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Gustav MAHLER
Symphony No.1 in D minor  (with "Blumine" movement added)

Atlanta Symphony Orchestra Conducted by Yoel Levi
Telarc CD-80545 [62.14]
Crotchet
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This is one of those recordings of Mahler's First Symphony that includes the movement called "Blumine" that Mahler discarded when he carried out a large-scale revision of a work he had originally called "Titan" and which then became the First Symphony we know today. (Like most recordings the label also carries the title "Titan" even though Mahler discarded that at the same time as "Blumine" as well). There's nothing wrong with including "Blumine" on recordings of the First Symphony. What concerns me is placing it, as Levi and Telarc have done, where Mahler's original version placed it as the second movement. "Blumine" is not the second movement of the final version of the First Symphony. If it's going to appear on a recording of the First at all let it be as an "Appendix" and marked as such as it is in the case of recordings by Simon Rattle on EMI and Michael Halasz on Naxos. To place it as if it was the second movement is tantamount to saying that, in spite of his excising it, Mahler didn't really mean to and we know better. Imagine a much loved classic novel being reissued with an extra chapter because some bright spark at a publishing house went back to the author's first draft and found it there. There are recordings of the original version of the First Symphony, correctly called "Titan, A Symphonic Poem in Two Parts" and there it is correct to place "Blumine" as second movement. Anything other than that is tinkering with the composer's wishes and even there the accusation could be levelled that Mahler never meant us to hear his first thoughts at all. Almost as if they are aware of all this Telarc uses as liner notes an article by the late Jack Diether in which he argues that the practice of placing "Blumine" in the final version can be justified. The evidence he brings forward, to the effect that Mahler was "long of two minds" is, I have to say, thin. Of course a judicious use of the programming function on the CD player will get around all this but that doesn't alter the fact there are going to be more and more people who will come to the wrong conclusion that this is what Mahler really meant.

As with all new Mahler recordings this one is up against stiff competition from past and present so at full price must have something special to compete. The first movement has a fine sense of space in the introduction, helped by the beautifully balanced recording. Then the main material emerges sweet and natural with the transition into the Development almost Brucknerian in scope with nice slides from the cellos. "Blumine" coming next contains a lovely performance of the trumpet solo from Christopher Martin and Levi is well aware of Mahlerian nostalgia here as well as pre-echoes of the trumpet solo to come in the Third Symphony's third movement. The Scherzo could have done with a little more trenchancy and swing, especially in the opening section and the Trio is too delicately pointed. I think this sounds better when a few steps short of the tawdry. Listen to Horenstein on Unicorn or Vox, Barbirolli on Dutton, Walter on Sony, and especially Kubelik on DG, Audite or Originals for the real Mahler sound.

In what we usually refer to as the third movement (here placed fourth) I was disappointed by a rather backward placing of the solo double bass at the start where the "Frere Jacques" music is first presented. This is one of the most distinctive moments in Mahler; a moment when he really strikes out and does something different, and you have to strain to here it here. As in the Scherzo I think Levi smooths out the grotesques. The sour band music interjections especially are not really allowed to poison the air as they should and are a bit fleeting as well. The earlier conductors mentioned above seem to get it right by instinct. The opening of the last movement is bold and imposing. Superbly recorded also, with good front-to-back perspective, invariably the case with Telarc's balancing. The stormy music sprawls a little but I like the relatively "straight" way Levi phrases the big lyrical theme that follows. Too often conductors take this as a signal to settle down for the night but Levi is refreshing. In the central section the grandeur apparent at the start returns and, I'm pleased to say, with crucially more spring in its step too.

On its own this is a well-played, superbly recorded version of Mahler's First. In comparison with versions already before us, the shortcomings become apparent.

Reviewer

Tony Duggan 

Performance:

Recording:

See also Tony Duggan's comparative review of Mahler recordings



Reviewer

Tony Duggan 

Performance:

Recording:


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