There are so many excellent recordings of Mahler 1 to choose
from nowadays I think it’s virtually impossible to come
up with one or two stand out versions. It’s been a very
lucky symphony in the recording studio. People will have their
own views on how the work should be performed and from this
personal standpoint they develop their own allegiances. My list
boils down to three. Childhood memories linger so I still have
a soft spot for the first version I owned - the fine sounding
Boult/LPO on Everest. Alongside this I hold a torch for the
razor-sharp and neurotic Solti/LSO (Decca) and the more sober,
meticulous Horenstein/LSO (Unicorn). Each is totally different
in approach but all are equally valid and compelling as interpretations.
This new recording from Baltimore has immaculate orchestral
playing to commend it along with a feeling of discovery. Alsop’s
sound-world captures not only the hothouse forte passages but
also those quiet, chilling moments. Tension never slackens for
a moment and this is where the technique of using live concert
performances has certainly paid dividends.
Before talking further about the music I must immediately congratulate
Tim Handley on his fine recording. It’s smooth and clear
without being bright and it’s set back in a believable
acoustic. At no point does it tire the ear and the tonal depth
is just right with the brass having presence without dominating
proceedings. For a live recording the absence of audience noise
is remarkable. Most importantly the string tone is full and
sweet.
Moving onto the general style of the music-making, the string
sound that Mr. Handley has captured is crucial because Marin
Alsop gives us an interpretation that showcases the strings
rather than blowing us away with loud percussion and raucous
untamed brass. It’s just about the most gentle, romantic
and beguiling Mahler 1 I’ve ever come across. Indeed,
it’s so far away from Solti’s approach that it sounds
like a different piece. With Alsop there are no histrionics
and the playing is as smooth as silk. It’s a really unusual,
different approach and it’s delightful to hear. The orchestra
is in spectacular form.
The intense atmosphere is set immediately at the opening of
the first movement with woodwind, violin harmonics and horns
in perfect proportion. The off-stage trumpets really are off-stage,
maybe too much so. You need to play this at a relatively high
volume to get the full impact. The passage that runs from 8:00
to 11:00 is as eerie as anyone could wish. The music hovers
in stasis - Havergal Brian-like, of all things! - as woodwinds,
harp and cellos search for a resolution. The bass drum is as
menacing as you could ever imagine and its deep, subtle thump
is very realistic without the need for any artificial boosting.
This is spine-tingling, hushed playing of the first order. Once
the resolution arrives the music moves on to a controlled climax.
The second movement In Full Sail doesn’t set off
in full sail at all. Instead we are treated to a heavy-footed
Klemperer-like ländler with a relaxed, lilting central
section beautifully delivered, especially by the string section.
It’s an unusual approach but rather compelling: by way
of an analogy think of Klemperer’s Beethoven Pastoral,
third movement. At the opening of Mahler’s third movement
the Frère Jacques theme is given by what sounds
like the double bass section rather than by a single double
bass. It’s maybe one place where a little help from the
engineer might have helped. It’s set well back. This is
a fairly minor point in the scheme of things. Yet again, the
strings really shine and Marin Alsop relishes those schmaltzy
moments, pulling the phrasing of the music around in a musical
and loving way. The pianissimo passages really tell and add
electricity to the interpretation. In the finale the brass section
is finally given its opportunity to step forward and they really
deliver the goods. The trumpets, tuba, braying horns and tam-tam
are thrilling in their impact. There is no distracting applause
at the end of the symphony, thank goodness, and this allows
for a few seconds thought before realising what a cracking performance
has just taken place.
Even if you own multiple versions of Mahler 1, I urge you to
give this one a try. It’s refreshingly different and is
supported by engineering of superior quality. A fabulous CD.
John Whitmore
see also review by James Zychowicz
Masterwork Index: Mahler
1
Tony
Duggan's survey of recordings of Mahler 1
Baltimore Symphony Orchestra/Marin Alsop 