Markus Stenz has now
been in charge of the Melbourne Symphony
Orchestra for some seven years. He leaves
this post in 2005. Already well known
in the UK as a conductor, especially
through his work with the London Sinfonietta,
it would seem from this CD that he has
moulded his Australian players into
a more than respectable ensemble.
Mahler’s Fifth is,
in some ways, my favourite among the
canon and it has been fortunate on CD
with several outstanding versions currently
in the catalogue (and one or two others,
notably Klaus Tennstedt’s superb live
recording with the LPO from 1988, languishing
in the vaults of the record companies.)
My initial reaction on receiving this
CD to review was "do we really
need another Mahler 5th?"
I’m bound to say that as I listened
to the first movement this impression
was reinforced for beside the likes
of Tennstedt (the performance mentioned
above), Bernstein (his 1987 live recording
with the VPO for DG) or Barbirolli (1969
with the New Philharmonia for EMI) Stenz’s
reading seemed to lack heft and punch.
The movement is well played and details
of dynamics, accents etc. are properly
observed. However, this seems a rather
cool, objective account. Two points
in the performance seemed to me to illustrate
that. Firstly, at the huge climax at
figure 18 in the score (11’48")
the whole orchestra is marked fff
for the first time. In Bernstein’s reading
this is an overwhelming moment, but
not here. Again, at the very end of
the movement the pay-off is a doom-laden
sf pizzicato note on the lower
strings. On the Bernstein and Barbirolli
versions this almost sounds like an
axe falling but the effect is much less
dramatic with Stenz. So, if you want
Mahler’s 5th to open with
a highly charged reading of this funeral
march you may be tempted to pass this
recording by.
However, if you do
so you will be missing quite a lot for,
as the performance progresses, it becomes
clear that Stenz has almost certainly
made a conscious decision not to play
all his cards too early and has deliberately
avoided giving too much in the first
movement.
His rendition of the
second movement is, I think, entirely
successful. The stormy passages are
strongly projected but the slower, calmer
sections (for example the passage at
figure 5 in the score - from 1’18"
here) are sensitively and atmospherically
played. Small details register such
as an important little figure, a mere
three bars long, for two muted horns
(6’33"). Some may feel that the
heavy, foreboding passage just after
figure 24 (11’39") is taken two
slowly but the big chorale (from 12’44")
is well handled. Here again, Stenz sensibly
holds something in reserve, knowing
that the true apotheosis of this chorale
will not be reached until almost the
very end of the symphony.
One interesting aspect
of this performance is that, contrary
to the picture on the front of the booklet,
I’m sure, after listening through headphones,
that Stenz has split his violins left
and right. Once we reach the third movement
with its more consistently light textures
the benefits of this become clear. It’s
a pity that the first horn player is
uncredited for he or she gives a first
rate performance of the crucial obbligato
part. (Incidentally, though Simon Rattle’s
Berlin recording disappointed me in
many ways I felt that one major point
in its favour was the separation of
the solo horn player from the rest of
his section. That doesn’t appear to
happen here but since most other recordings
adopt the conventional layout Stenz
is not disadvantaged.). Throughout this
long movement Stenz’s choice of tempi
and his care for orchestral balance
seem to me to be perfectly judged.
Stenz’s pacing for
the adagietto steers a middle
course. At 9’52" his basic speed
is very similar to that adopted by Barbirolli
(9’51") and Rattle (9’31").
At 11’13" and 11’21" respectively
Tennstedt and Bernstein are, I think,
slow almost to the point of self-indulgence
(it may not be without significance
that both are live recordings). At the
other extreme Bruno Walter’s 1947 New
York recording at a mere 7’35"
is surely too fleet. Stenz’s pacing
strikes me as pretty near ideal and
he gets eloquent and responsive playing
with the separation of violins once
again paying dividends.
The finale reveals
Mahler at his most unbuttoned and good-humoured.
The performance here is lively and spirited,
providing a splendid conclusion. There’s
just one small drawback. The finale
should follow the adagietto almost
without a break. In practice two or
three seconds of silence is the norm
and perfectly acceptable. Here there’s
a gap of 13 seconds. That might not
sound much but when you’re waiting (and
waiting!) for the horn note that heralds
the finale it’s a long time and Mahler’s
calculated effect is spoiled.
The recording took
place in one of the orchestra’s regular
venues. The sound is good. It’s clear
and well balanced. The useful note and
other documentation are in English only.
I couldn’t honestly
say this recording would be my first
choice; it doesn’t displace allegiance
to Bernstein or Barbirolli, both of
whom seem to me to penetrate much further
under the skin of the music than any
other conductor. Tennstedt and Barshai
also lead very impressive accounts.
However, in a very crowded and competitive
field this version can be ranked highly.
It has evidently been very well prepared
and Markus Stenz clearly has something
to communicate about this symphony.
This CD provides an excellent souvenir
of the partnership between this fine
young German conductor and his Australian
orchestra and I doubt that anyone purchasing
it is likely to be disappointed.
John Quinn
Melbourne Symphony Orchestra/Markus Stenz 