Customer Reviews

Mahler: Symphony No.6

5 star:		(5)
4 star:		(6)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

All right, I confess, I love this recording. I love what both Mahler and Levi manage to coax out of the ASO: the pulsating fate motives that every once in a while culminate in a passage of such delicate beauty, the tension between the different sections of the orchestra and especially the exquisitely painful climaxes. Mahler is not my favorite composer, but this symphony speaks to me. It has all the elements of dark brooding which I love and even some lyrical splendor. Telarc's sonics are outstanding! They allow the orchestra to hit you like a ton of bricks. This is one to play with the volume as loud as the neighbors will tolerate. If you love music that conjures emotional images - buy this disc.

Let me start by saying that I own several Mahler Sixths (M6s). I have Barbirolli/EMI, Bernstein/NYPO, Sanderling, Szell, Michael Tilson Thomas (MTT), and LEVI. And I have heard others.

Yet, Levi is one I come back to time and time again. To wit:

I have yet to hear a better recorded or played M6. The sonics of this recording are superb, ultra nonplus! Although I find the *volume warnings* on the casing to be a little facetious. As for the ASO's playing, it's phenomenal, not a single note is fluffed in this extremely complex symphony. (Read the booklet notes to find out why.)

Interpretatively, Levi's M6 is absolutely proportioned and balanced. He doesn't oddly stretch tempi or anything of the sort. Frankly, I find his finale to well-nigh perfect. And be ready for the final section, because the hammerblows will BLOW YOU AWAY!!! The scherzo is beautifully characterized. The "Altvaterisch" (literally "Old-Fatherish") trios have a slight lift to them that's really plucky and truly harkens one to the image of "children playing" (ref. Alma M.). The Andante is played "just right", neither too fast (ref. Szell), nor too slow (ref. Barbirolli/Bernstein/Rattle).

It's the first movement where some people have a problem with the Levi M6, where I do not. What is it? The Levi M6 omits the exposition repeat of the first movement. No one knows whether this is an interpretative choice of Levi's or just a timing factor (to constrain this music to one disc).

As a member of the Gustav Mahler Discussion Forum, I know that interpolating the expo repeat back into the movement only stretches it out to about 22-minutes, which really wouldn't change the movement interpretatively (at least to my mind). Thus, if you're unilateral about not buying M6s that omit the expo repeat, I will tell you here and now that maybe you ought to reconsider that position for this very special recording.

Whether the presence or absence of the expo repeat means anything to you, it's best to consider the first movement as a prelude to drama that onfolds throughout this symphony. For an intrepretative analysis of the M6, please see "Tony Duggan's Synoptic Survey of the Mahler Symphonies" online.

That's it. For the above reasons, the Levi, IMO, is the best all-round M6 to come about in years. Dare I say it, it may be the best M6 in the entire catalog. 'Nuff said.

I own 11 versions of Mahler's "tragic" symphony, and I must say that this is near the top of my list at about #3 or #4. It is recorded in amazingly clear sound. The four sections (strings, woodwinds, brass, percussion) are all captured vividly. I usually don't take to fast first movements of the 6th, but here I can tolerate it because there is much energy and the Atlanta Symphony plays magnificently. The second and third movements were also done very well. The hammer blows in this recording are two of the best I have ever heard; it sounds like bombs are going off!

However, I will give this recording only 4 stars out of 5 for three reasons. One, even though I'm a trombone player, I feel that the trombones and the whole brass section in general were sticking out too much at times, destroying the polyphony that is so important in Mahler's music. Two, there is no exposition repeat in the first movement. If this was because Levi wanted to emphasize the tragic fall of the hero in the last movement, then fine, but I think the repeat was cut in order to fit the symphony one one disc. I feel that the repeat is needed because the major-minor motif that is so important in this symphony needs to be emphasized. Besides, Mahler called for it! Third, after the second hammer blow, it seemed like Levi lost his way and the energy that was flowing so well throughout this performance seemed to be lost somewhat. It sounded like the musicians were tiring, as this is an exhausting work. This makes the ending almost anticlimatcic. Despite these shortcomings, this is a very fine performance of Mahler 6 and one that I am glad to have in my collection. I would put Boulez's recording on DG ahead of this one because he doesn't miss a step through the whole thing.

My favorite version, Chailly conducting the Concertgebouw, is only available in Europe, unfortunately. I was able to acquire it through a friend, and it has the loudest hammerblows I have ever heard (even better than the Atlanta recording). Also, it doesn't have any of the shortcomings that I listed for Atlanta. I hope it is made available in the United States soon because I feel that it is one of the best kept secrets of Mahler!

I have all of Levi's Mahler CDs (and 20 performances of the 6th) and for me this is easily his highlight. However, whether this disc is for you or not will be determined by your reaction to the first movement. First of all, the exposition repeat is omitted, which is a big deal to some. Second, Levi's tempo in the opening march is faster than any that I know of (other sections are played at more normal speeds, so the overall time of this movement doesn't reflect the march pace, which is quicker than even Bernstein/Sony and Kubelik)...it is definitely outside of the bounds of the composers instructions.

Me? I like it, I find that the opening movement can work well with a quick march, and it does here. The remaining movements are done fairly conventionally, but given that they are performed quite well. The sound is very good. As usual, the Atlanta Symphony plays wonderfully.

This might not be an ideal choice for your only 6th, but provides a provactive alternative view.

Overall, this is not the best recording of Mahler 6 out there. On the other hand I have yet to find one single recording that pleases me consistently throughout. Levi's interpretation of the first movement is thoroughly exciting, thanks to swift tempos and smooth phrasing. It is mared only by the lack of the first exposition repeat, which I consider a must for this symphony. I suspect it may have been omited by Telarc so that the entire symphony would fit on one disc instead of two. Bernstein's interpretation was a little more in depth, but I found Levi's just as satisfying. The second movement seems to lack some of the impact it should have, probably because Levi makes it seem more like an extension of the first movement rather than its own entity. The bright spot of this disc certainly is the third movement. Here Levi and Atlanta show us just how much passion they are capable of and just how beautiful this movement really is. I would almost recommend this disc just for the third movement alone. Unfortuately the fourth movement cannot compare. It starts out great, but Levi's incredibly slow tempo eventually causes the movement to lose energy. Nevertheless, this disc is very much worth your attention.

My first impression of this performance was that Levi is rushing his fences. He takes the opening movement at quite a lick, as fast as any I know; indeed, the whole performance is on the propulsive side, but stick with it: he knows what he is doing and has a clear, over-arching grasp of the architecture of this symphony and it ends up feeling absolutely right. His underlying principle here could be lifted from "Measure for Measure": "Be absolute for death". He runs to embrace disaster and dissolution, yet along the way - particularly in the beautifully reflective third movement and the bucolic cowbell interludes - he is able to encompass moments of quiet contemplation and even serenity. It's a long way from Bernstein's more overtly tortured interpretation but just as valid. Levi's decision to exclude the first movement repeat was obviously made on artistic grounds rather than the desire to fit the whole symphony on to one disc, as that repeat was recorded during the sessions but not spliced in. Obviously Levi did not want it to delay his headlong rush towards the ultimate tragedy. The hammer blows are devastating: a soul-shattering thud that slams the iron gates on hope. The Atlanta Symphony Orchestra plays like the greatest band in the world here; they are flawless - and captured by Teldec in wonderful, spacious sound with a terrific dynamic range. This interpretation is perhaps nearest to Szell with the Cleveland, but in appreciably better sound. To me, expecting as I was to prefer a more conventional, "big name" conductor, ths disc emerges as something of a sleeper - but it goes straight to the top of my list.

The Sixth is probably my favourite Mahler symphony. No matter how much you admire the other works, with the possible exception of the Ninth and Das Lied they all show up their share of weaknesses. Not so the Tragic, which is a lapidary monument to the power of music if ever there was one. To put this review in context I'll list the recordings I own, namely: Barbirolli; Bernstein (DG); Boulez; Abbado (Berlin); Chailly; Zander (Telarc); Rattle; Tilson Thomas; Gielen; Inbal; Eschenbach; Gergiev; Karajan; and Jansons (KCO and LSO). Of these, Eschenbach, Karajan, and Bernstein are my favourites - and Levi joins them, no doubt about that.

The playing of the Atlanta orchestra is simply breathtaking. I knew this from their excellent Fourth, but here they are even better. Levi himself is a clearheaded conductor committed to the letter of the score, and as a result gives you much more Mahler than some others do in the same work. Finally, Telarc's engineering is exemplary: rich and colourful sound from the lowest right up to the highest regions (great bass drum!); ample detail; a vast dynamic range capable of conveying truly shattering climaxes as well as velvety pianissimo's; and a natural, realistic soundstage with instruments firmly placed.

Levi tears into the Sixth at a fierce pace. It works wonders for the march, which others too often turn into a dirge; but it is perhaps a tad hurried for the "Alma" theme, which Mahler wants played at the same tempo. The result is a sense of nervous excitement which you may or may not like; I didn't find it at all unsuitable: the first movement felt to me like a dizzying roller coaster ride. The pulling about of the tempo in the second theme I did find unsuitable, but fortunately such interventions are a rarity with Levi. The exposition repeat is omitted, a regrettable choice I think. This is the only repeat sign you'll find in a Mahler score after the First symphony, and you can be sure it is there for a reason. Balancing the overall weight of the movement against that of the huge finale is one. Stressing the fact that this is Mahler's most consciously (and brilliantly) "architectural" symphony is another. Dropping it has been a conscious choice: in fact a version with repeat was taped at the recording sessions! Did Telarc insist on a version that fitted on one disc? Or was the choice artistically rather than commercially motivated? It should be noted that in many much admired (if IMO overrated) older recordings of this work the repeat was routinely skipped (cf. Barbirolli, Kubelik, Szell...). Whatever the reasons, the artistry and commitment of Levi and his players are such that I found to my surprise that the movement doesn't feel at all truncated or lightweight.

The Scherzo is exactly as it should be, its dark, ominous mood and stinging sarcasm caught to perfection. Tempos are well-chosen and unexaggerated. You can trust Levi to take note of the fact that the title "Altvaterisch" refers to the character of the episodes thus named, not their tempo which, as Mahler clearly indicates, is only slightly slower than that of the Scherzo proper - moreover, it is marked "Grazioso", and so Levi has it. Later, when things turn truly sinister (#78) Levi knows exactly how to make your skin crawl; only Bernstein is his equal here.

If there is room for debate it is with regard to the Andante, where Levi doesn't quite get in touch with its unearthly, cool beauty the way Eschenbach, for one, does. The tempo is fractionally too slow and parts of the movement sound too much like paraphrased fragments of the Fifth's Adagietto. The exposition seems to lack drive and comes across as uneventful. Fortunately, things pick up after that; overall the playing is beautiful, and some moments I found genuinely touching; I loved the anguished cry of the trumpet just before #93, which many others allow to be drowned out by the surrounding excitement.

The performance culminates in one of the most overwhelming readings of the immense finale I ever heard. Levi brings across its tremendous scale and power unerringly, almost entirely without loss of momentum at any point. There is a sense of constant crescendo and accumulating tension that made my hair stand on end. Yet the relaxed interludes, where the tormented main material is offset by a po-faced humming-tune, are perfectly paced and blend in naturally (e.g at #117). The gear-changes surrounding the second hammer blow follow Mahler's instruction for a big slow-down to the letter, and to harrowing effect; when the fateful blow itself falls it's truly as if something snaps. Better than many others, too, Levi makes us hear how close the movement comes to achieving a triumphant climax, just before the whole edifice collapses into utter despair. The brass are sublime throughout this demanding piece, and more than make up for maybe an occasional slight lack of bite in the woodwinds (surely the "Feurig" at #135 could have done with a little more fire?). That said, there should be a Nobel Prize for clarinet playing to bestow upon the first clarinettist. The strings may not provide the luxurious washes of sound you might hear from Berlin, Vienna or Amsterdam, but they are second to none in power and passion. The hammer blows are extremely realistic and well-defined, even if they don't entirely live up to the sensational warning Telarc felt compelled to print on the CD cover. If only Levi had found some deep bells, as Mahler asks, instead of the regular tubular bells he now uses, perfection would have been achieved. But I'm not complaining, for this is as near perfection as we may hope to come on the right side of the hereafter.

Were it not for the missing repeat in the first movement, this would be one of the finest sixths out there. The Atlanta Symphony has the perfect sound for a piece of this kind. The sheer size of the orchestra demands crystal clarity, and you don't get much clearer than the ASO under Levi's baton. I agree that the fast march tempo in the first movement works well here. This symphony is kind of a transition from light to dark, from life to death (the opposite of the fifth and seventh symphonies) and the fast march tempo gives the beginning of the symphony the life it requires. There is some fine playing and soulful reading taking place here; Levi and his fellow musicians fully understand what is needed to make each phrase effective. The second movement feels much as the first only more serious and weighty. Again it is well-played and every detail is made clear. The third movement brings with it sublime beauty (which Levi and the ASO bring out with true passion) but also a sense of farewell. One does not want to leave this place of comfort, but the wash of moving harmonies and lyrical melodies carries us away into the battle that is the fourth movement. Atlanta shows off its vituosity in this struggle between the hero and fate. Every detail is rendered precisely and brilliantly. Telarc has captured the hammer blows remarkably. The final blow of fate at the end is terrifying beyond words. I still give this CD four stars, however. Upon reaching the end I realized that the entire symphony felt off balance with itself, simply because the repeat in the first movement was omitted. A small but important criticism is that the liner notes could have been more comprehensive. Overall, a remarkable job done by all involved, but the first movement repeat is needed.

This is overall a very good performance in state-of-the-art sound, but for some reason, Levi opts to take a big cut in the first movement by leaving out a repeat. This omission seems to deal the performance an aesthetic blow from which it never quite recovers. This CD will probably not displace anyone's favorite Mahler 6th recording, but many Mahlerians may find the last movement on this Telarc CD a sonic guilty pleasure that they will want to return to from time to time.

Levi and Atlanta SO gives very exciting and gripping performance of 6th. Like his other recordings, Levi lets each instrument express and sing its part to the full. The first movement is fast and furious. Inner movements are fine. The last movement is very soulful and hammer blows are explosive. One of the great recordings of the 6th in decades! Telarc's sound is amazingly vivid and present.