Hi there,
This is redundant to what I sent to many of you guys privately, while the old Mahler site was away. So, this is more for you newbees. Anyway, . . .
In spite of David Hurwitz's negative reviews about Norrington's Mahler (he's one of my best friends, by the way), I've actually been pleasantly surprised. The sound on the fourth is a bit better than on the M1, and I think it's the stronger overall recommendation. The inner movements, however, are very good on Norrington's Mahler first, in spite of there being no vibrato in the upper strings (winds are allowed to use vibrato - go figure). The scherzo is just slow enough to achieve a nice swing or lilt to the dance rhythms, without also sounding too heavy. He also doesn't drag out the much slower trio section. Like Jarvi, Norrington takes the "Frere Jacques" (in minor) round that begins the slow movement - placed fourth here, because of the inclusion of "Blumine" - much quicker than usual. You might think that it's too fast for something that's supposed to depict a funeral procession. But rather than taking a step on each beat, the forest animals - as depicted in the Calliot painting that allegedly influenced Mahler - may be taking a step on every other beat. This is exactly the same issue that EVERYBODY has to iron out that their own wedding rehearsal. I do like it, as it just sounds musically correct to me. Norrigton also does a real nice job with the East European village band music that follows the procession. Better yet, is the climax to this movement, where Norrington makes certain that the large tam-tam presents itself sufficiently to get the right effect: a profound and "acid-y" sound that lends just the right amount of irony or cynicism to what our protagonist has just witnessed. But I do feel that the finale defeats Norrington and his Stuttgart players to some degree, where he simply can't micro-manage every detail.
There are some annoying inconsistencies in his finale. For example, why is it that Norrington made certain that the tam-tam (large orchestral gong; deep in pitch) was perfectly audible in the slow movement, yet, in the finale, you can barely detect it at the two fortissimo smashes that happen about 90 seconds before the first sounding of the movement's "victory theme" in the horns? There are also a few awkward gear changes in regards to tempi, with Norrington often times wanting to push ahead (better than dragging, in my book). Also, as D.H. points out, the numerous cymbal crashes near the end of the symphony sound way too distant. In addition, the bass drum crescendo on the symphony's very final chord sounds both obvious and "cheesy" in its effect - as D.H. also points out. If all this sounds like a lot of complaining, keep in mind that the earlier movements are really very good. I how like Norrington makes a strong contrast between the onstage and offstage brass fanfares at the start of the first movement. I also like how he doesn't dilly-dally with this slow intro., which often times sounds like it's going on forever and ever (like this review). The inclusion of "Blumine" is a nice addition. Although, I would that prefer it be added at the end as an addendum. No matter - one can always skip it. For the fourth symphony, I'll do a cut and paste job with a review I made at Amazon.com. Brief excerpts of Norrington's fifth symphony can be sampled at Amazon.com as well. Frankly, they sound promising. And if you read between the lines on D.H's Classicstoday.com review of the fifth, it sounds as though there's really a good deal to admire, once you get beyond D.H.'s dislike of Norrigton's vibrato-less Adagieto. Here's that review of the fourth symphony:
As we all know, Roger Norrigton is an "informed period instrument practice" specialist (not a quotation). He's also a tad didactic, such as his insistence on no vibrato, even in the most lyrical of passages. Still, there's much to admire in his new recording of the Mahler 4th. For one thing, this is simply better recorded than his earlier Mahler 1st. I like it that Norrigton is faster than usual in several critical spots: the development section of the first movement (capped by a very audible tam-tam smash); all of the scherzo passages of the second movement, and the last section of the fourth movement ("kein musik ist nicht auf Erde . . Sanct Cecilia dazu lacht"). Like Bruno Walter, his is a faster and more "classical" view of the work. For me, the biggest improvement comes with the scherzo, which has been getting slower and slower over the years. Norrington points out that Mahler's 3/8 time signature means one beat to the bar, not three. I think he's right. Regardless, it just sounds correct and makes for a stronger contrast to the various trio sections, where Mahler's written portamenti (sliding between the notes on the fingerboard) are plainly audible. Norrigton makes one other correction, but one where I think he overshoots his mark. That correction is at the climax of the slow movement, where Norrigton tones down the timpani, but perhaps too much so (otherwise, executed with marvellous aplomb and excellent balance from the brass). Also a tad odd is the rapid and narrow vibrato of soprano Anu Komsi. One wonders if Norrigton is anachronistic enough to also pine for the singers of yesteryear - the ones with a rapid vibrato like Komsi. Regardless, she at least "yodels" her dotted-eighth/sixteenth note figures on "himmlischen", exaggerating the rhythm in the process ("wir geniessen die hiiiiiiii-i-iiiiiiii-i-iiiiiiiii-i-iiiiiiiiiii-mm-liiiishen freuden") - you get the idea. This is in stark contrast to the Tilson Thomas/SFSO Mahler 4th, where Laura Claycomb very lazily sings those same figures as triplets, capturing none of the youthful or rustic quality implied. Komsi also does a real number on the descending slide on "dazu" (near the end). It's much more believeable that she's a kid than most. It's not as ideal as having a youth who can truly deliver the goods (very few of them can), but I'll take Komsi over the long parade of other, overly cultured and sometimes too matronly sounding sopranos that have been thrown at this work. Still, it takes some getting used to her fast vibrato, which brings me to my last point.
I find Norrigton's strict no vibrato policy a bit too rigid and didactic when you consider the number of truly lyrical passages there are for the high strings (celli too), sprinkled throughout Mahler's oeuvre. Yet, at the same time, I find this to be something of a non-issue when you also consider just how wind and percussion driven Mahler symphonies are in the long run. Therefore, it's obviously the slow movement, with it's long passages dominated by the strings, that the somewhat thin and wirery string sound gets a bit tiresome on the ear. On the other hand, the woodwinds seem far more forward in the recording's overall perspective than usual. Could that be because they don't have to compete against such a thick string sound? Hard to say, I think. Perhaps placing the double basses along the back wall lead to the happy result of having the woowinds seated one tier closer to the front (there's a photo of this in the booklet). If that's the case, then Norrigton has also done a good job of not letting his brass dominate over everything. And, in fact, there does seem to be much care and dedication on the part of everyone involved - perhaps too much so in some spots.
I like this performance for its pacing. I think it's good to suddenly wake up at the start of the first movement's development section. I think it's good that the scherzo be fast and diabolical. I think it's good that the orchestral interruptions in the fourth movement, go like the wind. And I think it's good that the last section of the vocal movement, not fall asleep at the wheel before the symphony is over with. For you timing freaks (I'm one of them), here you go: I - 15:09; II - 8:35; III - 19:41; IV - 8:37. Perhaps this isn't a first recommendation by any measure. But if you're like me, and are tired of hearing the Mahler 4th just get slower and heavier by the year (my main complaint about Ben. Zander's equally didactic account), you could do far worse. Consider adding to this one to your collection then.
Bruno Walter redux (sort of) - sans vibrato, and with far better sound.
