Gustav MAHLER (1869-1911)
Symphony No. 6 “Tragic” (1903-04)
Essener Philharmoniker / Tomáš Netopil
rec. 2019 Philharmonie Essen, Alfried Krupp-Saal, Essen, Germany
OEHMS CLASSICS OC1716 [2 CDs: 85:10]
Czech conductor Tomáš Netopil appears here in his second recording of a Mahler symphony on Oehms Classics, his first effort being in the Ninth (review) in 2018. I found that performance quite fine but “a bit on the tame side in places.” It had many virtues and no significant flaws, though Netopil's take featured less desperation, less urgency than what many of us have been accustomed to in the Ninth. Here I would say Netopil and his fine Essen ensemble are even a bit more convincing in their account of this, another rather dark Mahler symphony. Actually, as noted in the heading this is often subtitled “Tragic” in concert performances and on recordings, even though it was not officially designated as such by the composer in the score. However, conductor Bruno Walter, Mahler's friend and early champion of his music, recounted that Mahler personally called this work his “Tragic symphony.”
For this recording, Netopil chooses to follow the original order of the movements, placing the Scherzo second and the Andante third, but he does not employ the third hammer blow, which Mahler removed upon revising the score. Leonard Bernstein and a few other conductors restored the third Hammer blow for their performances and recordings of this work for reasons I won't get into here, because it involves delving into Mahler's personal life and symbols which, according to his wife Alma, he supposedly inserted into this symphony to represent events in his life. Moreover, it would inevitably require much speculation. Another issue here: the timing of this pair of CDs is 85:10, just a bit too long for a single disc. Netopil's Ninth had a duration of 82:33, which Oehms managed to squeeze onto one CD, but the necessity for a second disc here has a happy ending for potential buyers, as at least two major web-retailers are selling this double-CD Sixth for the price of one disc, or even a bit less.
The first movement here is generally well conceived and played, with the opening theme taken at a fairly brisk pace - the best way to play this music as far as I'm concerned, despite the protestations of many who insist a more deliberate pacing is in keeping with Mahler's Allegro energico, ma non troppo marking. The playing is vital and robust, but the percussion is just a bit reticent, and in the later transitional music the strings' pizzicato notes could have more spirit, more—well, pluck. The so-called Alma theme is nicely phrased and performed, Netopil's use of rubato limited and allowing Mahler's lyrical love theme to brim with plentiful joy and passion. Netopil takes the repeat as do most conductors today and the development section unfolds nicely, with ample tension and the colorful character of Mahler's orchestration emerging with clarity and sufficient detail. The remainder of the movement goes quite well, and overall, then, one can assess this as a fine account of the opening panel, though in a few places there could be a bit more drama, more Mahlerian abandon.
From the second movement on, however, this performance really hits its stride. The often wild, exotic, mischievous and playful character of the Scherzo comes through in accurate, committed and spirited playing. Netopil's interpretation is intelligently conceived, with subtle nuancing of dynamics, prudent use of rubato, and well-chosen tempos. Much the same can be said for the third movement, which is played beautifully here by this fine Essen ensemble. Mahler's soaring lyricism blossoms here to the fullest with strings singing to the heavens, and if the pacing is a bit on the expansive side that's all to the good for wringing out the most passion and beauty from this gorgeous music.
The finale opens in a strongly atmospheric manner, the music ethereal and mysterious, with deliberate tempos, allowing the tension to accrue as things progress. Once the Allegro music begins it takes on a headlong sense and when the hammer blows and other climaxes come, they have sufficient power and weight to impart the darkly tragic and desperate character that Mahler wanted. Brass instruments are especially outstanding in the finale, with plenty of meaningful detail emerging in proper proportion, and percussion is potent, but thankfully not overwhelming. This is a thoroughly convincing account of this, the longest of the symphony's four movements.
Though the timing of this symphony is on the expansive side, the music never sounds slow or the pacing laggardly. Horenstein and Bernstein/Vienna, both with effective versions, are either as long or even longer. Thus, Netopil is hardly extreme in his tempo selections. The sound reproduction by the Oehms engineers is vivid and well balanced, though you may want to boost the volume a bit since, like Netopil's recording of the Ninth, the orchestra appears to have been captured at a somewhat lower volume level than is usual. As for the competition, Bernstein/New York Philharmonic (Sony), Boulez/Vienna Philharmonic (DG), Horenstein/Stockholm Philharmonic (Unicorn-Kanchana), and Szell/Cleveland Orchestra (Sony) all offer effective accounts. If I had to choose one from these alternative versions, I would go with Bernstein (I favor his New York account over the Vienna). As for Netopil here, I would say he is at least an excellent alternative and in more modern, actually much better, sound. Your choice then.
Robert Cummings
