Customer Reviews

Mahler: Symphony No. 2- Resurrection ~ Rattle, Auger, Baker

5 star:		(10)
4 star:		(6)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

I love this recording, and in so many ways it is simply spectacular: the gripping opening notes (some feel it too flaccid and not "sharp" enough because Rattle does not hit the diminuendo right away, but it doesn't bother me), the slow, "inquisitive" passage in the basses and celli at the start of the development that seems to be wordlessly wondering something aloud, the truly thunderous first movement climax, the beautifully-felt second movement, the gorgeous brass and hushed singing of the "Urlicht." There are many more examples. But the review below me who says Rattle sometimes loses sight of the overall structure is onto the disc's biggest flaw. This Resurrection doesn't build inevitably towards the resurrection, and I find the last bars, the organ, the chorus, the redemption, underwhelming. There are other recordings that at this point bring actual tears to my eyes. Tears of joy. This recording never has, and I think it's because the last movement is too detached, too clinical. I feel as if Rattle is observing this climactic part of the music from a distance rather than being a participant in the music-making. The choir too is strangely recessed and indistinct, and this effects the emotional impact of the finale. For exampe, while Mehta's recording overall isn't as technically perfect in my opinion (technically both in terms of orchestral technique and recording technique) there's something about it that makes emotions well up--the slow build that leads to redemption in the fouth movement tells you "something wondrous is about to happen." Same with Bernstein (though he seems to try harder and accomplish less), Klemperer and Haitink. There is *humanity* there, whereas here there is the Mahler 2nd under a microscope. Some other reviewers said he focuses on the microscopic aspects at the expense of the overall dramatic build. Maybe that's it.

At any rate, I don't *feel* the "Resurrection" at the end, though I've enjoyed many of the points along the way. *Still* recommended for many high points, but you'll want to fortify your collection with other versions. However, with great and epic works like this, multiple versions are often a requirement.

I've been a Mahler devotee for most of my life, and this is one of my favorite works of his. I have publically performed two of the Lieder from which Mahler borrowed material for this symphony ("Urlicht" and "St. Antonius von Padua Fischpredigt"), and have written several analysis papers on Mahler's early works. I am also a member of the International Gustav Mahler Gesellschaft. It is not without careful consideration, then, when I say that this is absolutely the finest recording of Mahler's Second available, certainly the finest of the five that I own.

Some folks will insist on the flamboyant, over-romanticized Bernstein/NYP or the technically stunning Solti, but neither has the insight into Mahler's music and soul that Rattle does, and neither performance tops this on technical merits either. This is a recording of Mahler, not of some conductor's ego. Bernstein's Mahler, for example, is a whining young Werther, drooping over every jot and tittle, while Solti's Mahler is full of bombast and pomp. The real Gustav Mahler was neither; he was a complex, tortured philosopher and an exacting, demanding artist and conductor.

Rattle refuses to fall victim to the common, offensive trap of re-creating Mahler in his own image, and, in this refreshingly honest and technically brilliant reading, shows us the real Mahler. Five stars does not do this work justice; neither does the Rosette awarded it in the Penguin Guide to Compact Discs.

Mahler supposedly tied his First and Second Symphonies together thematically. The story goes that the "hero" of the First Symphony descends to his grave in the funereal first movement of the Second Symphony (this first movement, which began as a symphonic poem called "Todtenfeier", dates from 1888, around the same time Mahler composed his First Symphony). Not only that, in a letter of 1900 Mahler claimed that the First Symphony finds its total resolution only in the Second. So here stands another example of the continuity and interdependence of Mahler's works.

In the Second Symphony, after the "hero" is laid to rest (First Movement), there is a reminiscence of the joys of the fleshy and corporeal world (Second and Third Movements), followed by the Last Judgment and the Resurrection (Fourth and Fifth Movements). The symphony is bookended by two enourmous movements: the First (on this disc almost 24 minutes long) and the Fifth (here divided up into seven small and distinct sections that run more than a half hour; some recordings also break down the other movements into smaller sections which can make for a huge track list: e.g., Berstein's well known recording has 25 tracks!). These movements contain the meat of this symphony and represent death and rebirth respectively. Likewise, each of these important movements contain their own dramatic conclusions. Both have rather salient openings as well. The First snakes ominously forward and the Fifth begins with an earth-shattering bang (much like the final movement of his First Symphony) that builds up to the finale. In the manner of other Mahler symphonies, the Second was constructed from pieces previously composed and fit together with new material to make an organic whole. Some think that Mahler finished the heartbreakingly beautiful song "Ulricht" in 1892 and, though not originally intended as a symphonic movement, inserted it into the symphony. The complete score has a date of 1894. Here Mahler begins to play with the Symphonic tradition (though the First originally contained five movements, it was eventually cut down to the traditional four). He puts in choirs, vocal soloists, songs, and long breaks of silence (Mahler wanted a five minute break between the First and Second movements supposedly for reflection; this has not remained a tradition). The song collection entitled "Das Knaben Wunderhorn" begins touching Mahler's symphonies here as well (this collection also turns up in the Third and Fourth symphonies). The Third and Forth movements originate from this collection (though the Third does not actually get sung). Lastly, Mahler himself wrote two-thirds of the lyrics of the final "Resurrection" song. He had heard the first two verses sung at the funeral of his friend, and fellow eminent conductor, Hans Von Bülow in 1894, and decided to add some verses of his own. The symphony closes in an all-encompassing "resurrection" (Mahler did not give the symphony this name) bombastically reiterating the theme from the beginning of the movement. This final movement contains some of Mahler's best and most moving work. Thus the symphony has remained, and will likely remain, a popular one.

Rattle's recording contains extreme dynamism. The lows are really really low and the highs are head-shattering. This makes for a roller-coaster experience, but I find myself turning the volume up and down throughout the length of the CD. The soft parts sound heavenly in headphones, but the loud parts can split one's skull in such an intimate and closely coupled environment. Throughout the music is for the most part incredible. And for good reason this recording gets put alongside the best recordings of this symphony. However, one can probably sympathize with the oft-stated criticism that the finale seems a little underwhelming. It's as though the First movement sets one up for something that never quite happens as completely as one would expect. Nonetheless, Rattle, the CBSO Chorus, and the City of Birmingham Symphony Orchestra pull off an amazing performance of one of Mahler's best works.

An intruiging question remains dangling after reflecton on this symphony: what is its true religious stance? The themes obviously ring of Christianity, but Mahler wasn't officially converted to Roman Catholocism until 1897. Born into a Jewish family, Mahler faced virulent anti-Semitism during his life, and debate still ensues whether his conversion represented a career-minded or spiritually oriented move. In the end, though speculation always provides entertainment, this symphony's incredible music will always outlast any of its analysis or its supposed or intended themes. One not need think of religion to enjoy this massive work of one of the greatest of all symphonists.

This recording continues to generate high praise, and for good reason. This is one of Rattle's finer Mahler recordings. I was lucky enough to hear him perform this piece live (with the Philadelphia Orchestra) and it was an overwhelming experience, much like this document.

Other versions of the Mahler "Resurrection" I admire are those by Bernstein (with the NY Philharmonic), Chailly (with the Concertgebouw), and the late Sinopoli, whose complete Mahler cycle with the Philharmonia remains a favorite.

But Rattle places his own stamp on the piece, for example in the gigantic unison descending scale that closes the first movement. No one has taken this passage at such a broad, deliberate tempo, and the effect has an earth-shaking finality.

The soloists are excellent, the chorus in the final section sounds radiant, and the City of Birmingham orchestra is at its best throughout the symphony. This project was recorded not long after Rattle began his partnership with these outstanding musicians, and the match was clearly a good one.

Until Rattle records the piece again, hopefully with the Berlin Philharmonic, this CD remains highly competitive.

I've been a great admirer of this symphony for more than 12 years. I have listened to many performances, where orchestras and conductors took the brave and noble journy to bring this masterpiece of post-romantic music to the audience. This performance leaves many of the others behind.

Rattle explores Mahler's second symphony "Resurrection" with an unorthodox treatment. I've heard many conductors perform the piece with the standard, almost requested dramatic (and sometimes pathetic) manner. Rattle seeks the more gentle, inner spirit of the symphony. This brings out its most hidden beauty and joy, without neglecting the drama and adventure of it. Certainly the most sensitive performance I've ever heard.

Do yourselves a favor: if you're a Mahler buff, or if you have a passion for exciting, dramatic piece of orchestral/vocal music, add this item to your collection. No matter how many times I listen to it - it always leaves me with goose-bumps all through the performance, and the finale makes my eyes moist every time. A small piece of paradise - enjoy it!

This performance is, as many critics long have noted, a great Mahlerite testimony from Simon Rattle. It is so good and convincing that he probably never will be able to repeat it. The orchestra plays as good as any other, and Rattle's interpretation is personal, interesting, and deeply moving. It has both drama and impetus. It is nice having such a good studio performance caught on record, which is very much like the live experience of this work.

I suppose that the technical objections raised by other reviewers against this masterly performance are due to bad equipment: if you have a weak amplifier, it will simply clip at the climaxes.

Together with Otto Klemperer's best recordings - the one with Philharmonia and the live take from Bavaria - and Bruno Walter's with NYPO, I think this is one of the very best recordings of Mahler's 2nd symphony. Perhaps one could include Zubin Metha's Vienna account in that list, and even Rafael Kubelik's underrated studio version. But Klemperer-Walter-Rattle will satisfy most needs, including the HiFi one.

This is an undoubtably great and dedicated interpretation of Mahler's symphony. The sense of complete focus and concentration is apparent from the opening bars with real articulation in the basses - the second movement is swift and beautifully phrased as is the third. The wonderful 'Urlicht' movement is also exceptional (especially the brass playing in the very opening). The last movement is steadily paced and the choral ending is spectacular - give the neighbours a treat and turn up the volume at this point! i.e. when the organ makes an appearance But... Sometimes Rattle is too focused and loses sight of the overall structure. The worse problem is that the percussion is much too closely miked. This makes the rest of the orchestra recede slightly. It does have a tendency to blow your ears off at some points which prevented me at times from engaging fully with the piece. Not good if you're a headphone user like myself. It will be rememebered as a historic recording though. An equally great recording, and much cheaper, is Mehta with the incandescent playing of the Vienna Philharmonic. The pace is slightly faster, which better maintains the tension of the piece and the sonic range is remarkable - but even more importantly often, as a conducter, Mehta trumps Rattle at every other moment: one example being the passage immediately after the apocalyptic march has ended for off-stage horns over a pianissimo tremolo in the basses. Also Christa Ludwig excells in 'Urlicht'. In many ways Mehta's is an exceptionally beautiful performance and viscerally exciting as well e.g. that same apocalyptic march. If you can afford it get both as the conducting honours are shared 50/50. One passage that pleases you in one will be better in the other and vice versa. Isn't it always the way? But if you only can only get one get the Mehta.

I don't know what Maplewood, NJ is talking about. I will make the claim here that this is the best Mahler 2 recording I have ever heard (and I've heard all the ones mentioned in the other two reviews). And no, it's not because Rattle is British...which is a silly suggestion.

The sound quality is superb, and the playing is second-to-none (apart from an out-of-tune high trumpet note in the last movement). The soloists and choir do an amazing job, too.

I don't think it's the same section that the other reviewer was bothered by (the unmarked slowing down), but I DO disagree with Rattle's ploddingly slow tempo during the last few bars of the first movement.

Rattle's sense of structure and form is fantastic, I think. His pacing of transition sections is also wonderful. And let's not forget the earth-shaking organ near the end!

Fabulous recording and performance. Put that Bernstein garbage away -- this is the Mahler 2 you should buy.

It is a sign of a truly great conductor that his readings radically redefine works, to such an extent that one can only listen to that specific recording, as all others seem to have missed the mark altogether. This is certainly the case here. Rattle, in this most daring of recordings, has adopted revolutionarily slow tempi - but this only serves to heighten the intensity of the piece. The first movement becomes an unbearable essay on death and destruction; the gaping abyss, the horror of annihilation is exposed to unendurable extremes (notably the trumpet fanfare coming around 10 mins.). Rattle reads Mahler 2 as perhaps the most important work in terms of its formative significance for the composer. In this piece we detect elements that are self-consciously inserted into the 5th, 6th(especially) and 9th symphonies - those most intimately connected with death and horror - as reference points for his early spiritual outlook This conductor turns Mahler's scores into hugely diverse, eclectic theatres of sound where the amount of thought and detail is overwhelming - his role in the development of atonality is also brought out in this performance, as it is so brilliantly in the same conductor's mesmerising reading of the Ninth symphony. The inner movements, where Rattle so often stands above the rest in Mahler, are splendid; the second is superbly balanced, the use of silence (a important aspect of this version) fascinating. One of Rattle's great attributes is his ability to get the most out of orchestras, especially those of less international repute - so here the CBSO plays like a VPO, with sensational brass and instrumental performances. The final movement is a marvel unto itself; superbly judged and profound, the climax is earth-shattering and what comes before it intense and beautiful. This is a recording like no other - a must.

This recording of the Mahler 2nd has received high praise, especially from British reviewers. I agree that it is beautifully recorded and performed and that Rattle's idiosynacratic interpretations are, for the most part, successful. However, I cannot let pass the acute loss of sound volume during the choral climax in the last movement. For me, and I suspect for most listeners, this is the emotional high point of the entire piece, and it is as though somewhat let the air out of it. Whether this was Rattle's intent or a quirk of the audio engineering, I do not know, but I can tell you that it leaves me feeling deprived of the full impact of this magnificent symphony. Of the recent recordings, I believe that the Litton/Dallas is superior.