Customer Reviews

Mahler: Symphony No. 2

5 star:		(15)
4 star:		(4)
3 star:		(2)
2 star:		(2)
1 star:		(2)

 

 

Klemperer afficianados adore everything the maestro laid his hands on. Those who don't stray much beyond respect will divide his output roughly between the "middle-aged Klemperer" and the "aging Klemperer" categories. The distinction seems to be that in the former, he was all piss and vinegar, while in the latter, he was like an aging grandfather clock that just kept slowing down. Young Otto kept things moving smartly, while old Otto just plodded. You get the idea.

This recording of Mahler's "Resurrection" symphony dates from late 1961 and early 1962, and here we encounter the "aging Klemperer," age 77, but....and it's a serious "but".... conducting the one piece of symphonic literature to which he publicly credited his most personal attachment. From 1905, when the 20 year old Klemperer conducted the offstage brass in a performance led by Oskar Fried (attended by Mahler and pronounced "very good")to 1907, when he created his own piano reduction of the score, the work was clearly in the forefront of his mind. Mahler himself aided Klemperer in attaining his first professional appointments, in Prague (1907) and Hamburg (1910).

Yet for all of the above, Klemperer was of mixed views concerning Mahler as an overall symphonist. Much of the Mahler canon he conducted either rarely or never at all. It was the "Resurrection" symphony, though, which Klemperer consistently programmed, recording it for Vox just ten years prior to the performance under discussion here. It was this hybrid of arch-Romanticism, drama, and religious/philosophical yearning that Klemperer remained devoted to for the entire length of his professional career. Perhaps it is this quality--devotion--that has magnetized listeners with this performance ever since its issue by EMI/Angel in 1963.

There is urgency from the very first bar. The pace is a gripping one--nothing "plodding" here. Attacks by the strings, from basses and cellos straight up to first violins, are hair-raising. Brass and winds shriek, bray, and proclaim their choruses and accents precisely as the score's instructions demand...and then some. Momentum is never abandoned--no fermata-as-smoking-break here! And yet it never feels rushed. Klemperer has indeed set a brisk pace, by contemporary performing standards (he clocks in at just over 19 minutes, with most recent outings averaging at around 22). It is this devotion to the drama...the urgency...that makes it so compelling.

The fireworks of the opening movement are soon held in stark contrast to the second movement's laendler-esque nostalgia, complete with the wonderfully executed string pizzicati, a subtle bit of performance theater when violins and violas adopt a horizontal strumming position a la mandolin. "Sehr gemaechlich" is Mahler's performing instruction, and leisurely--with a distinct Austrian accent--is indeed the operative term here. The push-pull of the rhythm is in evidence, but never dominant. Klemperer gets it right, without lathering on the schmaltz.

Mahler, Klemperer, and the orchestra then deftly switch gears once more, with the sardonic lilt of the third movement's portrait of St. Anthony preaching to the fish. The humor is pointedly presented, with verbal outbursts characterized by the solo winds, brass accents, and percussive punctuation...all while the swimming strings answering in blithe counterpoint. Tempo here is a bit slower than most of the competition, but it's never obtrusively so, given the prowess of the Philharmonia's colorful solo and section work. While truly in rondo/scherzo mode, Mahler doesn't set a driving pace here, and neither does Klemperer.

Movements 4 and 5, beginning with the intensely haunting "Urlicht," or primal light, also serve to re-introduce mezzo Hilde Roessl-Majdan, reprising her role in Klemperer's 1951 recording. She delivers her song of intensely determined hope with palpable conviction, setting the stage for the fireworks of the fifth movement's sequence of spiritual, emotional, and musical climaxes. And when they come....they COME! Shattering eruptions from all quarters are announced by offstage brass choirs, distantly placed so as to be sensed as much as heard, making the orchestral tuttis all the more compelling. Magic moments continue with the Wilhelm Pitz-led Philharmonia Chorus' subito entrance of "Aufersteh'n, ja aufersteh'n......" Vocal projection is beautifully concentrated and balanced, a quality maintained even in their fortissimo outbursts. Then, back to a whisper as Roessl-Majdan reappears, this time in the company of Elisabeth Schwarzkopf. Their duet is well-matched, with Schwarzkopf's honeyed tone soaring appropriately, tethered only by Roessl-Majdan's mezzo.

From here, momentum continues to build, with chorus and orchestra in fine balance, all the way to finely-wrought conclusion with the organ's entrance (a tribute to Walter Legge's legendary production values). From beginning to end, one is aware of the full range of dynamic contained in Mahler's visionary scoring, with the beefy Kingway Hall ambience ably tamed and clarified. Recording quality is remarkably good, given the age, with only a few instances of high-end thinness present in the upper-octave violins and slightly splashy cymbals. One comes away with an appreciation for Klemperer's obvious teamwork with Legge, as solos and sectional passagework make their presence known with undue spotlighting.

Is it, then, a near-perfect performance? To that, a short "yes," and a long "perhaps." One could quibble about the pitch variance in the closing pages, with bells, organ, and orchestra sometimes vying for primacy. Could the third movement scherzo be just a bit quicker? Possibly. These are questions which could be posed about almost any great recording of a major work as complexly scored and layered as Mahler's "Resurrection." What remains, though, is the sense of conviction and devotion that Klemperer brings to this work. Klemperer saw overwhelming greatness in this piece, and spent much of his life as an apostle for it. This is a performance and recording that will never leave the catalog, and no Mahler collection should be without it.

Music is more than mere entertainment , it has the power to change lives. This recording of Mahler's 2nd is truly exellent. I really disagree with those who say the finale is disappointing. Let us not forget that Klemperer performed this symphony with Mahler present, and after some changes, Mahler approved. Yes, the 4th movement is a little short, but the performance has class, charater, and it is not overdone. If you only buy one Mahler 2nd make it this one. It is an experience that will stay in your mind until the day you die.

Mahler's second symphony has its greatest exponent in Otto Klemperer. He performed it frequently, and this celebrated incarnation of Klemperer's interpretation is an unsurpassed achievement. Klemperer's grasp of the details is impressive, as well as his overall view of the work as an organic whole. The Philharmonia plays beautifully - the orchestra was in its best shape when this recording was made early in the sixties. Choir and soloists are also impressive.

Moreover, the recording quality is good enough for most ears, at least if your hifi equipment is of decent quality.

This is the recording of the second symphony that I appreciate most, a frontrunner before Scherchen's with the Vienna Symphony and Walter's with New York Philharmonic. It has its place in every collector's shelf. A real desert island disc, warmly recommended.

This is a majestic and stately recording. But I find it pretty exciting too. Did NOT find the tempos "too slow" as some contend. I own several versions of this symphony. But is is my favorite. Technical quality is pretty good and no faults stand out. This recording is a bargain. I have Solti, Bairenboims, Stokowski and some others. But his is my favorite. If I were new to this piece, I would start here to see if I want to go further. The old stereo is pretty good and a really good sound system makes this recording a joy. Many "newer" recordings lose the forest for the trees. This is a real gem.

I'm not going to lie. When I first started getting into "classical" music a couple of years ago I was really excited by the recordings of Herbert Von Karajan. He always seemed so tight and in control and had something to say. Well after listening to many different interpretations of music and understanding its deeper meaning I've come to the conclusion that the conductors that many claim are grumpy, stodgy, old folky, etc. really care about the music and conveying it's message to the listener. Otto Klemperer was one of those conductors who I really didn't like at all. I almost sold my copy of his recording of Beethoven's Eroica on ebay. Luckily I didn't and gave it another try a few years later and now I'm selling my famed Karajan/Beethoven set because that is really the one that doesn't belong in my collection. It's completely emotionless and mechanical. You might be saying "what does Karajan and Beethoven have to do with Mahler's 2nd MAN??!! I just wanted to illustrate that virtuosity isn't everything. I love this recording made by Klemperer and have heard a few Mahler 2nd's including Bernstein from the '60's, Mehta/Vienna, and Klemperer's live recording with the Bavarian Symphony Orchestra which absolutely stinks in my opinion. It's like Klemperer wanted the performance to go like this one but had a horrible orchestra playing tricks with the poor old man. Bernstein's account was OK but seemed a little stodgy. Mehta seemed, to me, to treat the entire thing as a race to the finish line. In this recording Klemperer does some amazing things with tempo changes and according to some doesn't quite follow Mahler's score explicitly. Another great thing about this recording is the sound. It's warm and rich and the instruments are well placed. If you have to have only one Mahler #2 in your collection pick this one. It's cheap, easy to find, and conducted by a man who cared about the music. What else is needed?

Mahler once said that the best way to play his symphonies was to take the fastest possible "sensible" tempo for the outer movements, then balance the others from there. His own piano roll recordings (last movement of the 4th, first movement of the 5th) exemplify this practice, and by and large, this is how his disciples (among them Walter, Mengelberg and Klemperer) played his music--at least until old age, when they began to slow down a bit.

Klemperer's "Das Lied von der Erde" suffers from this geriatric slowdown, but not his Mahler Second. Long known for his incendiary interpretation of this work, his early-1960s recording of it bristles with both energy and wisdom. He combines both the energetic approaches of later British conductors with the warmth and beauty of other Germans such as Walter to produce a spellbinding, unified view of the score. It also doesn't hurt that his singers--Elisabeth Schwarzkopf and Hilde Rossl-Majdan--are in superb voice, thus giving us the best VOCAL performance in a Mahler second as well. This disc is a worthy memorial to a fine conductor who knew Mahler and what he wanted personally.

This CD is a distorted version of the original. The LP I owned in the early 70's had a warm and detailed sound, with a marvelous blending of the instruments. This CD frequently sounds harsh.
In addition, the tempi in some sections seem to have been electronically speeded up in order to fit the symphony on a single CD. As a result, the feel of the symphony sweetly unfolding is gone.
This was a great performance, and the sound was actually ahead of its time. It deserves a remastering by someone who actually LIKES Mahler's 2nd.

Because I came to this recording without preconceptions, or pre-formed predilections, or pre-conditions, or even premonitions, and because I was unaware of its apparent "snob appeal," I have made the artless mistake of liking it immensely. Lacking any authority in this matter, I can say only that I find it more profound and moving than the Boulez (mit Wiener), the Solti (with London), or even the Abbado (avec Lucerne) recordings that I also own. The 2003 Abbado recording is worth describing, full of energy and unabashed, almost histrionic virtuosity, and its dynamic range is damn near unbelievable (my poor little Klipsch Heresies!); and in fact I nearly began to think of it as my favorite. But then I listened to this dusty, ancient, sad-sack recording once again by mistake, and despite its age and its occasional blemishes (or, since I'm a snob, because of them), I found myself electrified, glued to the spot, in tears. That's all I can say. My ego seeks protection, but my soul cries out: this is a magnificent recording.

The problem with pieces like Mahler's Second is that people become attached to specific versions and the payoffs each contain. You want the crescendo to get this big this fast or the ritardando to get exactly this slow and then pick up speed just like this.

It is such a big work and is all about dramatic effect and passionate longing that it is certain that different composers are going to interpret it very differently.

I think that Klemperer has made a very beautiful recording. It is certainly not the only one I would want in my collection, but I wouldn't mind handing it to someone to let them get to know this wonderful work. It is not the most soul aching version available, but it is majestic, powerful, and beautiful.

The average buyer who wants to hear Klemperer's way with the Mahler Second will gravitate to this studio recording, made in widely separated sessions from Sept., 1961 and March, 1962. It lives up to its high reputation, but collectors and others digging a it deeper may be enticed by a live recording with the Bavarian Radio SO made several years later and also released by EMI. Various online music sites and record magazines tout it in preference to the studio version.

Since I know both recordings, let me set the record straight. There is no "excitement of a live concert" in the Bavarian version. The playing is rather flabby at times, ensemble is imprecise, and for sheer execution, there's no comparison with the Philharmonia. The sonics are good for a radio broadcast but come nowhere close to the excellence of the studio effort, particularly in the latest remastering. Just listen to the choral entry in the finale and you'll hear how much more open and atmospheric the sound is. Janet Baker performs the 'Urlicht' solo in the live account, Hilde Rossl-Majden in the studio, and both are excellent, although Baker made a specialty of the part and for many listeners is unsurpassed in it. She is very closely miked; in the studio recording the singer is placed further back, adding to the atmospheric effect.

Another major difference comes with the sopranos, since the great Elisabeth Schwarzkopf in the studio version far outshines the usually admirable Heather Harper, who sounds a bit wobbly in concert. One thing that is remarkably consistent between the two performances is their timings, which in the first four movements are all but identical. In short, the studio version surpasses the Bavarian Radio one on all fronts except for the inspiring Janet Baker, as you can easily hear if you compare them side by side.