler: Symphony No. 2 & Totenfeier

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

 

 

After hearing all of Chailly's Mahler recordings over the last decade, I am convinced that this distinguished conductor's cycle will eventually have its place in history as one of the finest ever. Certainly the caliber of the playing in the series is hard to match; the Concertgebouw Orchestra makes these terribly difficult symphonies sound easy.

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.

If you prefer your apocalypses outsize and devastating, this disc is not for you. Chailly seems to have developed a penchant for highlighting textual subtleties that does not always suit Mahler. His earliest recordings, of the Tenth, the Sixth and the Seventh were far bolder and more rugged than his more recent Mahler-issues - even the Eight came off as a rather too beautiful (and slow) mystic bel canto opera. And now here is this Second, which has that same uncharacteristic reticence, and yet is very impressive in many ways. All those who love this strange, hybrid work enough to invest in more than one recording I would urge to check it out. Urlicht is especially good. Well, that's an understatement - no matter how familiar it was to me, this rendering literally brought tears to my eyes. Petra Lang sings with incredible purity and utmost simplicity, with hardly any vibrato, and at a true pp as well. The heart-rending, hushed intimacy is greatly enhanced because Chailly (or his engineers) follow Mahler's instruction and place the brass players some distance away at the back of the soundstage. The effect is pure magic, especially with such a peerless brass section as that of the Concertgebouw Orchestra. Where else in the world will you find such mellow sounding trumpets??!
This is a nice example of the care Chailly lavishes on realising detailed instructions in the score. Not an accent is missed anywhere, so it seems, nor, happily, a glissando: Chailly isn't afraid to let his strings play real slides, instead of those shamefaced wisps most conductors prefer. Another thing that constantly catches the ear is the audibility of all tones in a chord, and of single instrumental lines (bass clarinet and double bassoon come through splendidly). Unfortunately this does not extend to the percussion, which sounds rather opaque and is in several passages completely swamped by the rest of the orchestra. As a result the final pages are just ever so slightly underwhelming; the Concertgebouw organ might have been given a little help too (though it's realistically recorded as the not-too-powerful instrument it is).
Also, given all the care over details, it is surprising to find other instructions regarding tempo or phrasing more than occasionally ignored. E.g., the triplets accompanying the off-stage horns in the Finale are clearly marked 'non legato', yet Chailly has them played very broadly indeed. Tempo's are rather on the slow side, and I found more than one instance where Mahler writes 'drängend' but Chailly slows down.
Still, these are minor qualms given the sheer beauty of the playing and singing, and the deeply felt expression in softer passages, which at times verges on the sublime (this recording makes you realise how much of this score is at a pp or sub-pp level).
I wouldn't recommend this as an only ('library')version - Bernstein on DG or the unaccountably ignored Kaplan on IMP/Pickwick give you more of the essence of the Resurrection, the vast panorama's and the widescreen drama, with trumpets calling out not from somewhere down the corridor, but from The Beyond itself (although Chailly scrupulously observes all Mahler's indications of distance, with the rumbustious little marching band at fig. 22 drawing near and then crashing into the main orchestra exactly as Mahler must have intended). Kaplan goes to extremes to realise all of Mahler's intentions and doesn't stop short of electronically mixing in cathedral bells in the final bars. Too tacky for some, maybe, but the effect is quite overwhelming and certainly preferable to Chailly's almost inaudible steel sheets. Some things in Mahler simply are in bad taste and ought to be done that way! On the other hand (dear Phil from LA), there is more to Mahler's Second than just sensational sound effects and visceral excitement. Those who are interested in its subtler side, or generally prefer their Mahler 'Salonfähig', need not hesitate over this new recording.

Chailly's latest recording of a Mahler symphony truly is in a class by itself; without question it is the best recent recording of Mahler's 2nd Symphony. Here he does a splendid job with the Royal Concertgebouw Orchestra in yielding a vibrant, brilliant interpretation that should be commended for his skill in gently emphasizing every phrase, as though this work was a piece composed for a chamber orchestra. The soloists, especially Petra Lang, are strongly commended for their exquisite phrasing. Unfortunately, Decca's recording sounds a bit opaque at times, so their voices tend to be muddled with the sounds of the orchestra. Personally, I prefer either Abbado's or Bernstein's interpretations for a modern version of this work, yet Chailly has certainly established himself here as a fine interpreter of Mahler. The recording closes with the Totenfeier, an early version of the 2nd Symphony's first movement.

First of all, I really wanted to like this recording. Two reasons: 1. It's Mahler, and 2. It's the Concertgebouw. However, when I heard it, I was disappointed. Part of the problem is Decca's fault. The recording quality just isn't up to par with many other versions, especially in the parts when the offstage brass is involved. It's as if the orchestra was in Amsterdam, but the offstage horns were in The Hague! Also, the interpretation seems rather stale and doesn't carry the emotion or the power that many others do. (Ex.: Bernstein's 1963 recording) It's marred by slowness in many parts, especially in the last movement, when instead of being overwhelmed, I'm wondering when the heck it's going to end.

It's not that I don't like Chailly's Mahler. I think his recordings of the 3rd Mahler 3: Bach Suite and 5th Mahler: Symphony No. 5 are excellent. (In fact, I'm listening to his 5th as I type this.) But, for some reason, this recording falls flat. Chailly just doesn't seem to work wonders in this symphony as he did in those two symphonies. Add to this the curious addition of Totenfeier, the original draft of the 2nd Symphony's first movement, and this CD becomes a mixed bag. To me, the Totenfeier serves no other purpose other than to prove that Mahler was right to make revisions.

In conclusion, for truly great Mahler 2nds with raw power and emotion, Bernstein Bernstein Century - Mahler: Symphonies no 2 & 8 (Part 1), etc... and Mehta Mahler: Symphony No. 2 / Mehta, Vienna Philharmonic Orchestra still reign supreme. Also, for a spectacular modern recording, I'd recommend Andrew Litton Mahler: Symphony No. 2, C Minor "Resurrection" / Litton, Murphy, Lang. Those recordings will continue to occupy permanent places in my CD collection, while this one will be heading to the CD store to be sold when I get the chance. It really is a shame, since I love both the Concertgebouw and Mahler.

I have nothing but respect for Maestro Chailly and the Royal Concertgebouw Orchestra. However, this is a Resurrection that I was not entirely sold on. I shall explain.

First, the bad news: rubato. Chailly uses it in so many places that the work loses form. The first movement in particular feels very stop and go to me. Secondly, the recording, while excellent digital sound, is muddy in some places. Some of Mahler's glorious contrapuntal textures are completely lost at some points. While the RCO's hall has some of the best acoustics in the world, it's kind of hard to tell from this recording.

Now the good news. Chailly coaxes very beautiful playing from his orchestra. The strings in particular cover themselves in glory. Also, Chailly like Maazel, slows down at the big climaxes in the Second. Personally, I like this. It makes them all the more earth shattering. There is also the voices. The chorus sounds like it is singing from heaven. Very nicely done.

If I were to recommend an alternative recording, I would say the Mehta/Vienna Philharmonic recording from the mid 70s. Bar none, the greates Resurrection I've ever heard (he's a thousand miles ahead of Bernstein.) It's also available for a much lower price.


Bravi tutti!

Right from the first notes I could tell this was going to be a mellow performance. This is a wild piece of music, but Chailly's approach is too comfortable. The tempos in all moevments are very slow. The first movement lacks the struggle and drama needed in this music. The trumpet fanfare in the fourth is too low and lacks impact. The ladies are no great shakes in the singing department. The last movement is far too slow with little of the drama we hear in Meta/Vienna or Ozawa's new recording. The finale climax is OK but the organ is toned down. Overall, a boring performance with nice sound. Very dissappointing. Stick with the above mentioned ones or Klemperer or Blomstedt. Chailly lacks the intensity for this work.

After reading Phil's review, I felt it necessary to completely refute it.

This is, by far, the most demonic and wild Mahler 2 yet recorded. The Concergebouw is at its peak. Definatly a must have.

Two of the first CDs I ever purchased were with Chailly conducting Bruckner's Seventh (RSO Berlin) and Tchaikovsky's Manfred Symphony (Concertgebouw).

Both of these recordings completely overwhelmed me. The sound was incredibly powerful and the performances were very broad and full of passion.

Unfortunately, I haven't felt the same way about the rest of his Brukner cycle or the current Mahler one. The sound is still gorgeous (best I have ever heard for Mahler) and the performances still broad, but the passion is missing.

Lately, I have enjoyed listening to Chailly's performances of 20th century works from Stravinsky (Firebird and Petruchka) and Bartok (Concerto for Orchestra and Miraculous Mandarin). Again, the sound is powerful, but also detailed (critical for most modern works). I highly recommend you pass on this recording and check out these.

I've never had a problem with any item I bought from an AMAZON "2nd seller". Sometimes, there is no other game in town. Trust me, if I have a problem , they would be the first to know!
Bob Krawczyk

Chailly understands Mahler better than most conductors do and so does this orchestra.

Sound is at top level and singing is VERY good. Filler (Totefeier) is a bonus and its a bargain to have two MODERN... NEW discs for the price of one.

You cant go wrong with ANY of Chaillys (and Boulez) Mahler versions. Only challenger is Abbados version of Mahlers 8:th.

Buy this one and a new (Mahler) world come to you.