Like the growth of the cult of Christ, the growth of the cult of Mahler started with the man himself performing his works whenever and wherever he had the chance. Like Christ, Mahler was followed by true believers who had known him and who proselytized for him among the unbelievers with the fervor of musical Pentecostals. The true believers were followed by those who had never known the man himself but whose belief was therefore all the more passionate and subjective. And thus it was that the faith spread from Mahler to Walter, Klemperer, and Mengelberg; and then on to Mitropoulos, Bernstein, Kubelik, Solti, and Haitink; then on to Abbado, Bertini, Boulez, de Waart, Inbal, Maazel, and Rattle, spreading from the true believers to the passionate believers of the true believers to those who still keep the belief but whose faith is more reason than emotion, more intellect than spirit, more nuance than rapture.
It is all too easy to take Gustav Mahler's symphonies and orchestral songs for granted in the 21st century's first decade. More than ever before, concert performances and recordings of these works abound, and at a level of proficiency that reveals the remarkable extent to which musicians worldwide have assimilated the composer's idiom. Given the music's primacy in today's central orchestral repertoire, we forget how the great Mahler advocates of the past had to champion his music in the face of adversity. "Who can bear those monstrous symphonies, those over-blown, out-of-date horrors," asked one leading music critic when the New York Philharmonic launched a Mahler Festival to celebrate the composer's 1960 centenary.
When at last it was revealed what Mahler’s final intentions were regarding the ordering of the inner movements of his 6th Symphony, 90 years of theory, history, & performance practice went right out the window. For theorists, it altered the harmonic structure of Mahler’s A minor Symphony. For historians, it modified the meaning of Mahler’s “Tragic” Symphony. For players & conductors, it changed the musical progress of Mahler’s 6th Symphony. For listeners, it made Mahler’s deepest & darkest symphony even deeper & darker. With the achingly nostalgic Andante moderato now coming before the bitingly bitter Scherzo, the triumph of the opening Allegro energico sounds even more hollow & empty & the collapse of the closing Allegro moderato sounds even more final & total.
Bold, lush, and exquisite piano quartets by Mahler, Schumann, and Brahms, this core classical album presents some of the finest pieces written in the romantic era. For this chamber music album, Daniel Hope has put together a stellar cast, including CMS Artistic Directors David Finckel and Wu Han, as well as viola legend Paul Neubauer.
You will probably be as incredulous as I was to learn that the greatest cycle of Mahler symphonies comes not from any of the usual suspects - Abbado, Bernstein, Chially, Haitink, Kubelik, Rattle, Sinopoli, Solti, Tennstedt - but from the unsung Gary Bertini, who spent the better part of his career as music director of the Cologne Radio Symphony Orchestra. Unlike any of those more publicized sets, each of which includes a misfire or two, Bertini is consistently successful from first to last; his performance of each of these works can stand comparison with the very best available.
Fischer’s performance of the Sixth is quite similar to Abbado’s recent live recording for DG. Textures are generally light and transparent, with a swift opening march that, by the same token, never sounds unduly rushed or trivialized. The andante comes second, not the best option in my view, but Fischer has the intelligence to treat it as a true andante, and not as an adagio (which is a more legitimate possibility when it’s placed third). However, in contrast to Abbado’s boring Berliners, Fischer’s orchestra plays better, and he’s much better recorded. Just listen to the characterful brass in the coda of the first movement, with a particularly fine first trumpet, or the splendid woodwinds in the trios of the scherzo. The emphasis on fleetness never compromises expressivity, as happens in Berlin.
Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.