Ich bin der Welt abhanden gekommen (I am lost to the world) (1901) (arr. Clytus Gottwald for 64 unaccompanied voices) [6:38]
Symphony No. 2 Resurrection (1888/94, rev. 1905) [86:20]
Anja Harteros (soprano), Bernarda Fink (mezzo),
Bavarian Radio Symphony Chorus/Michael Gläser
Bavarian Radio Symphony Orchestra/Mariss Jansons
rec. live 13, 15 May 2011, Philharmonie, Gasteig, Munich, Germany
Sound Format: PCM Stereo, Dolby Digital 5.0
Picture Format: 16:9, Region Code: 0, DVD 9 NTSC
Subtitles: DE (Original language), GB, FR, ES, IT, Korean
ARTHAUS MUSIK DVD 101 685 [96:00]
This concert was quite an event on the international stage, resulting
in a line of people queuing for returned tickets at this pair of ‘sold
out’ Munich concerts. The DVD was made at those two concerts.
You can tell that the DVD is a mix as I was in the Philharmonie audience
for the 13th May concert and can identify myself in the front row behind
Mariss Jansons. Throughout, the video director has done a superb job
providing just enough variety and not disturbing the enjoyment by allowing
the cameras latitude to flick around too much. The picture clarity,
sound quality and overall production has resulted in a highly desirable
Mahler DVD.
There is a rather unusual start to this wonderful concert with a performance
of Ich bin der Welt abhanden gekommen, one of Mahler’s
cycle of five songs based on poems by Friedrich Rückert. Mahler
once said of this particular song “It is truly me”.
Here is an arrangement of it for sixteen unaccompanied voices prepared
by Clytus Gottwald (b. 1925). It was premièred in 1984. Lasting
just over six and a half minutes it is performed by thirty-two men and
thirty-two women - members of the Bavarian Radio Symphony Chorus. It
is directed sensitively with confidence by their chorus-master Michael
Gläser. A true masterwork and my favourite Mahler song, I love
the gentle rocking motion of the writing with its exciting excursions
into stormier waters. With impressive unity of execution the excellent
Bavarian choir produce a heavenly sound culminating in a wonderful cadence.
Mahler laboured long and hard from 1888 to 1894 on his Symphony No.
2 and made a revision in 1905. At the time of writing Mahler was
still establishing a name for himself as a conductor and normally composing
in his spare time; mainly during his summer vacations. Known universally
as theResurrection this substantial work lasts around eighty-six
minutes. Trust and empathy between an orchestra and conductor often
takes time to develop, if it develops at all, but here the strength
of the relationship is clearly evident. Straightaway in the opening
movement I was struck by the assurance and sheer power of this cultivated
orchestra. I remember at the opening of the actual concert feeling that
the sheer force of the sound was pushing me back into my seat. I can
still strongly sense this feeling in this recording. Jansons expertly
obtains a satisfying contrast of grey solemn expression from the movement’s
predominant funereal character with its exhilarating heroic qualities.
Throughout the movement the playing of the Bavarian players is of an
elevated quality and feels intensely satisfying. Mahler wanted to accentuate
the difference between the first and second movements requesting a short
pause which maestro Jansons observes.
Marked Andante moderato the exquisitely scored second movement
is relatively light and good-natured. In Jansons’ hands the waltz-like
opening feels as if it has come from a mid-nineteenth century Viennese
dance hall. Such elegance with abundant fine detail is brought out of
the writing. Providing a stark antithesis is a near mocking episode
of unsettling agitation and vigour. It is fascinating to see, as well
as hear, the guitar-like strumming of the violins and violas and the
pizzicato section from the cellos is a delight also. Two robust
timpani strokes that sound like gunshots announce the opening of the
Scherzo. The writing draws on the captivating melody from Mahler’s
Wunderhorn song Des Antonius von Padua Fischpredigt(St. Anthony's
Sermon to the Fishes). Reminiscent of a klezmer
band the schmoozing clarinet solo seems a characteristic Mahler
reference to Jewish folk music. The potency of the energy released in
Mahler’s terrible scream of anguish is striking and puts a brisk
stop to the bucolic frolicking. Urlicht (Primeval Light)
from one of Mahler’s own Wunderhorn songs is the title
of the fourth movement. A major highlight is the glorious entrance of
mezzo-soprano Bernarda Fink in the meditative O Röschen rot!
(O Red Rose!) declaring her yearning for respite from world weariness.
In excellent vocal condition Fink sounds in total control displaying
attractive timbre and supple projection. Following on closely is the
rather brief and spiritually affecting chorale intoned so splendidly
on the brass.
The finale opens with that tremendously weighty and terrifying scream
of anguish which then decays into mere dust. The off-stage brass seem
barely audible and I am not entirely convinced by their entry. Confidently
led by the biting brass and percussion battery more shattering climaxes
follow close behind. There is a distinct martial quality to the brass
fanfares interrupted only by tetchy woodwind and angry percussion. Off-stage
brass linger in a lament interspersed with birdsong on the flute and
piccolo. The large mixed chorus enter with the words Auferstehn,
ja aufersteh'n wirst du (Rise again, yes rise again
you will). This is mellow and tender and makes a quite spellbinding
impact. The text O glaube, mein Herz (O believe, my
heart) is sung by the soprano Anja Harteros to magical effect. Her
captivating tone feels satisfyingly smooth and secure. Both Harteros
and Fink combine with the chorus in the words O Schmerz! Du Alldurchdringer!
(O suffering! All pervading). With singing of such extraordinary
quality from the impeccably matched soloists and chorus it feels so
spiritual. One can perhaps be excused for thinking that they have been
transported to paradise. The final section begins with the familiar
Viennese string sound soon taken up by massed forces including organ
and percussion battery. In the earth-shattering climax Jansons holds
things together so wonderfully.
On a distressing note, part-way through the symphony given on Friday
13th an audience member next but one to me in the front row collapsed
and lay on the floor for some time whilst receiving attention from a
doctor in the audience and paramedics before being carried away. I would
think that only a very small number of the orchestra and choir were
conscious of the distressing situation that was unravelling so close
to them. Certainly Mariss Jansons would have been unaware and he was
only a couple of metres way with his back to the incident. Some of this
activity can be seen but this should not detract from enjoyment of the
DVD.
The voices of Anja Harteros and Bernarda Fink together with the magnificent
playing and singing of the Bavarian orchestra and chorus under Mariss
Jansons is remarkable right from climaxes of sonic proportions to the
high strings playing the softest pianissimo. Under their chief conductor
I couldn’t currently name a finer orchestra. Bravo!
Michael Cookson
I couldn’t currently name a finer orchestra. Bravo!
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Masterwork Index: Mahler
2 ~~ Rückert
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