Nott/BSO/Tudor M9th SACD - a very enthusiastic review

[John Kim]

Bamberg Symphony/Nott – Mahler 9

Reviewed by: Andrew Achenbach

Mahler
Symphony No.9 Bamberg Symphony Orchestra
Jonathan Nott

Recorded 15-19 September 2008 in Sinfonie an der Regnitz, Joseph-Keilberth-Saal, Bamberg

CD Number
TUDOR 7162
[2 SACDs]

Duration
83 minutes


The Bambergers continue to flourish under the stewardship of Jonathan Nott, as this utterly engrossing, big-hearted Mahler 9 readily attests. Not only is the painstaking preparation evident in every bar, Nott’s enviably lucid, scrupulously observant and pungently characterised interpretation seems to gain in stature on each new hearing – definitely a good sign! Nott plots a formidably sure-footed course through the towering first movement; I like the absorbing sense of organic growth, shrewdly graded dynamics and acute awareness of the bigger scheme – all achieved without any sacrifice in terms of edge-of-seat drama or emotional force (witness those stentorian trombones and explosive timpani from 19’35”). As ever, Nott’s adherence to an ‘old-school’ orchestral layout is entirely beneficial (time and again, the antiphonally placed first and second violins impart an added grit to Mahler’s riveting contrapuntal workings), and he has a flair for unearthing detail in a way which consistently ignites the imagination. In the second movement you’ll encounter some irresistibly ‘vocal’ winds (plenty of tangy local colour here), and Nott gauges the music’s mounting instability with genuine mastery as the initially gawky and playful mood turns grotesque, macabre and ultimately downright nasty. He brings a comparable rigour and perception to the ‘Rondo-Burleske’, whose malevolent coda he whips into quite a frenzy. Underpinning everything, though, the keen sense of architecture remains: there’s never a whiff of flashy showmanship, and Mahler’s muscular fugato passages have an exhilarating grip – the counterpoint really does leap off the page. The finale is most moving in its unexaggerated intensity and firm control, the Bamberg strings responding with an honesty and tireless application that more than compensate for any last missing ounce of sumptuous tone by the side of the ‘big boys’ in Berlin, Vienna or Amsterdam. During the transcendent coda you can intermittently hear birds twittering in the rafters of the Joseph-Keilberth-Saal (the effect is oddly touching – I think the composer might even have approved). Otherwise, the production-values in this joint venture between Tudor and Bavarian Radio leave no cause for complaint. This is a most impressive release: another feather in the cap of this personable and stimulating partnership. The two SACDs retail for the price of one.

[sperlsco]

I finally sat down and listened to it this weekend.  I agree that this is a fine M9 overall.  I even liked it enough to order the earlier M4 recording.   

The opening movement is on par with any of my other favorites.  While I love all of the pushing and pulling that MTT does, Nott plays it rather straightforward and is equally successful.  His transitions are all very natural, there are oodles of details, and the dynamics perfectly judged.  The R-B is quite fierce, although I feel that the Double-Basses are a bit lacking in body in places.  The finale has the same qualities as the opening movement.  The trombones are excellent at the two climaxes, but the cymbals are too subdued at the first one (although much better at the second one).  The very ending has the violins die out a bit before the cellos, similar to the Rattle/Berlin one -- so this is a minor knock.   I look forward to further listening sessions, but initially I'd put this on the same level as the MTT and Chailly SACD's. 

[John Kim]

Scott, your positive rating finally gave me a big relief .

Ultimately, it is Nott's analytical ability without sacrificing the emotions that carries the day for this recording.

How many time do we get to hear so many details audible and yet are still shattered emotionally?  IMO, only Chailly before Nott had reached that same level of achievement. Again, throughout the recording Nott and his orchestra display a perfect combination of balancing, dynamics, tempo, and details. At the same time, his reading is incredibly sensitive, subtle and powerful, not like Gilbert whose recording on BIS may create a big impression on the first hearing - thanks to the superb playing and sound quality - but will eventually wear you out with such a one-dimensional and monotonic approach.

John,