Mahler: Symphony No. 2 in C minor - Resurrection

Mahler: Symphony No. 2 in C minor - Resurrection

Mahler: Symphony No. 2 in C minor - Resurrection
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Music CD Cover

Composer: Gustav Mahler
Conductor: Ivan Fischer
Orchestra: Budapest Festival Orchestra
Performer: Lisa Milne
Performer: Birgit Remmert
Performer: Hungarian Radio Choir
Edition: Music CD
Format: Hybrid SACD - DSD, Import
CD Release Date: 2006-10-10
Music Label: Channel Classics Nl
Soundtracks:
Music CD 1
  1. Allegro maestoso (1st Movement)
  2. Andante moderato (2nd Movement)
Music CD 2
  1. In ruhig fliessender Bewegung (3rd Movement)
  2. Urlicht: Sehr feierlich, aber schlicht (4th Movement)
  3. Im Tempo des Scherzo (5th Movement)

Free Music Notes for Mahler: Symphony No. 2 in C minor - Resurrection

Free Music Review: JUST STICK TO THE SCORE
Hit: 5 Stars

It's amazing the results that can be obtained simply by doing exactly what is asked for in the score. No-one was more precise in the detailed instructions he gave conductor and players than Mahler. And Ivan Fischer with his Budapest forces is more meticulous than anyone else in my experience at following this great score in all its details. The results are breathtaking.

Let me illustrate from the very beginning of the symphony. The third phrase in cellos and basses is marked accelerando: like Rattle, Fischer does this just judiciously enough to make the point. A few bars later, the bassoons reinforce the first notes of each bar of triplets: they are marked ff to the strings single f and Fischer allows them just enough prominence to stand clear. At the first appearance of the Second Subject, the horns' counterpoint is marked ppp to the violins pp; at the second appearance they are marked pp to the violins ppp. Fischer observes that, too. The numerous glissandi scattered throughout the score, especially in the second movement, are all there - proper glisses, not just touched in portamenti. I could go on!

Then there is the care in instrumental balance that Fischer always takes. More often than not bass drum, tam-tams and glockenspiel are touched in just enough to provide the colour needed, not to stand out: one is hardly aware of their presence until they actually stop playing - although the tams-tams provide some awe-inspiring crashes when appropriate. In louder passages the piccolo(s) often give a touch of strident glitter to the violins (a very characteristic Mahler trait). And I love the way in which the contrabassoon just adds a little buzz to some of the brass chorales in the final movement.

Fischer is ably aided and abetted by his engineers, too. There is a properly long pause after the first movement - if not the full 5 minutes Mahler asked for. The last three movements are, as indicated, attaca. The sound quality is simply wonderful throughout. The recording of the strings is as good as I've heard - just listen to the cellos in the Second Movement. And the special effects are all brought off magnificently. Mahler suggests that the brass chorale at the beginning of `Urlicht' should be distanced in the background. I've never heard this observed before: the effect is magical. The off-stage bands in the final movement have precisely the right perspectives (and, of course, Fischer observes Mahler's markings of `lang' and `verklingend' for the horn and trumpet calls to the letter). The entry of the choir is a perfect pianissimo and I had despaired of ever hearing a recording where the soprano soloist emerges, as she should, imperceptibly from the choral sound as her voice rises that extra third for the sublime tail of each of their first two entries - until now.

If this all sounds a little superficial and locked into the detail, it is only because this is a performance that merits the closest analysis. The orchestral playing is superb. But, more than that, so is Fischer's reading of the piece. Never wayward, never striving for effect, he lets the music speak for itself, totally naturally and with ideal tempi. Rubato is almost always where it is indicated in the score, but always judged to perfection. The relationship of one tempo to another (always tricky in Mahler, as for example with the frequent changes of time signature as well as tempi in `Urlicht') always feels absolutely right.

I have loved this work since the days when Bruno Walter's Columbia recording was the only one available. Since then, Klemperer, Barbirolli, Bernstein, Stokowski, Rattle and the like have all laid claims to my affection. And still do. But this Budapest performance from Fischer and Channel Classics has, I think, just gone to the top of my pile.

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