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General Category => Gustav Mahler and Related Discussions => Topic started by: barry guerrero on September 22, 2011, 07:02:42 AM
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GUSTAV MAHLER
Symphony No. 2 "Resurrection"
Adriana Kucerová (soprano); Christianne Stotijn (mezzo-soprano)
London Phiharmonic Orchestra & Choir
Vladimir Jurowski
LPO- 0054(CD)
Reference Recording - Fischer (Channel Classics); Bernstein (DG)
rating: 9/8
This is a splendid Mahler Second, full of fresh ideas that actually work with the music and not against it. Vladimir Jurowski unquestionably is one of the best conductors out there today. He has a keen feeling for this music's emotional atmosphere: consider the climax of the first movement, with a truly terrifying "struck with the bow" episode, or the incredibly spooky coda (anyone who complains that I spend too much time talking about the soft tam-tam strokes needs to listen to what they contribute here).
This performance of the scherzo is also brilliant. Jurowski adds tiny "luftpausen" between the phrases of the bustling fugato just before those two fanfare-like outbursts, and the effect is quite disconcerting, but also very humorous and clever. The way that "Urlicht" emerges from the fog of the last chord is just perfect, and all too seldom observed.
Other highlights include an incredibly gripping, measured "dead march" in the finale, and a resplendent final climax, with chorus and organ impressively sonorous. Both soloists sing very well. The andante is somewhat stiff, intentionally so (somewhat in the style of Bernstein), and its pizzicato episode near the end is marred by a hellacious cough from the otherwise very quiet audience. Offstage balances are good in terms of clarity, but perhaps a touch too distant in perspective, and there are one or two missed entrances that aren't in any way significant (typical of a live performance of such a big, complex piece). Otherwise, the playing is extremely fine. In short, if you love this symphony you will want to hear what Jurowski brings to it.
--David Hurwitz
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...The way that "Urlicht" emerges from the fog of the last chord is just perfect, and all too seldom observed...
--David Hurwitz
I knew David would reference this in his review! He makes a big deal of it in his Mahler Symphonies "Owner's Manual" book. Now I listen for this in each M2 recording and noticed this right away with Jurowski's. I'm not sure what other versions handle it in the Hurwitz-approved way. :)
Cheers,
Herb
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I love the whole scherzo under Jurowoski, and its transition into the vocal movement - just as you mention.