Magical Mahler in Bavaria
5
By SFreije
If you are looking for a modern recording in excellent sound that can compete with any interpretation from any era, I’d like to draw your attention to Nezet-Seguin’s stunningly impressive account with the Bayerischen Rundfunks. There have been an influx of Mahler recordings, especially in this symphony, as of late and this is the cream of the crop. Nezet-Seguin has a great Mahler orchestra at his disposal who owned this piece under Kubelik. Every movement is rendered with as much character and attention to detail that you could hope for. In time, this may become my favorite recording of this piece. It is a tired expression but never have I heard this symphony sound so fresh. This is a young man’s music, full of original ideas, beautiful melodies and bold choices, especially how it starts, and Nezet-Seguin nails it. The beginning has as much mystery and atmosphere with the greatest recordings. Has there every been as sweet of an opening to when the cellos first play the melody in the first movement? None that I can think of.
The scherzo is on the measured side but strongly justified, this is a dance after all and as much as I appreciate the energy to quicker tempos that the likes of Boulez and Fischer bring, you can’t really dance to it. It is stately but not stale. The lower strings really dig into their lines, a side by side comparison with other recordings will leave all others wanting. The horn solo, which is so key for me in this movement, really cuts through in the way that it should and in a way that Kubelik never seemed to be able to with this orchestra. Listen to how expressive the strings are in the more peaceful interludes, Nezet-Seguin never wastes an opportunity to beautifully mold these phrases yet it never comes across as mannered. He clearly has very strong ideas as to how this music should sound and couldn’t ask to collaborate with an orchestra better suited to meet his vision.
The third movement’s bass solo is perfectly played and balanced, often shy and close to inaudible in other recordings that undermines its impact and weirdness. Nezet-Seguin utilizes natural and expertly judged rubato to give shape to the music that took me by surprise after hearing this work so many times. The entire performance has sections that really speak to each other, the strings, woodwinds, brass, percussion, none is short changed and all are communicating in a chamber like dialogue that you just don’t hear anywhere else. Of other recent recordings, Nott is just as well recorded and his orchestra plays well though his stiff tempo choices are the achilles heal. Nezet-Seguin shapes each phrase anew, drawing attention to detail to the orchestration that is one of the many highlights that make this recording preferable to other contenders new and old. Only Kubelik and Fischer are spookier in the third movement but it is still one of the very best performances. You can really sense how closely the musicians are listening to each other, a real credit to the orchestra so familiar with this work and Nezet-Seguin who elevates them to their very best. Never have I heard such transparent instrumentation in the band interludes where each player carries on the line from their peers and adds their own color to the music.
If there is one drawback to this recording it would be in the standout power of the brass, especially lower brass, in the finale. Only here does one miss what the Concertgebouw and Chicago orchestras have to offer at the climaxes. You want find the hair raising drama Bernstein brings, the power of the Chicago brass in full flex under Boulez, or the effortless weight that the Concertgebouw’s bring. What we do get is plenty of excitement and Nezet-Seguin navigates this last and longest movement with plenty of energy and sustained tension. If one section doesn’t clearly surpass all others it is because each is well balanced and distinct. The loud climaxes are big and satisfying and like so many other moments in this recording, the quieter moments are perhaps even more memorable. This is an exceptionally special recording indeed and one that hopefully marks Nezet-Seguin as a mature Mahler conductor capable of true greatness. His other recordings in Montreal or Rotterdam feature orchestras not quite up to par with this sound world. Clearly that is not the case in Bavaria, arguably one of the absolute best in the world in this music, who really delivered for their guest conductor in a magical collaboration. If this is your first recording of the piece, buy with confidence knowing you can’t do any better. For seasoned collectors of Mahler’s work, be sure to add this to your collection, it is one for the ages.
