Customer Reviews

Mahler: Symphony No. 3 / Bach Suite

5 star:		(8)
4 star:		(0)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

Move to the head of the class. The performance here by Chailly and the RCOA overshadows recent SACDs from Boulez, MTT, and Zander. This is the real deal. FINALLY!

Everything is so carefully thought out in this performance, and the playing is highly idiomatic. The bass drum will have cups moving on your coffee tables. Certain parts of the interpretation are exactly as called for in the score, and I am so thrilled that they were caught so vividly on this SACD. These are orchestral effects like glissandos, mutes, brass trills, dynamic effects, "Schalltrichter in die Hoehe" or "Schalltricther auf" (really comes through!!!!!), etc.

The brass are very nicely captured. The winds come out like a nice wind choir. The orchestral quality is very European and balanced with a lot of transparency, which is not typical of American orchestras and these days, even the VPO and the BPO don't have this quality very much any more. This has been so well recorded, that you will really be able to hear every part, just like you can in a concert hall.

In the 4th Movement, Petra Lang does a very nice job in her song, and the brass and bassoons have a wonderful ominous sound. In the 5th Movement, the women's chorus is very well captured and it moves along very nicely with wonderful energy.

The last movement, the jewel of the symphony (next to the first movement), is ravishing. You will not want it to end. The quiet sections are so lovingly shaped and filled with yearning. You can hear the vibrato of individual violin players at times. The dramatic and bitter utterances are very jarring and then soothed by the main theme with great sensitivity and Chailly gives the transitions a lot of space. The final chorale builds to a very satisfying climax. Chailly holds out the final note of the symphony just like Mahler wanted (a fermata, and with notations to not allow the sound to diminish at all, and not to have an abrupt release) and the effect is beautiful. At 22min, the final movement is, timing-wise, faster than most, but it has great lyrical weight and speaks very much in that time.

I'm thrilled about this performance and this SACD! Although Chailly's Mahler cycle hasn't always had such great performances (the 8th, despite an awesome cast, was a huge disappointment), this one is really an achievement. If you don't know this piece, this performance will be an excellent introduction; and if you don't know Mahler very well, or have been a Mahler-naysayer, give this one a shot, because this is Mahler done "right". Up next, the 9th, and Chailly's cycle will be complete.

HIGHLY RECOMMENDED without reservation. It's also priced much cheaper than the competition (and it's own Redbook-only version) so not only is it a great performance, it's a bargain, too.

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.

If, like me, you consider a recording of something as huge and all encompassing as Mahler's 3rd to always be something of a compromise - a gesamtkunstwerk of conducting, orchestral execution, singing, and sound quality - then you might come to the same conclusion as I: this is the best overall M3 to date. Yes, there are things that could have been just a tad better - the mezzo being one of them (Petra Lang). But you won't hear better or more detailed accompaniment underneath the mezzo either. In fact, I've never heard an M3 where what the mezzo was doing, and what the orchestra was doing, was so well integrated as here. Maybe that's because Decca's fine recording quality brings things into sharper perspective, I don't know. Also, the coda to the third movement (scherzo) could be a bit more grand in scope. But everything else about the scherzo is darn near perfect, including the distance and pacing of the offstage trumpet solos - the so-called "posthorn". Just listen to how fabulous the Concertgebouw woodwinds sound at the start of the scherzo - it doesn't get any better than this. Chailly's first movement is a huge tour-de-force, capturing just a collosal amount of dynamic range and orchestral detail. Nope, there's no need to hype this recording - the evidence is all there. All six movements are really well done, which is rare. In the finale, Chailly progressively lengthens each of the symphony's final three chords. That's such an obvious thing to do! - why hasn't anyone thought to do that before? Yep, it's not perfect. As always, some minor details could still be better yet. But I also can't think of any other recording that gets so little "wrong" (nothing, really), and so much right. If you're going to get this, regardless of how you're playing it back, get it in the DSD upgrade, which is the SACD/CD hybrid version, . Decca has priced it the same as the regular version.

Here's an easy one. Take an orchestra known for its excellence in this music, able to deliver precision despite the lack of rehearsal time. Add a soloist who's fabulous diction and total commitment to her part make the inner movements shine. Finally, bring a conductor who is much more interested in shaping musical lines than adding unnecessary interpretive or stylistic nuances to music that always sounds better when played exactly how the composer intended. These makes great Mahler.

And indeed, that is exactly what this is. This remains the finest recent Mahler Third, easily surpassing the likes of Thomas, Zinman, Haitink, and Gergiev. Chailly is better in the finale that both Thomas and Zinman, more focused than Gergiev, and certainly more animated than Haitink's stodgy Chicago performance. Indeed, listening to Chailly's performance will remind listeners of Bernstein or Haitink's earlier Concertgebouw recording on Phillips.

Indeed, everything just sounds right. Chailly masters Mahler's architecture, which is most important in this music. Of course, if does not hurt that he has the Concertgebouw following in suit; just listen to the fabulous wind playing in the scherzo, or the lovely, organ-like brass work during the final preoration. The strings are rich, the winds pert, and the brass blazing.

This is a performance that should please most Mahler fans and stands next to the aforementioned reference editions from the past. Indeed, on the whole, Chailly's achievement in this music is underrated. When listening to his cycle as a whole, one realizes that, even at his worse, Chailly really delivered good Mahler. And, at his best, as in this performance and his fabulous Ninth, he simply shines.

The Bach Suite is an interesting filler, if anything, because it is interesting to here Mahler's tinkering with Bach. Listeners interested in hearing Mahler's other re-orchestrations may very-well enjoy Chailly's wonderful cycle of the Schumann cycles, retouched by Mahler.

Chailly's recording of the monumental Mahler Third is everything it should be. First, what does Mahler's Third represent? Largeness and grandiosity, expansiveness and serenity by turns, sounds of nature, and a good dose of marching tunes. This is precisely what Chailly captures in the perfect performance by the Royal Concertgebouw Orchestra. The symphony opens with rumbles, and what unfolds is Mahler's longest single movement. One could say the first movement was a symphony in and of itself.This first movement is my favorite in the entire Mahler canon. The second movement is a tempered, wistful minuet (of Mahlerian size). The third movement opens fancifully with woodwinds, continues in buildup with an exciting theme for the brass, and eventually reaches a thrilling climax with full orchestra singing some of Mahler's most expansive and uplifting music. After this purely orchestral part comes the vocal fourth movement, set to Nietszche's words. Petra Lang is in luscious voice. The fifth movement is the joyful 'bell song' sung by a children's choir, and again with Petra Lang providing her beautiful talent. The sixth and final movement is a very long (23:10) adagio ('Langsam'), and it is a serene movement. Calm and lucid, not full of longing so much as contentedness. The symphony ends in a momentous, slow, and loud climax as the brass come in to exclaim their approval, and the drum beats and brass close the symphony.

Obviously in a symphony this big there's always the danger of indulgence in slow slow tempos, and a far too relaxing tone for this rewarding, exciting, but ultimately tiring music. Thankfully Riccardo Chailly and the Concergebouw are in top-game mode. The strings are smooth and sharp when needed. The woodwinds aren't drowned out, on the contrary they are as lucid as could be. The brass shine stupendously throughout, as do the chorus singers and Petra Lang. None of this would be possible without Decca's great sound team. This is THE Mahler Third recording.

Technically, the orchestra is amazing. They did everything Chailly asked of them with stunning clarity and skill. And yet ... whither was he leading them? This Third is pretty, and passable, but its soul is withered. What soul it does have shines through thanks entirely to the composer's notes, and not one bit thanks to the conductor's interpretation of those notes. Strangely dry. Stranger still, the conductor clearly was feeling something as you can hear him grunting occasionally a-la Gould. I don't mind a few grunts when I'm listening to Gould's rapturous playing, but do mind them a little when I'm listening to this lackluster reading of the greatest symphony ever written.
I don't HATE this recording (I do not think it is intentional vandalism or anything of that sort) but I do not love it either. I put it on when I am writing or doing something else that will prevent me from paying attention to how mediocre it is. Mahler's Third as background music?! Yes, that's what this one is.

I left a somewhat negative review of this recording when it first came out - what was I thinking. I came back to this release after pursuing many others and find that it is the best I have heard. Chailly-Concertgebouw sound amazing throughout. The recorded sound is spectacular. A lot of other Mahler 3 recordings seem to compromise power for delicacy, precision for drama, or intensity for endurance. Here the balance of power and delicacy, precision and drama, and enduring intensity are in full bloom. Chailly captures the drama almost perfectly from start to finish, concluding the work in a groing climax of brilliant sound. I cannot understand why I didn't give this an outstanding review upon its release, but I must retract my previous opinion. This is Mahler 3 at its best. Highest recommendation.

Don't let anyone fool you. This is great music written by a genius,
conducted by a master and played with consummate skill and maximum passion
by the finest orchestra on the planet.

I agree with the reviewer below who finds Chailly's Mahler strangely divorced from the composer's intentions, which are extremely emotional and dramatic. Instead, this Third proceeds deliberately, even cautiously, much of the time, and when Mahler reaches for cosmic expression or wild abandon, Chailly is there to throw a bucket of cold water on him. Boulez is the only other conductor who takes a similar view that Mahler should be rescued from the fervent excesses of Bernstein, but those excesses seem to be part of the air Mahler breathed.

Since Chailly is a major conductor, given great digital sound and a magnificent orchestra, one cuoldn't call this recording negligible--clearly he feels he has something to say. The first movement sounds staid to me, despite all the orchestral bluster; the second movement has no dance in the rhythm, but then we get something brighter in the atmospheric third movement, where the delicate Concertgebouw winds make lovely music together.

Petra Lang, a rahter light mezzo in the grave fourth movement, sings with style though not much tragic depth. The fifth movement is a complete success, however, thanks to the great chorus, a completely convincing combination of boys and women. Chailly's conducting is lyrical and innocent in jsut the right proportions. Bernstein took the great Adadio finale very slowly and dug into every stroke of the violins. Chailly is cooler, and he slides thruogh the melodic line rather than tearing our hearts with it, yet taking an elegant apaproach feels viable in its own way.

In all, I don't consider this Mahler Third a complete let down--it's Chailly's familiar interpretive angle for those who appreciate it more than I do.

On the November 17 2007 edition of BBC Radio-3's "Building a Library" program, this disc was voted the best of all current Mahler 3rd Symphony discs. Edward Seckerson was the reviewer

The fact that it is a hybrid surround sound SACD disc is a real bonus. Pick it up while the Amazon United States supplies last. This disc is almost 20£ ($40) at Amazon.uk.co.