Haitink/CSO M2 - huge improvement! Cogent reading; strong vocals/chorus

[barry guerrero]

OK, this is much better than what we've been getting from Haitink/CSO. In terms of "interpretation" (tempi/tempo relationships), this is far closer to Haitink's recent Concertgebouw M4 than any of his previous Chicago efforts (and "effort" is truly the right word). Everything is reasonably up to speed, and everything sounds cogent. In fact, the first movement sounds rather fast, with an incredible slow-down made for the grindingly dissonant climax. The second movement flows along nicely, while the third movement is reasonably well done as well (more speed-up at the climax might have been nice). Stotijn (mezzo) is excellent in the fourth movement, and the CSO brass section have a field day during the long march episodes within the finale. After that, the CSO Chorus is outstanding, and the ending is reasonably well done (there's enough organ, but not exactly tons either). Even the gongs are fairly audible at the end.

Do I have gripes? Of course, but they're mostly minor. As usual, the CSO percussion section doesn't begin to keep up with the noise that their brass section pumps out. For example, the high/low gong smashes in the first movement - located shortly before the slow build-up to the movement's climax - are somewhat underwhelming. The same holds true for the two big percussion crescendos in the finale (just before the fast march). But these are rather minor gripes.

Perhaps a not so minor gripe occurs at the build-up to the climax of the finale's march section. The offstage trumpets are quite audible early on, but then disappear near the end - just before the rest of the onstage brass join in. If anything, just the opposite should happen: the offstage brass should sound distant at first, but then get progressively closer as we approach the climactic section. Again, this is not a make or break deal (so many conductors/recordings get this wrong anyway).

Still, this is a huge improvement, and the CSO Chorus really step forward during their big moments to shine.

[sperlsco]

You've peaked my interest.  Are Haitink's tempi any more flexible than in his recent efforts.  Although I like the recent RCOA M4 and the CSO M3 to some extent, they do sound rather stiff and inflexible to my ears.   

[barry guerrero]

I would say that there still is a certain "stiffness" - a somewhat "one size fits all" approach to tempi and tempo relationships. But hey, at least everything isn't moving at half speed. Also, I think that the "Resurrection" symphony can more readily absorb this kind of "stiff" approach than many of the other Mahler symphonies. Be warned though: while there's sufficient organ, there's still far more organ on the Eschenbach/Philly M2. But Eschenbach is very much his own man in M2.

Another thought comes to me: pretty much ALL Mahler that I've heard played the Chicago Symphony, strikes me as sounding "stiff". They're like a big machine, or a big stick. They don't strike me as an orchestra that likes to watch every tiny movement from the conductor, or are terribly willing to make micro-adjustments to the tempo from bar to bar. I'm exaggerating, but it's to make a point.

[John Kim]

When it comes to M2nd, Haitink has always been strong and consistent. His recordings with RCO (twice), BPO were among the best, and I like the live concert with BPO captured on DVD very much.

Let's hope the CSO version has up to date sound and playing.

John,

[Leo K]

This is good news...I'll definitely check this recording out in the near future...thanks for the impressions Barry 

--Todd