Gustav MAHLER (1860-1911)
Symphony No. 5 (1902) [75:17]
Gothenburg Symphony Orchestra/Jascha Horenstein
rec. live, 16 October 1969, Gothenburg Concert Hall, Sweden
Horenstein in Gothenburg, Volume 2
PRISTINE AUDIO PASC613 [75:17]
This excellent recording in Pristine Audio’s fine mastering makes available the third performance of Mahler’s Fifth Symphony by Jascha Horenstein. More than the previous two issues also reviewed by John Quinn, this must have been a very special occasion as Mahler 5 did not appear in concerts very often fifty years ago. In this case, Gothenburg hadn’t heard it for over twenty. We are therefore very fortunate that Horenstein’s cousin Misha owned the recording and it is very much worthwhile even alongside the two earlier renditions. It reminds me of when Kendal (Cumbria) Music Society had the opportunity for The Bamberg Symphony Orchestra to play this work and the late Sir John Manduell told me at a later concert that he felt it was too great an opportunity to miss. Jascha Horenstein had a very special affinity with Mahler, Bruckner and Beethoven and it really shines through the years in Pristine’s 1,000th release.
To clarify the status of the present issue John commented: “Jascha Horenstein (1898–1973) had an excellent reputation as a Mahler and Bruckner conductor, but he made relatively few studio recordings of Mahler’s symphonies, and there was no authorized studio recording of the Fifth. Pristine, in collaboration with the Misha Horenstein Archive … has rectified that by issuing three live or broadcast recordings of that work, leaving only the Second Symphony still unrepresented in his Mahler oeuvre”. First to be released was a live recording with the Berlin Philharmonic Philharmonic recorded at the Edinburgh Festival, on 31 August 1961: review by Stephen Francis Vasta; review by JQ - PASC416. Then there was a studio recording made by the BBC on 30 October 1958 with the London Symphony Orchestra (but not broadcast until 1960), Studio 1, London: review by JQ - PASC567. In the conclusion to his review of this second release, John questioned whether a third recording, known to exist, from Gothenburg might be issued. He (review) was delighted that this “hat trick” as he described it has been issued. It’s one of four volumes of Horenstein in Gothenburg. The others include Schubert’s “Great C major” (review), Bruckner 6 (review) and a fine live Mahler 4 that I’ve recently reviewed.
John Quinn has gone into considerable detail as to where this performance stands in relation to the others and also quotes from the writings of Misha who has the original tapes. I haven’t had the opportunity to hear the other two recordings and am far less knowledgeable about Mahler. However, I’m an admirer of both the composer and the conductor and know this work fairly well. In this context, I will add some thoughts of my own. We should also consider two other discs. Horenstein’s first recording comes from 1958 with the LSO but when Everest released a studio recording from them in 1959 it was under Rudolf Schwarz (review) much admired by the late Tony Duggan in his survey of the Mahler symphonies. I don’t know why Schwarz was preferred. The second recording, chronologically, was with the Berlin Philharmonic substituting for Rafael Kubelik whose sane Mahler on DG I’ve enjoyed for over thirty years. In June 1981 he conducted the Bavarian Radio Symphony Orchestra and the result was released by Audite (review by Gerald Fenech).
First observations were that it had almost all the benefits of a live recording with only a few inevitable defects. It’s also over fifty years old and with Andrew Rose giving the original mono tapes the ambient stereo treatment. I was enormously impressed by the opening movement which is full of foreboding and strongly conveys the impression that Death is very close. The orchestra may not have been very familiar with the work but they commit themselves, something I appreciated in their slightly earlier Mahler 4. Their trumpet is very impressive, possibly too much, and the impression is similar with Schwarz and Kubelik. The orchestral sound is remarkable in the second movement and I’m grateful to John for his comments on the cellos which are beautifully captured. I’ve always visualised this movement as depicting a wanderer lost in a forest and avoiding fierce creatures. Horenstein absolutely gives a frightening vision, one does wonder what the audience made of it. I don’t feel the tension relaxing as the superb brass thunders through; indeed the tension is stepped up. My admiration for this conductor increased when hearing this. I’ve returned to the recording several times and my regard has, if anything, increased. There is an organic feeling of nature exploding at times, together with a deep humanity, a possible paradox in Mahler’s psyche.
The third movement Scherzo is certainly not light but perhaps can be said to show a gentler side to Mahler. There’s even a waltz of sorts, a distant cousin of “La Valse” before the horns intrude. I don’t know if my hero Dennis Brain ever played this piece but the Gothenburg horn player is excellent. The recording picks up this aspect well, deceiving us as to the tape’s vintage and origin. Overall the standard of playing on this disc is exceptional. It also confirms that Horenstein was fulfilling the instructions to give the recently enlarged orchestra, music that would stretch them. We know the Gothenburg Symphony Orchestra from later recordings under conductors like Neeme Järvi for twenty-two years but they remained superb more than fifty years years ago. Each movement in this work seems like a self-contained symphony. Also I was overwhelmed by the different moods evoked. The Adagietto has of course acquired a life of its own but, at the time Horenstein was conducting in Gothenburg, that was still to come. The timing of just over ten minutes seems about right, within two seconds of Rafael Kubelik whereas Rudolf Schwarz is nearly three minutes quicker. I certainly don’t want a wallow which it can sometimes become but one wants to appreciate the deep feeling and this comes through. On the other hand, this movement may show the orchestra’s lack of familiarity with the work or I may be subconsciously comparing it with studio recordings when the orchestra was fresh. Nevertheless, it is very beautiful and with one exception the coughers restrain themselves. I’ve hearing several Mahler symphonies at the Proms but, as yet, not this one. After this Pristine disc - and I am so grateful it can be heard - I hope that the experience will not be long delayed.
The horns bring in the final Rondo-Finale and there is some of the thankfulness that radiates through much of the previous Fourth Symphony. Everything that has been said previously comes through in this tumultuous ending and once more one can appreciate the conductor and orchestra’s splendid vision. I will certainly listen to the likes of Kubelik, Schwarz, Solti (my first Fifth), Haitink et al but this is a very special Fifth indeed. I hope that I may find time and have the opportunity to hear the other Horenstein Mahler Fifths. If you chose all three, at a discount or just one, any lover of this extraordinary symphony should certainly have one with Jascha Horenstein. Appreciation must be given to his cousin Misha for making these priceless recordings available and to Andrew Rose for his magnificent re-mastering. As I hear those final chords, I am very appreciative of having the opportunity to hear this very special concert recording.
David R Dunsmore
Previous review: John Quinn
