Colorado MahlerFest XIII

Recordings of the Mahler Third Symphony

Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits.
Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them. My inexpert ears tell me that only Abravanel used the Critical edition and the parts that go with it. I find it odd that Adler, who worked under Mahler, Horenstein who is usually to careful, Haitink who has access to many editions in Amsterdam, and other conductors didn’t make the effort to do better with the score and parts they used. For the MahlerFest, maestro Olson is doing his best to reconcile our score and parts with the Critical, where feasible.
Also, an important caveat, sometimes it is the recording engineer who is responsible for instruments not being heard, or being highlighted. Don’t blame the conductor for everything!

DESERT ISLAND CHOICES

Jascha Horenstein, London Sym. Orch. Norma Procter, contralto, boys choir; UNICORN-KANCHANA 2006/7, LP 1970, CD 1988. The Master of Mahler here works magic. The recording does justice to the fine LSO and the reading. I characterize this as noble, not over-powered but certainly not wimpy; jaunty where needed; sensitive. I. Horn opening is good, maybe a little brisk. Very good pick-up of timps and bass drum; low brass excellent. First trombone solo well judged, not too expressive – GM didn’t indicate any expresson here -- yet far from flat. The march segments are rollicking, jaunty, even a little swaggering. The riff-raff section starting at about RN 55 well judged, a little faster but in perfect control. The tattoo on the side drum fades out well, bringing on the reprise, which is strong again. Second trombone solo very expressive, as GM marked. Here, after the trumpet cadences and entry of the horns, the upward riff in the strings is doubled in the horns. Horenstein, Barbirolli, and Abravanel are the only ones in my collection where this riff is heard ff, as GM wrote! It is either absent or too quiet on the others. The coda is magical – slight acceleration but in control and very powerful. All the voices are heard instead of a mush. II. JH treats this with gentleness, it breathes -- a lovely invocation of nature and fields. The section of increased beats is not too fast so that there is no abrupt putting on of brakes when it is over. The ruthe makes one think of the deadly Venus Fly Trap! III. Lovely winds evoking songs of birds. Second section strong but not too much, with a fine extended horn trill. The lead in to the posthorn solos is well judged, and the posthorn, mimicked by the flügelhorn, has a rich, non-trumpet sound. The coda to the movement is perfectly judged, big tam-tam, good trombone, and one hears the tambourine beneath all of that. IV. Norma Procter is a fine musician, perhaps a little over her peak here, with wobble on sustained notes. JH disregards GM’s markings for the oboe, as two-note upward bird call, GM writes “like a sound of nature.” The notes are connected with a slur line, but NOT a portamento line. It may be hard for an oboe to play legato but that seems to be what GM wanted. Here the second note of the series is accented, or seems so, and one clearly hears the key being fingered. Oh well, even the Gods may have a little pinkie of clay! V. The Bimm Bamms are fine, and the boys choir well trained and strong. They articulate well. The women’s chorus is fine and Procter seems better suited to the music, with fewer sustained notes. VI. Starts very quietly, but controlled, not at all hesitant. JH almost never lets the music get ahead of him, he knows how to build tension and feeling, as GM knew how to write it. The strings are sweet, as are the horn solos. The solo violin is very fine. The first climax is good, building well but with finely judged diminuendos and a little rubato. Then the fine brass and the cymbal clash lead to strong timps and horns (stuffed at the end). A quiet trumpet at about 19:28 brings in the main theme, leading to a tutti at 20:30, trombones at 20:39, a good diminuendo at 21:11, leading to the strong timps at 21:47 onwards to the coda, with timps, perhaps a little too powerful and loud. GM wrote here f for the timps, not striving for a Shostakovitch effect. But it must be difficult to be restrained in such a powerful sweep to the ending chord. ALL IN ALL, A MODEL PERFORMANCE, POWERFUL BUT TENDER, NEVER OVERDONE. THIS IS ECHT MAHLER! Some commentators complain of poor playing; I cannot hear any. I am thankful for tin ears!

Takesi Asahina, Osaka Philharmonic O. Kazuko Nagai, contralto; Canyon PCCL: 00344, 1995. This is a remarkable performance — powerful, aggressive, very Mahlerian. Asahina was 85 at this time, having founded this orchestra in 1945, and is still conducting, and thus bettering Mengelberg’s longevity with the ACO. I. Strong opening with great cymbal & low brass, but trombone slide only so-so. Trombone solo very fine, march very spirited. No horns at RN25-5. Second trombone solo very expressive but uses too much vibrato. Third trombone solo better in this respect. Horns are there at RN 67 but not ff. Great coda, observes marking sehr drägend (pushed not necessarily fast) but in good control. II. Tempo maybe a little slow for GM’s menuetto gracioso. Fine phrasing and rhythm. III. Nice winds, forceful aggressive performance. PH/trumpet good but not in distance. Very fine climax with great trombones. IV. Contralto too much vibrato; mezzo voice and not very Mahlerian, too emphatic at points. Weakness of this performance. V. Wonderful! Exuberant, clean. VI. Well judged, deep feeling, so much that TA sings. Great buildup to coda, with fine tempo but timpani too loud.

John Barbirolli, Hallé Orchestra, Kerstin Meyer, contralto, BBC Legends, 40004-7. Recorded in May 1969 for a BBC broadcast, thus not fussed over to correct many orchestral glitches. I. Opens with good horns; trombone portamento at 4:30 good (many conductors gloss over this marking); good percussion and solo trumpet (but some brass players complain here of sloppy playing). At 7:15 fine trombone solo, rich and full, with some edge to the sound. The wind and string march in jauntily; slight problem with trumpets; good string up riff, NO HORNS. At start of Track 4, tambourine is clear, often not heard; the “Mob” is well judged, powerful and not rushed, ending on good tattoo on side drum, fading out to distance. Track 5 begins reprise, very jaunty march at Track 6, At 6:01 HORNS double string riff. Only a few conductors do that! II is, lyrical but not light. JH doubles the beats but keeps the same tempo going, as Mahler directed. III. Good tempo, strong but not heavy phrasing. At 4:11 great climax with brass. Track 9 JH uses a trumpet instead of the flügelhorn and it is too loud, too close. Climaxes and coda to this movement are particularly fine. IV. Contralto OK but has quite a wobble. Oboe and English horn bird calls seem just what Mahler wanted. JB sings too much here. V. Boys are excellent, clear accents and exuberant. Chorus is good and pace is sprightly. Contralto OK but wobbles. VI. Slightly faster than average, but well judged, emotional but not sloppily sentimental. Climaxes well judged, but at coda JB does speed up a touch. Despite some sloppy orchestra playing, this is a very well judged performance, and a delight to hear JB’s sensitive approach.

Bernard Haitink, Amsterdam Concertgebouw, in boxed set, Phillips, Maureen Forester, 1966; also boxed special set of Kerstmatinees (Christmas matinees) from Phillips, Dutch Masters, this 3rd with Carolyn Watkinson, recorded 25 December 1983. While the studio recording (1966) is good, perhaps one of BH’s better endeavors in the integral set, the Kerstmatinee performance is far superior, livelier, more powerful, even better recorded. Comments here mainly apply to the 1983 version. The opening is powerful with strong chords and low brass, goo d trombone slides, first trombone solo very good. No horns at RN25-5. Second trombone solo very good, no vibrato as opposed to 1966 version. Fine growling tuba! Riff raff section clean exciting, not rushed. Third trombone solo good, no horn riffs at RN67. The coda is just a little too fast. II. Very fine, with lovely winds beautiful strings. III. Very good, PH/trumpet good. IV. Ms. Watkinson seems better than Ms. Forester in the 1966 version, who is rather thick. Bird calls good but not legato/slurred as marked. V. Boys and bells fine, as is chorus. VI. Well phrased opening, rich clean strings. BH is more involved here than in 1966, good feeling but not drippy sentimental (as is LB). Big climax handled well with fine pacing, but timpani in coda too loud.

ALSO VERY GOOD (in alphabetical order)

F. Charles Adler, Vienna Symphony O. Hilde Rössl-Majdan, Conifer 75606 1279, 1951 (the first commercial recording). Original recording on SPA financed by Adler and a friend. Adler’s reading, as the only M3 conductor who knew Mahler and worked under him (rehearsals of choruses for No. 8, Munich), has some historical interest. Adler, however, probably never attended a performance of the Third under Mahler. The recording shows its age, and the CD was made from a copy tape, the original having perished in a fire; it is slightly congested. I is one of the slowest, yet does not seem draggy, as Adler knows how to phrase and accent the music well. Opening horn chorus is strong but following chords are not – wimpy engineering?? The trombone has no portamento where Mahler marks it. First trombone solo good, played as Mahler marked. The march is measured but with a jaunty feeling. Later, the march is even more deliberate, where Mahler cautions: "don’t hurry." The riff raff section is good but the recording lets down the inherent strength of the performance; At RN67 there are no horns, which are there even in the Dover. The coda picks up a little momentum, powerful and well controlled. II Average tempo, played cleanly. Follows GM’s tempo markings well, e.g., does not speed p when meter doubles. III. Perhaps a little stodgy. PH/Trumpet well played but certainly “not in the distance.” IV. Contralto very good, oboe bird calls seem just right. V. Good but not as sprightly and joyous as should be. VI. Noble, very slow. Builds up to a fine coda that seems just right. Worth listening to not only because of historical interest.

Maurice Abravanel, Utah S. O., Christina Krooks, Vanguard Classics, 4005/6, 1969, one of MA’s best. Recorded in the Tabernacle, so much reverb yet sound is rich but also clear. I. Broad opening, but with less ‘snap” than most others. Uses horns at RN25-5, observes the three harp glissandi in the Critical edition, and the ff horns at RN 67. Marches have nice accents. Trombone solos very good, maybe a little too smooth — could have used a little more edge to the tone. The big march riff raff section very measured but very effective, wonderful flutes & piccolos. March in reprise almost spooky, and goes into coda well, observes some acceleration but mot too much, maintains good detail. II. A little too slow, not menuetto. MA holds tempo well when meter doubles, as GM asks. III. Good tempo and rhythm, PH/trumpet very good, as if in distance. Fine horn riffs. Second climax big with horns and trumpets. Coda has fine brass. IV. Contralto ok, a little vibrato. Oboe bird calls good. V. Boys and bells good, contralto OK at start, gets better. Fine trombone solo. VI. Fine opening, good phrasing, good string intensity, fine horn. Climax good, very good broad buildup to fine coda, with perfect timpani and amazing organ-like brass. BEST BUY if found as stand-alone set.

Leonard Bernstein, New York Phil, Christa Ludwig, contralto; DGG 427328-2. 1986. Many Mahlerites consider this to be one of the top ranking. Well, for me, yes and no. Its strengths are that the orchestra plays well, Bernstein has a good grasp of the structure (except when he is being Bernstein), and doesn’t indulge in too many of his willful exaggerations. On the other hand, the recording lacks clarity — much of the quiet percussion — tambourine, triangle, etc.— are nearly inaudible, and sound is at times harsh. Bernstein’s first recording, also with the NYPO, Martha Lipton, contralto, has the same faults but is even somewhat dimmer in sound, and is somewhat less convincing. I. The horn opening is impressive, as it must be. The slow introduction of timpani, bass drum, etc. is very effective. The long trombone solo is well played and, as Mahler indicated, nearly straight. In the reprise, Mahler provides many expression markings for the trombone and they are carried out well. The tone is solid and rich. The build up to the coda is good but LB speeds up too much for my taste. II This is lively, perhaps a little too much in the faster sections where the metric doubles but Mahler writes, keep the same tempo! LB cannot do this. III. Nicely played, with fine winds doing bird calls. Trumpet does fine posthorn solo, moving gradually closer. IV. Christa Ludwig is her usual splendid self. Accompaniment excellent, oboe and English horn bird calls fine, not exaggerated. V. Children and women’s chorus fine. Ludwig again is perfect. She understands this music. VI. This is where LB shines, if one likes his heart on sleeve approach. — emotional, lots of feeling, glowing brass. LB makes a meal of this but goes too far for my taste. LB’s first recording is some 3 minutes faster and to me less satisfactory.

Kirill Kondrashin, Moscow Phil, Valentina Leuko, contralto, LYS 521-526 1961. This is a special box of Symphonies 1,3,4,5 and 9, at special price of $12 (plus shipping, another $12). I. Opening good, the following chords sound a little congested. Good bassoons and wonderful double bases and low brass. Some surprising details. Kondrashin’s trombones make the most of their portamentos. First trombone solo, a little too “Russian,” (vibrato). At RN25-5 the horns may be there but if so are in the background. The riff raff section is exciting, big battery, piccolo, side drum. Second trombone solo has too much vibrato where GM asks for “expressive.” Coda good. II. Well played, not rushed. Some lovely string details. III. Slightly brisk, good horns. Posthorn/trumpet too loud, followed by a section that seems too frantic. IV. Contralto is very good, dark but not mushy voice, singing in Russian. Oboe/English horn bird calls right on. V. Boys sing Bimm Bamm, German, but rest in Russian. Good bells, chorus very good. Well done. VI. Fine phrasing, richly sonorous, the final coda is very good.

Raphael Kubelik, Bavarian radio S. O., Majorie Thomas, DGG Box Set, 429 042-2, 1967. The opening is a little brisk, but good. Too much vibrato in first trombone solo, also second. Kubelik has horns at RN25-5, but not at RN67. Riff raff scene good with great tuba, works well. Third trombone solo has less vibrato. Strong timpani at coda, good trumpet, but maybe too fast. II. Rather measured opening, not gracioso, but nice phrasing and pastoral feeling, good coda. III. PH/trumpet good, played as if in distance, lovely coda. IV. Bird calls good, contralto pretty good. V. good, comes off well, nothing remarkable. VI. Well phrased, warm but not sentimental, good climax. Build-up to coda well paced, correct dynamics at end. BEST BUY if found as stand-alone set.

James Levine, Chicago S.O., Marilyn Horn, RCA RCD2-1757 (look for in cut-out bins), 1976 with excellent notes by Jack Diether who explains Mahler’s changes of mind of trumpet, cornet and flügelhorn. I opens well with good horns and big chords, but not enough “punch.” The recording seems a little distant but with some surprises, e.g. at 5:56 a wonderful contrabassoon grunting away. The first trombone solo is rich and full and has typical Chicago brass edge, almost raucous. I love it. The march is jaunty leading to the trumpet figures, which seem recessed. The string riff (no horns) could be stronger. Fine tuba playing starting at 20:25, At 29:43 the string riff is doubled with horns. The coda is good, not rushed. II. Great oboe opening (Ray Still?). JL holds tempo well when beats are doubled. III. Posthorn properly in distance, but played by trumpet with a hat for mute, and from the balcony, as explained by Diether. Coda fine, well judged, not rushed. IV. Ms. Horne is just OK, I never was a fan. Oboe, English horn bird calls OK, not as legato as could be (see Solti version below). V. Children very accented and clean, and chorus fine. Again, Ms. Horne just OK. VI. Levine is rather slower than most and does seem draggy. JL must have had good time as he grunts audibly at 16:00. At 25:00 timpani come in with rich tone that Mahler stipulated, and at correct f dynamic. Levine’s coda is one of the best, just as GM wrote it.

Giuseppe Sinopoli, Phiharmonia Orchestra. Hanna Schwartz, DGG 447-051-2 1944 (hard to find). Opening is rather brisk with some good details in tam tam & low brass. Trombone slide so-so. First trombone solo good, big tone, well controlled. March Ok but jaunty. No horns at RN25-5. Second trombone solo expressive, as marked. The riff raff section is more disciplined at first rather than unruly but then does get a bit raucous later. Third trombone solo very good, very expressive, fine bottom notes. GS does allow himself a little too much retard just before last march and then takes the coda too fast, II. A little too slow, but with nice phrasing. III PH/trumpet plays loud, in distance, what GM wanted. Rest of movement OK. IV. Hanna Schwartz is excellent. Is she a granddaughter of the Gustav Schwartz who colluded with Mahler to persuade Bernard to send young Gustav to conservatory in Vienna? De la Grange remarks that Gustav Schwartz’s daughter was an opera singer. I wrote to Hanna (whom I admire very much as Fricka and Brangäne) and her reply showed that she misunderstood my question. Worth following up?? V. Good, nothing special to remark on. VI. Also good, nice feeling and phrasing, good climaxes, good coda with fine brass and rich timpani.

George Solti, Chicago Symphony, Helge Dernesch, London Box Set, 1982 (1968 with LSO, a little slower in all). I. All in all, pretty good, fine brass but trombone solos maybe too much vibrato. Riff Raff good but not outstanding. Coda maybe too fast with lack of detail. II. Pretty good, nice atmosphere. III. Brisk, good PH/trumpet but not in distance. Good coda. IV. Dernesch is excellent! Fine horns. Very good oboe (Ray Still?) who knows how to play slurred/legato, without squawking as in Rattle, nor almost detaché as in most others. Excellent solo violin — best played in any of these sets. V. Boys good, very clear, good accents, bells OK. Chorus very good — the CSO has always been outstanding.. Dernesch is very fine. VI. Fine opening tempo and phrasing, seems slower than it really is; Levine’s later recording is drawn out six minutes longer. Ray Still’s oboe is outstanding. I would say that the tenderness and laid-back approach in the middle section is not typical Solti — good for him to be so sensitive. First climax is Soltian. Second climax & build-up to coda very good. Coda is a little accelerated, but timpani are right dynamics.

Klaus Tennstedt, London Philharmonic, Ortrud Wenkel, EMI Classics, box set, CMS 7644712, 1979, one of KT’s best, for my taste. I. Good opening, very fine lower strings. Trombone slide OK. March very good, followed by fine first trombone solo, lots of edge to tone. No horns at RN25-5, neither at RN67. Second trombone solo little too much vibrato. Riff raff march not as impressive as most others. Third trombone solo also too much vibrato but ends on fine double bass note. Final march very good, coda good and not too fast. II. Good, but lets tempo increase at meter change, but not as much as Bernstein. Some nice playing and phrasing but not as GM marked, very moderate. III. Nice tempo, good phrasing, PH sound sounds like a flügelhorn, nice rich tone, in distance. Fine piano bass drum! Good climax with fine horns and good coda. IV. Wenkel is an outstanding contralto, one of the best, rich voice, a fine upper register, maybe a touch of vibrato. IV. Very good boys/chorus and bells. VI. Good tempo, moves along but with feeling & intensity. First climax good, second very good, and fine coda with rich tone to the timpani, not too loud.

Some afterthoughts. The new Simon Rattle is well recorded. My pianist friend says that it is well voiced, that is, Rattle knows how to make the melodic line clear. But, I find his incessant tempo changes annoying. His oboe/English horn in IV sounds like a peacock having its neck wrung! Horrible! The 1987 Michael-Tilson Thomas with the LSO is good, but his newer essays for San Francisco are far superior. If you like MTT, then wait till a new performance is released.

Klemperer and Bruno Walter almost never played the Third, surprising for Walter considering his own personal experience with this work when he visited Mahler at Steinbach am Attersee.

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