Recordings of Mahler Symphony No. 5
by Stan Ruttenberg, President, Colorado MahlerFest
This review will commence with the historic recordings - Mahler's own piano roll of the first movement, Mengelberg's recording of the Adagietto and then Bruno Walter's 1947 78-rpm recording, now on CD. These set the stage, so to speak, for consideration of the more modern recordings. Not all available recordings will be discussed, only those which I personally feel have some special merit (or demerit).
Mahler Piano Roll, First Movement
I use here the recording contained in the CD "Mahler Plays Mahler," Pickwick GLRS 101, produced by Gilbert Kaplan, with as much research as available into the actual play-back mechanism to reproduce as accurately as possible the recording condition. The CD booklet is a valuable source for information on the Welte-Mignon piano recording mechanism.
On November 9, 1905, Mahler entered the Leipzig studios of the Welte & Söhne company to record four of his works. While Mahler no doubt wanted to make sure that posterity could hear his own interpretations, he also may have been motivated by his interactions with Oskar Fried in the preceding days, when Mahler had to admonish Fried for taking much-too-fast tempi for the Second Symphony. Mahler wanted to make sure that at least some of his works represented the composer's own ideas. It is our great loss that Mahler agreed to only this one recording session; we also have to remember that Mahler had not prepared for this session, as far as we know, and his performances were essentially impromptu and it is thus dangerous to read too much into his tempi. Mahler marks the opening as "In marked tempo, strong, as a [funeral] cortege." Mahler titles the movement Trauermarsch, funeral march. After some cursory research into the other scores I do not find a singe other movement of a Mahler symphony marked "funeral march," notwithstanding that that character is clearly evidenced in 1, 2 and 6. Mahler's opening is indeed deliberate, but Mahler himself departs from his score, e.g., his first five triplets (trumpets in full score) are even and deliberate, but the fifth set, rising notes, is noticeably faster. The triplets for full orchestra starting at measure #15 are faster also. From here on it is not useful to discuss details but the listener, especially following a score, will be astonished at how Mahler handles the tricky counterpoint, the string tremolos, the timpani & bass drum rolls, etc. At 12:50 this rendition is slower than the norm, so Mahler's admonition to Fried makes general sense. Too many conductors rush Mahler and rob the music of its nobility and inevitability. Having said that, however, we must make allowances for the Adagietto, which Mahler himself conducted faster than any modern conductor.
Adagietto, Willem Mengelberg, Amsterdam Concertgebouw Orchestra, 1926
The recording is rather old and noisy and details are lost, but one can hear clearly that WM inserts portamenti in many, many measures. However, he does not make a meal of the ONE portamemto (glissando) that Mahler marked, at RN 3. At 7:05 (on my CD whiuch cuts off the last momenmts, listed as 7:25 in Fülöp), this does not feel rushed, as it is played with great feeling, as if WM himself were himself writing Gus' love note to Alma, the love note that WM asserted was the intention of this movement.
Symphony Recordings
Bruno Walter & New York Philharmonic, SONY SMK 64451, 1947
First Movement - Wie ein Konduct. Opening is deliberate. However, Walter's trumpet payer ignores the dynamic markings, i.e., p for opening note then crescendo to sf on the long note. Most conductors seem to let the trumpet player do what he/she wants, regardless of Mahler's markings. Pity, as it does make an even better effect when played as written. Except for that the phrasing is good and we hear a fine sf on the long notes after the triplets. In the first upward passage the notes are staccato and the temp is maintained, as marked, notwithstanding Mahler's own speeding up at the first upward moving passage. The trombones and horns sound out well, in quite good sound for this vintage recording, skillfully re-mastered. At RN 3 minus 7 and 5 the celli are nicely staccato as marked. The descending trombone passage at RN + 16 is excellent, At RN7 Walter gets "wild," without overdoing it into a frenzy. The rest of the movement proceeds as marked. While it is dangerous to say this, I can believe that this might have been the way Walter heard Mahler do this movement - everything in its place, nothing neglected nor overdone.
Second Movement - Stürmish bewegt. Mit grösster Vehemenz. In a recording from 1947, one cannot expect the dynamic impact of grösster Vehemenz yet Walter manages to convey the spirit. The horns and trombones spit out their staccato notes and the vehement effect is there.
However, the two little retards at the very opening measures are ignored, though Mahler explicitly explains their purpose. But then, what does he actually mean? He marks rit over a half note, then a tempo at the next note. He explains that there should be a little pause (kurzes Anhalten) after the half note so as to make more marked the following one. Why not mark a luftpause? A 1/16 rest? It seems that this instruction is so obscure that few conductors try. Not a single conductor I have heard (maybe 22) actually takes a pause, however slight. It just might be a dramatic effect, as Mahler evidently wanted, but it is yet to be heard. Barshai lengthens the half note slightly, perhaps the most of all; others who make at least an attempt are Neuman with the Leipzig Gewandhaus, Leonard Bernstein with the Vienna, Herman Scherchen with La Scala, Chailly with the RACO, and Klaus Tennstedt with the new York Phil. All others simply play right though.
At RN 9, back to Tempo I, the vehemence is there again in most of the brass, but at RN 10 - 4 the trumpets wail (legato) rather than play accented as marked. Unfortunately in the great passage leading to the first chorale, about RN 29, the harp is buried so we do not hear those Mahlerian glissandos. The chorale is well paced. The harp does appear in a quieter passage at RN 33.
Third Movement - Kräftig, nicht zu schnell. Mahler feared that this movement would be spoiled by conductors taking it too fast. Walter does it in 15 minutes - the fastest (there is a Scherchen CD at under 6 minutes, but it is severely cut.). The norm is around 18 minutes. This movement is the closest Mahler ever came to writing a concerto - there are many beautiful and extended horn solos. Interestingly enough, Mahler marks the solo horn in Italian Corno obligato in F. The horns are fine here, and Walter knows how to get the waltz flavor in the strings. This is too beautiful a movement to break up into details, so I will leave it that the NYPO plays it excellently, and the solo hornist was unflagging (of course at 78 rpm he did have many rests!), having some 31 (!) solos, as I counted them, or sequences of successive measures with no more that one bar of rest.
Fourth Movement - Adagietto - Sehr langsam. Walter comes in at 7:35 just 20 seconds faster than Mengelberg. Mahler's timings were reported to be around 8 minutes but in the 7 minute rages for a performance in St. Petersburg. Walter plays this very tenderly, without milking the phrases, but inserting many gentle portamenti where none is marked. In fact, in my Dover score, corroborated by the "critical" edition, there is only one, at RN 3. I like it best played in the 7-8 minute range; perhaps stretching it to 9 minutes is OK, but to me anything longer than that can seem dragged. Some conductors, however, see below, manage to make it sound lovely and tender at even longer duration.
Fifth Movement - Allegro, attacca. Walter takes this at a jaunty pace, the opening held notes followed by spirited horns and winds. The unison brass chords at RN 4 + 12 & 16 are impressive, repeated at RN 13 - 4 and at RN 13. The strings have a fine upward run at RN 12 - 6. The trombone solo at RN 13 + 3 is clear and what I like to call the quacking duck (oboe) at RN 13 + 8 is quite clear and well articulated. Walter moves right along, but never rushed, and at last, my favorite little passage just before RN 29, the lower strings digging in, marked moto f and then the swirling klesmer-like clarinets. I gasped when I first heard this passage in 1948, and insisted that my friend repeat that 78-rpm side over and over again. If a conductor does not do this passage with elan, no matter what else is brilliant, I hold it against that coward forever! The reprise of the chorale heard in II appears At RN 33 + 7, marked fff Pesante and it must be played all out. This recording doesn't do Walter justice. Then, a slight rit and then accelerando & allegro molto to the end, with the delicious wind swirls and a joyous ending.
In summary, all Mahler Fifth lovers should have this CD!
Rudolph Schwarz, London Sym. Orchestra, 1958
This was recorded using 35-mm magnetic tape and issued on LPs. I have always liked this recording, and was pleased when I saw a CD issued on the "Originals" label. That CD, however, had unsatisfactory sound, so when Everest remastered it using super bit mapping I snapped it up. Here is my current impression;, after so many years I still find this the most satisfactory account of the Fifth that I have ever heard.
First Movement. The opening trumpets are sharp and clear, in almost perfect observance of the score beginning at p. The bit tutti at measure 14 is full and clean. The trombones are beautifully articulated at measure 21 et sequia. Behind the descending horns 8 measures before RN 2, one can hear the clarinet clearly. Many details are beautifully heard in the following measures clarinet and bassoon behind the strings, cellos behind the ominous trombone chords, etc. The tuba is voiced well behind the second set of trumpet triplets. At RN 3 + 16, the descending trumpets and then the blazing trombones are impressive. Under the third set of trumpet triplets, at RN 4 - 9 the descending string figures are clean and clear, followed by clarion trombones just before RN 4. The lovely flute solo starting just before RN 5 is underpinned by clear tuba. The second main theme at RN 7 starts suddenly, good contrast in tempo as Mahler calls for, but not too fast. Very impassioned playing here. The trumpets wail but are not overdone; trombones and tuba edgy, horns blast out, strings masterfully playing their runs, etc., and the tuba solo at 4 before RN 12 is impressive. The recap and coda and particularly fine, with well articulated triplets, fine col legno on strings, ominous bass drum rolls, the ascent on flute and the final pizz.
Schwarz gets tension in the brass yet yearning string playing, fine percussion, well-prepared crescendi, and all in all achieves the best concept for my money of I. The incomparable LSO of those days matches his drive and concept.
Second Movement. One cannot hope for a more vehement opening in the cellos and then the sharp cry of the trumpets at measures 3-6, followed by the staccato trombones, but the two little retards are ignored. Again, measures later, the tuba fills in the bottom range solidly. At RN 5, the staccato winds announce a change in tempo and a few measures later the cellos begin a solemn lamentation with beautiful winds and as fine clarinet obbligato. At RN 12 - 24 the cellos begin a beautifully articulated slow passage, underlain by pp timpani roll. The theme is taken up by horns marked espress. A magnificent contrast to the preceding turmoil. There is no way words can describe the overwhelming effect of a sensitive conductor and an outstanding orchestra in the passages starting at RN 27, leading to the two magnificent chorales, a joyous outcry in D Major, ending in the fine horns at RN 30 - not overdone, but perfectly voiced and magnificently recorded. Schwartz never overwhelms with sheer power, but the power and tension is there, in a perfectly balanced rendition. I use the word "perfectly" advisedly for there is no way to measure such an accolade, but for me, hearing how this passage plays, I cannot imagine anything more satisfying, and that to mean spells "perfection." If I had a wish to make this rendition ever better, I could ask that the engineers had better pick-up of the harp, the glissandos of which got a little lost at the measures following RN 27. The ending measures are truly magical, measured, pointed, with a lovely tuba solo 3-4 measures before the final timpani note.
Third Movement. Again, beautifully voiced and phrased, with outstanding horns and solo horn (not too loud but balanced nicely). Schwarz captures well the Viennese flavor of the rhythms and at RN 6 goes into the etwas ruhiger section with good feeling, observing the many portamenti tastefully with a few judicious rubati (not marked but tasteful). The pizz passages following RN 11 are done delicately, with fine winds (bassoon, oboe, clarinet solos) and sensitive phrasing. Mahler's uncannily multi-thematic writing is done justice here, with inner voices clear, but never obtruding. Schwarz observes the two luftpausen delicately but surely, and deftly gets back into Tempo I at RN 30+ 8. He carries forward in complete control and steady tempo till the end.
Fourth Movement. Schwarz observes the pacing adopted by Bruno Walter. Mahler sprinkled caesuri liberally through this movement, but few conductors, Schwarz included, observe them. And most conductors add portamenti where none is marked - there is only one, at RN 3, marked ppp so it should not be overdone. The LSO does it beautifully and proceeds to the morendo, lang ending with excellent control and phrasing. This is a model of how this movement can be played with plenty of feeling but not overdone or milked.
Fifth Movement. Schwarz is one of the 9 conductors listed in Fülöp, 1995, who are in the 16 minute range - Barbirolli at 17:20 and Solti at 13: 30. For me the timing is not the only measure of this jubilant movement, it is the phrasing and the tension that counts as well. Mahler directs Allegro at measure 3 but Zogernd at measure 7, and this is what Schwarz observes. Mahler also admonishes frequently nicht eilen. I let this movement play through without stopping to type in comments, so as to get a good feel for thew whole structure. Schwarz and the LSO is anything but laggard, even though they are perhaps a minute slower than the norm. The voicings again are superb, everything in the complex passages in its place, no overdrawn voices, the oboe quacks nicely, the string playing leading up to the clarinet swirls at RN 29 excellent, the chorale before the coda nicely judged, and the last few bars controlled but as joyous as I could wish for.
This is a recording, concept and execution that ranks as high, for me, as I can imagine. As a footnote, Horenstein conducted the M5 with the LSO shortly before Schwarz recorded it, and it is sometimes written by people who should know better that therefore the Schwarz represents JH's take on this symphony, which he never recorded. He did play it again some time later for a BBC broadcast, which has been preserved in an amateur recording off the air and can be heard in London at the Barbican Library of Recorded Music. To my ears, that JH performance is miles apart from Schwarz's reading. JH also performed the M5 with the Berlin Philharmonic at an Edinburg Festival, which was later broadcast in Germany and France, but the broadcast tapes seem to be lost and the only tape of that performance known to exist is a very poor amateur recording.
Rudolph Barshai, Junge Deutsche Philharmonie, 1999
First Movement. The opening is certainly very good, high marks to the young musicians and the trumpeter who observes the p. The phrasing and accenting is not quite up to the Schwarz, but that is asking a lot. The trombones do not have the edge of those of the LSO, especially at RN 3 + 17, but that is asking a lot. Few trombone sections can match the trombone edge of the LSO in the 1950s, which maintains that kind of playing from their days under Albert Coates in the 1930s, and that of Mengelberg's Concertgebouw of the 1930s. A bygone era, I fear; I am told that in those days trombones were of narrow bore, and easier to sond with an edge, whereas nowadays trombones have larger bores and are more mellow. At RN 4 the strings do not have quite the power or phrasing of Schwarz And Barshai neglects to observe Mahler's marking etwas gehaltener. A nice touch is the observed portamento in first violins at RN 6 + 7, but there is an added portamento a few bars later. RN 7, suddenly faster, is handled well and the trumpet is excellent. The voicing of the brass is not as clear as in Schwarz, but perhaps that is an engineering artifact; in fact, I find that this recording is not as crystal clear as I like, a little too much hall or added reverb. On the other hand the big tuttis, even though slightly congested, have more impact, possibly owing to the difference between digital and analog recording; the dynamic range limitations of 1958 may have limited Schwarz's letting the orchestra play full out. In addition, the loudest passages get congested, perhaps as a fault of the recording venue. There also are, now and then, mistakes in observing Mahler'' dynamics, especially in the brass, e.g., the trumpet at RN 18 8 is too loud, marked only one f. Trumpet is properly pp a few bars later accompanied by excellent string col legno. The timpani rolls at the end, however, are better than in Schwarz, which are too loud.
All in all, a remarkably good rendition. It speaks well for Barshai and his young musicians that they can approach so close to the old LSO under Schwarz.
Second Movement. Quite good opening, vehement but not as quite as in Schwarz. Barshai, however, makes a good attempt to observe the little ritt markings which Mahler explains are only momentary to drive toward the following chord." But he does not pause, instead he simply lengthens the half notes. The following attacks are sharp, perhaps not quite as sharp as Schwarz. At RN 10 - 16 and following, the timpani are not as sharp as desired; later the trombones not as brazen as needed. The cellos before RN 12 are quite fine, and Barshai does observe the drägend and crescendo at the end of the cello solo. The vigorous development is vigorous enough, but, alas, the hap gets lost in the background in the passages leading to the two great chorales. The second chorale is fine indeed but some of the thick passages in this section suffer from loss of definition, not Barshai's intention I am sure. The trombones redeem themselves with their sharp chords in the passages following RN 30. There is a GREAT tam-tam at RN 32 + 6. And it rings as marked. The strings, especially the lower strings, acquit themselves with honor in the coda, there is a soulful tuba solo, and the final timpani, which Mahler directs to be well tuned!, Is fine.
Third Movement. The horns open well, and the horn solo, trumpet and trombones are also well played, and in accordance with Mahler's markings. Barshai captures well the Viennese spirit. At RN 11, the JDP does very well indeed on the pizz passages, almost making their instruments sound like mandolins. The bassoon obbligato is good, the oboe plays maybe too loud and is not "timid" as Mahler indicates. No comment until RN 29 + 19, where Barshai observes very nicely the luftpause. In the intervening passages all goes very well. RN 31 - 12 Mahler marks sehr wild and Barshai and his young musicians give it their all, without losing control. The reverb after the last chord takes about 4 seconds to die away, indicating the very live acoustic of the recording hall.
Fourth Movement. Very expressive playing - Barshai turns many slurs into portamenti and ignores the "breath marks," as does everyone else thus far. The one portamento at RN 3 over the harp arpeggio, is well executed. One would not realize that Barshai is one-half minute slower than Schwarz, so nicely is this played.
Fifth Movement. Opening just as marked, then spirited interplay with winds and horns, then fine strings. Barshai keeps moving along, never rushed, steady tempo except when Mahler marks otherwise. The oboe quacks right on, trombones are good and then strings sing grazioso. At RN RN 24 + 11 the bass trombone and tuba play a fine chord that cuts through well. Just before RN 29, my touchstone for this movement, the strings do dig in nicely and the clarinets swirl, but here I give a slight nod to Schwarz. The coda is very fine, leading to a Bravo from the happy audience, which was remarkably quiet, no coughs that I could hear.
While I give second place to Barshai behind Schwarz, this is a good commendation, as highly as I think of the Schwarz. Some of the differences I note may well be due to the different recording styles and locations, but either of the two Rudys is a most satisfying performance.
Ben Zander, Philhamonia Orchestra, 2001
First Movement. As Ben says in his discussion disc, the Philharmonia trumpet player does a fine job in the opening, observing the opening p and with good sfs on the half notes, good accenting. The tutti is fine with clean sound. Trombones and horns, marked ff, are not heard clearly behind the trumpets marked f, perhaps an artifact of the sound engineering. The first main theme on violins at RN 2 is lovingly played with, as Ben comments on in his talk, some light rubato so that the phrases "breath." Very nicely done. The lower brass buzz wonderfully at RN 3 + 7 & 8. Descending trombone figures 9 bars later are not as prominent as I like (Schwarz), but again the comparison with Schwarz may be mainly in the engineering. The reprise (with variations) of the main theme is good and the winds enter with a fine flute solo. I like it very much when the tuba, even though marked pp, is clearly heard - a most Mahlerian touch. The damped side drum is very effective and clearly articulated. The section marked wild at RN 7 is very well played and recorded with many inner details audible. Back to Tempo I, the brass are particularly fine, with a fine tuba cadence. If the Barshai had been recorded as well, his reading too may have been as satisfactory. The coda attains the right mysterious atmosphere but the final pizz is perhaps too loud, with clearly audible snap of the strings against the wood. The dynamics are open to interpretation, I suppose, with the only previous marking being pp, but with an sf at the end. Is this a dynamic indication or merely an accent? {Mahler did use an sf indication in passages in other works which were clearly marked p or even pp.) However, enough nit-pickling, this first movement is marvelously well conducted, played and recorded.
Second Movement. The opening is vehement enough, but Mahler's strange instructions at measure 2 and 4 are not observed. At RN +5 the cellos enter with their mournful melody; here the oboes are p (from the preceding marking) decreasing to pp, but they seem too loud - the engineers again? In measures 6 & 9 after RN 6 the oboes seem just right and the decrescendos are taken nicely. I find the brassy development leading to RN 27 somewhat tame, where Mahler marks wild. However, the outbreak with stirring brass chord and harp glissandi are very well heard, and magnificent. Th second outbreak, climaxing at RN 29 - 1 (Mahler writes "climax") is even more impressive, the slight broadening out of tempo working well. The horn's diminuendo is quite under control, leading into the passage at RN 33, a quite mysterious entry into the coda. The final trombone damped chords from measure before the close are beautiful and the tuba properly mournful. This is quite a fine reading and performance.
Third Movement. The opening is lively, excellent horn playing, but perhaps a little too "straight." I don't get much Viennese feeling here. However, at RN 6, Zander does start to let the music breath more clearly, with excellent portamenti in the strings, as marked. RN 11 starts the pizz section. Here, Mahler's markings are well observed e.g., several rits, changes in dynamics, all to fine effect. At RN 14 + 11, the tempo again slows to molto moderato and Zander does slow markedly. A few bars later Mahler wants the tempo to gradually increase back to Tempo' I and Zander speeds up but perhaps faster than he started the movement. Later Mahler admonishes "Don't hurry" which Zander appears to interpret as speed up some more. I feel it is a little too fast here, and that the slapstick loses its sharp rhythmic interjections. Just after the slapstick Mahler wants a little "push" and then back to tempo I at RN 17. This time Zander does get right back to his starting tempo and the solo horn enters powerfully. Nothing but praise for how the rest of this joyous movement goes. Zander lets it rip and the orchestra is fully up to it.
Fourth Movement. At 8:33 this is not too slow. While a few extraneous portamrnti were allowed, or perhaps asked for, the strings observe carefully the caesuri; one can hear the start of a new bow stroke after each. BRAVO! After all, if this is a "song without words," as Mengelberg claimed, there have to be breath pauses. Even the tenuto markings are observed. Zander does it meticulously and excellently.
Fifth Movement. The CD says this movement is 16:03; my CD player said that the music stops at 15:53. A nit, it is true, but that places Zander's timing closer to the average. I think that he achieves all the joy and ebullience needed at that timing. It is hard to stop and start this movement, so relentlessly does it press on, so here are only some impressions. The opening is jaunty enough; the brass observe well their dynamic markings and have plenty of punch. The strings are beautiful; the oboe might have quacked from less of a distance. The build-up to the klesmer clarinets is fine and the clarinets swirl as at an eastern chassidic wedding. Zander observes the tempo changes, with one exception - at the second big chorale entry, Mahler marks "somewhat held back," but the orchestra presses right through it. I like this big moment held back as marked; even a slight exaggeration here doesn't hurt, as this moment too is a climax, as Mahler marked in the second movement. In his talk Zander remarks how the music doesn't end with a blazing chorale but sprightly, as if a joke. I agree, and he brings it off.
This is a most well thought-out conception, beautifully executed by a first rate orchestra, and quite well recorded. I find it a touch more responsive and closer to the spirit Mahler seems to have intended than the Barshai, but maybe not quite up to the power of the Schwarz.
All three of my top choices - Schwartz, Barshai, Zander - are first rate, all have their very strong points, and all are worth having.
Brief Reviews
Herbert von Karajan, Berlin Philharmonic
DGG "The Original" with image bit processing. First issued 1973. Recorded when HvK was not yet fully ossified, this is not too bad, in fact, it is mostly quite acceptable. Playing is exemplary, as one expects from BPO, but little "heart." Von K. tends to 'slide" into a big tutti instead of really nailing it. First movement has plenty of punch, and the trumpets observe the dynamics carefully, i.e., p and getting louder, not usually observed. Second movement tends to lag in spots. The big outbreaks into D major, however, are splendid, especially No. 2! Third movement has dash and bravura, with fine horns, as to be expected. HvK drops to a crawl at the lead in to the coda and then takes it at a breakneck pace. Adagietto seems protracted at almost 12 minutes, but it is not dirge-like. He simply takes his time, milks the phrasing, and introduces spurious portamenti, which he doesn't distinguish all the time from a simple Iegato. The harp arpeggio and the ensuing sole portamento are good, but then he really drags on to the end. Fifth movement is OK, perhaps a little less perky than I like. Clarinets swirls just OK - they get the notes but not the spirit. The D-major chorales are just OK; the coda is better, with fine trombones very clearly heard.
Riccardo Chailly, Royal Amsterdam Concertgebouw, 1998
Quite well played, good sound, doesn't rise to any heights, but also neither does it sink to any lows. First movement not too rushed, trumpets are good. Second movement lacks bite and vehemence. Third movement nicely played, horns are excellent, coda is properly exciting without getting out of hand. Fourth movement is somewhat protracted at about 10 minutes, but at least Chailly and the highly experienced RCA knows the difference between portamento and legato. Fifth movement is perky, the lead-in to clarinets swirls is very good and the clarinets are just fine. The broadening out of the tempo at the D-major chorale could have been more impressive.
John Barbirolli, New Philharmonia Orchestra, 1980, re-issued ON e I Great Recordings of the Century
Sir John is slow, deliberate and noble. He knows how to do this without dragging, or being turgid, but it just may not be everybody's cup of tea. To enjoy this reading, just relax and slow down your inner clock a few notches. The music flows inexorably, and you won't notice the actual speed. The playing is full of wonderful felicities with good voicing, and is very well recorded. The first movement is a stately funeral march, with plenty of rubato, which I find that he handles with good taste. His orchestra knows how to read the score - the opening trumpets are p then crescendo, as written; the upward figure later is quite well accented, as written. The closing string pizz is not a "snap". The opening of the second movement could have had more snap but is strong nonetheless. As Sir John begins at a slower than usual tempo, he must slow down even more for sections Mahler wanted slower. He makes up for it by some outstanding touches, e.g., two perfectly unearthly horn howls at about 9:32 - not to be heard like this on any other recording. The first D Major outbreak at 12:12, with glorious harp glissandi, is splendid, and the second, with fine horn and trumpet passages leading to it, just after 13:00 is held just right. The third movement is very Viennese, as were his "Viennese Nights" programs. The horn playing is splendid, not bravura but in very good taste and very well phrased with careful attention to dynamics. The slower section at about 2:30 is in excellent taste; the portamenti taken very lightly but clear. No need to go on, this movement is a gem, and Sir John's reading, by no means even near the slowest on record, certainly is in accord with Mahler's wishes for it not to be rushed. The Adagietto, at just under 10 minutes, is tender rather than maudlin. Sir John lets a few portamenti slip in, but they are gentle and not too many, and I do not hear the "breathing." Fifth movement is slower the most - There can be "slow" joy and I believe that Sir John achieves an uplifting performance without speed. My special passage ending with the klesmer clarinets is just fine even at Sir John's very measured pace, in fact one hears more at this pace. At 15:48 the D Major chorale is fine, and its repeat a 16:30 is good, but perhaps not broadening out as much as I like. The final few bars are exuberant, even at a slower than normal tempo.
Frank Shipway, Royal Philharmonic Orchestra, 1997, Tring, TRP 096
Most of know who are the Royal Philharmonic, but few know who is Frank Shipway. He has conducted widely in Europe, also in Japan, and in Cleveland. The notes say that he has recorded but I think that this is his only Mahler, and he certainly know how to conduct it! The sound is very good, the orchestra fine, and Shipway is energetic. The opening trumpet figures match the score markings, and the movement moves along with vigor. The opening of the second movement fails to observe the two rits and the ensuing big chords are not spit out as in the Schwarz. The slow section is perhaps a little too slow and Shipway's slows to a walk for some passages. The D-major outbreaks are good but not as exciting as some. The third movement is bright and has some Viennese flavor, albeit slightly faster than normal. The second theme enters very tenderly, with good portamenti. Shipway closes with a rousing coda. The fourth movement is rather slow, but tender, not overwought or funereal. Mostly the strings observe the legato markings without making them into portamenti, but many of the caesuri are ignored. The big climax at just after 11 minutes is powerful but still tender. The fifth movement is spirited, faster thasn many, good brass, but Shipway just plays through the klesmer clarinet passage and its wonderful lead-in and also the two big D-major chorales. The coda is brilliant! This CD is hard to find but at a cheap price is a worthwhile addition to any Mahler 5 collection.
Gilbert Kaplan, London Symphony, Adagietto only
It is difficult to judge the dynamics here, without any other movements. Kaplan lets the LSO indulge in a few very gentle portamenti, but some passages that sound like a portamenti are really grace notes.
Until the last 10 measures, all the dynamics are ppp to p, at least if we do not count sf. Is this also a dynamic marking? The bottom line is that this is a fine rendition, much tenderness, some expressive yearning, and ending with strong feeling, the way Mahler marked it.
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