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Gustav MAHLER (1860-1911)
Symphony No.7 (1904-1905) [82:35] Wolfgang Amadeus MOZART (1756-1791)
Symphony No. 41 in C major, K551 ‘Jupiter’(1788) [29:12]
London Philharmonic
Orchestra/Klaus Tennstedt
rec. live, Usher Hall, Edinburgh, 29 August 1980 (Mahler);
Royal Albert Hall, London, 13 September 1985 (Mozart). ADD BBC LEGENDS
BBCL4224-2 [64:22 + 46:49]
BBC
Legends are doing a fine job of bringing Klaus Tennstedt
back into the catalogue (see review of BBCL4208-2). EMI have
treated him fairly abysmally since his death in 1998, letting
most of
his
recordings
fade
into obscurity. Tellingly, the only EMI recordings that have
lasted until the present are his concerto performances with
Nigel Kennedy, and his famous Mahler cycle (EMI Classics
5729412). More recently, after countless archive issues
from BBC, LPO’s own in-house label and Profil Meridien, EMI
appear to have become wise to Tennstedt’s cult status. His
performances of Beethoven and Bruckner have snuck back into
the catalogue as a pair of Gemini doubles, and some of his
Strauss is for the time being available on EMI Encore (EMI
5864372). There are even DVDs of Wagner and Mahler
(Symphonies 1 and 8). Noticeable by their absence are symphonies
by Schubert, Mendelssohn, Schumann (3, 4 and the Konzertstuck for
horns and orchestra), Brahms and Dvořák, piano concertos
by Brahms (No.1 with Ohlsson), Grieg and Schumann (both with
Gutierrez) and various other works by Prokofiev, Kodaly,
Brahms (Schicksalslied and the Alto Rhapsody,
with Meier). And then there is a small matter of his live
Mahler recordings (symphonies 1, 5, 6, 7) and Des Knaben
Wunderhorn.
Tennstedt
was something of a minor celebrity on the London musical
scene in the 1980s. His appointment, first to the post of
Principal Guest Conductor of the LPO in 1980 and then to
Music Director in 1983 coincided with the famous series of
Mahler recordings that he made during that period. Beloved
of audiences and orchestra alike, it was not surprising that
EMI, when faced with the completion of his bankable Mahler
cycle, decided to start licensing live recordings from other
agencies to feed the desire of the gullible concert-going
public for new Mahler-Tennstedt releases. EMI’s cynicism
was the collector’s dream come true; not only were there
new recordings, but they were, by and large, more successful
than their studio predecessors. It may be that licensing
issues prohibit the re-release of those recordings, but it
is a great shame that they are not available; the DVD performance
of the First Symphony is, I believe, the same as that released
on CD. I have never heard, or been able to get hold of, the
three-disc set of the Sixth and Seventh symphonies dating
from the early 1990s - I saw it advertised, second-hand,
on ‘Amazon’ a while back for £150 - but the 1988 performance
of the Fifth is quite simply one of the finest I have heard.
This, I think, was actually broadcast on TV by the BBC, so
let’s hope that either EMI or the BBC release it at some
point.
The
present issue gives us that most esoteric of Mahler’s symphonies,
the Seventh. I have to confess that I’ve always found this
symphony the weakest of his studio cycle. Tennstedt approached
Mahler from a very Romantic viewpoint. The more modernistic,
disruptive elements tended to go by the wayside. If there
is any one of Mahler’s completed works in which such an approach
may create serious problems, it is this one.
First
of all, there is the overall plan of the symphony, an epic,
intensely symphonic allegro followed by three, quite
bizarre and lightweight tone poems, capped by a riotous final
movement that whirls like a somewhat off-kilter carousel.
It is the final movement that generally causes problems for
conductors; unsure whether this strange amalgam of influences
- Lehár, Wagner, Viennese café music - is a savagely ironic
indictment of the contemporary Viennese music scene or a
good-humoured romp. The results are rarely satisfactory.
Tennstedt, as it happens, does rather well in this movement.
It is with the first that doubts arise.
Very
few conductors get ‘lost’ in this movement, generally managing
to produce a coherent musical argument. Apart from Tennstedt,
only Klemperer gets it wrong; but then, his performance of
the symphony as a whole clocks in at a good twenty-five minutes
longer than any of his rivals. I’ve always thought Tennstedt
to be more successful heard live. His ability to generate
expressive tension in performance was legendary, his Mahler
concerts ‘his apotheosis’ (Lebrecht, quoted in the notes
for the present issue). Yet he rarely managed to convey such
in the studio. I am more convinced than ever that this is
what saves his studio performance of this work - recorded
at roughly the same time as this live issue.
In
concert, without the emotional constraints of the studio,
Tennstedt’s extravagances do stretch the credibility of this
first movement. The opening is powerfully built, but at times
sloppily played. Early in his relationship with the LPO,
one gets the impression that they were still not entirely
accustomed to his notoriously vague beat. The ensuing allegro
con fuoco is well nigh perfectly paced, and the orchestral
playing demonstrates the best aspects of Tennstedt’s approach
to a ‘Mahler sound’. This is really muscular, dark-hued playing,
horns whooping and roaring to the manner born. It is pretty
much a unique sound, utterly identifiable and representative
of much of Tennstedt’s work with this orchestra.
Problems
begin to arise with the appearance of the heavenly, C major
second subject. To put it simply, Tennstedt is just far too
slow. The result is incredibly beautiful, haunting and at
times rather unsettling. Fastidious attention to Mahler’s
little pauses and hesitations, and a scrupulous observation
of dynamic markings create a bewitching, carefully balanced
orchestral palette. But taken in context, this is too much
of an impediment to the flow of the music. Once may be acceptable,
but this material appears three times during the course of
the music and that, in a symphonic allegro is too
much slow music.
The
development gets off to a cracking start, and those little
moments of ‘suspension’ - as Adorno termed them - actually
benefit from Tennstedt’s hyper-expressive approach. Time
really does stand still during these passages, due not to
excessively slow tempi but to Tennstedt’s highlighting of
Mahler’s little hesitations and indications such as sehr
gehalten.
Unfortunately,
Tennstedt’s general approach to Mahler could never hope fully
to encompass the scope of this development section. Mahler
effectively tears up and burns the remains of the sonata
form rule book here, before scattering its ashes over the
nearest Alp. Gone are conventional notions of development
through motivic and harmonic transformation; here Mahler
develops his material through increasingly disorientating
contrasts of orchestration, pitch, timbre and colour. In
Tennstedt’s favour, there is much exciting conducting and
playing, and yet too much of Mahler’s intent is lost.
Once
again, Tennstedt slows inordinately for the ecstatic B major
apotheosis of that second subject. I have rarely heard this
music so beautifully projected, balanced to perfection and
played with that uniquely Mahlerian combination of virtuosity
and tentativeness. But by this point we are well over half
way through this movement, and feeling somewhat disorientated
- for all the wrong reasons. Mahler has been happily wrong-footing
us with his unusual juxtapositions and melodies that simply
do not fit with his harmonies - ‘super-chromaticism - Adorno
again’.
All
in all, a rather episodic approach to the opening movement,
although that will not be a problem for everyone. I’d personally
prefer to wander through a forest in which the trees were
exciting and beautiful than one that has been planned to
the nth degree to achieve structural perfection.
The
second movement, one of two Nachtmusiken opens with
another extraordinary example of Adorno’s suspensions;
once again Tennstedt achieves a captivating sense of space
through scrupulous attention to dynamics. The woodwind playing
at the opening of this movement is astonishingly vivid, each
line projected with great accuracy. Throughout this wind-orientated
movement, trills and accents hit home to great effect. Ensemble
is generally excellent, although the apparent lack of a clear
down-beat from Tennstedt does produce some scrappy moments.
Atmosphere is well conveyed, and the characterisation of
this movement and its two successors is far more acute than
in the roughly contemporaneous studio recording.
Indeed,
these central movements are the unlikely highlight of this
performance. The LPO really does play with subtlety as well
as virtuosity. In the third movement, just listen out for
the strings at the appearance of the ländleresque D
major theme (figure 126 for those with a score); violins
laceratingly intense, lower strings digging into their instruments
with extreme vehemence. Tennstedt takes Mahler’s pesante marking
shortly after fig. 141 to mean an exact halving of tempo.
This creates a rather nice hemiola-like effect with the succeeding
bar, but in such a densely annotated score, I am fairly certain
that if Mahler had wanted such an exaggeration, he would
have asked for it. Only Leif Segerstam outdoes Tennstedt
here. Or, perhaps Klemperer, although I’d given up on his
recording a long way before this point.
The
second Nachtmusik highlights another Tennstedt trait;
emphasising the darker elements of Mahler’s sound-world.
It is incredibly atmospheric, although many will prefer a
plainer, more ‘natural’ account than Tennstedt’s ripely romantic
one. As in the first movement, Tennstedt is very good at
those moments of stasis; the passage for strings and harp
preceding the return of the opening material is particularly
effective.
Tempi
become something of an issue at the start of the finale,
with several jarring gear-changes in the first few pages.
However, the performance soon settles down. I cannot blame
Tennstedt for the episodic approach in this movement; the
music is inherently episodic. But the whole movement is played
with such exuberance, confidence and relish for orchestral
detail that it cannot fail to make an impression. I do not
think that Tennstedt really has anything profound to say
about this music but given that critics, performers and audiences
have never been able to agree on how to approach it, I am
not prepared to hold that against him. And the conclusion
to the symphony is overwhelming.
I
thoroughly enjoyed this performance. That it is not Tennstedt’s
finest Mahlerian work does not, these days, mean much. You
would be hard-pressed to hear a Mahler performance of such
subtlety, insight and understanding of the idiom from any
conductor performing today (Abbado and Jansons aside). But
it must be taken on its own terms: Tennstedt’s terms. I am
not sure that I would prefer it to his studio account which
has the great virtue of being coupled with all of the other
symphonies but I am certainly glad to have heard it. Those
wanting to hear Tennstedt will obviously want this performance;
others may want to look elsewhere. On CD, Abbado’s BPO remake effectively
removed all competition in this symphony (DG 4176232 - see review); until his DVD with
the Lucerne Festival Orchestra arrived (Euroarts 2054629
- see review). No-one can match Abbado’s authority in this
symphony, not even Bernstein. As luck would have it, the
two finest
recordings
of this work are DVD only; the aforementioned Abbado, and
Bernstein; the latter best available as part of a complete
cycle, but then it is probably the finest overall cycle in
any form.
So,
a qualified welcoming reception for this example of Tennstedt
conducting Mahler.
Not
so a remarkable performance of Mozart’s Symphony No.41
in C, the ‘Jupiter’, captured at a Prom concert in September
1985. The Proms were, as Kurt Masur recently reminded Norman
Lebrecht (see
article) ‘Tennstedt’s
favourite forum’. Tennstedt loved the Proms and, two years
into his tenure as the LPO’s music director, the Proms and
the orchestra clearly loved him. In Michael Jameson’s informative
booklet notes, he mentions that in this performance ‘Tennstedt
emerges as an adroit and scholarly interpreter of this most
expansive
of Classical symphonies, even allowing for occasional concessions
to modernity’. Whilst Jameson’s assessment is entirely accurate,
it would be unfortunate to construe that this is an overly
scholarly, sterile performance. Indeed, Tennstedt was largely
incapable of producing anything even approaching sterility,
particularly in the presence of an audience. What emerges,
then, is a lively, exuberant, warm-hearted performance that
manages, more than most latter-day recordings of this repertoire,
to suggest the manners of ‘period’ performance in the context
of a fairly large orchestra in a large hall.
One
of those ‘concessions to modernity’ that Jameson mentions
is Tennstedt’s omission of nearly every repeat; of course,
in contemporary terms, a ‘modern’ performance would most
likely include all of them. A cursory glance at the movement
timings for the present performance and a June 1980 performance
in Hamburg (with the NDR) suggests that this was Tennstedt’s
way with the piece; the timings are virtually identical.
Those
accustomed to Tennstedt’s burnished, autumnal way with Beethoven
and Schubert will almost certainly be surprised, as I was,
by the opening of the Allegro vivace. Vivace is
certainly the keyword here, and the crisp articulation from
all concerned is light years away from ‘old-school’ interpretation.
There is buoyancy and rhythmic drive aplenty, largely as
a result of Tennstedt’s pointing of articulation and accompanying
figures; try the triplet motif in the violins that support
the beautifully played first subject.
Phrasing
throughout the movement is eminently stylish; each line has
the sense of leading somewhere. Tennstedt knows just when
to bring out the bass line to point up the harmonic direction.
Indeed, the orchestral balance over the span of the work
as a whole is something of a miracle given the inevitable
muddiness of the RAH acoustic.
The
central movements are not quite as satisfying. The Andante
cantablile is at a pleasingly flowing speed, just the
right side of too slow, and there is much lovely playing;
but with Mozart’s instruction of con sordino robbing
the strings of some of their edge, the performance falls
foul of the acoustic. Unfortunately it is the performance
of the third movement that I find, frankly, unacceptable.
Both the minuet and trio are simply too stately so that the
result cannot fail to sound heavy-handed, despite predictably
fine playing and attention to detail. Incidentally, here
Tennstedt includes all repeats in the minuet and trio, but
customarily excludes them in the da capo.
The Molto
Allegro finale sees the performance back to its best,
stressing the molto. Indeed, the precision of ensemble
and sense of rhythmic control is remarkable given Tennstedt’s
notoriously erratic beat, and pays testament to the rapport
that he had with the LPO by this time. In the development,
trumpets and horns rasp joyously and the sense of exhilaration
and exultation in the final pages raises the spirits like
few other performances. It is a winning account, and the
audience obviously thought so too; one of the great features
of these BBC Legends issues is that they retain audience
applause at the ends of works.
All
in all, a mixed release. Tennstedt’s Mahler is best served
elsewhere, but examples of him in Mozart are few and far
between. Fans will no doubt want it anyway; other collectors
will probably want to sample the Mozart first. I am certainly
glad to have encountered this release.
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