Victor Carr gives 8/10 review to Boulez M8 (DG)

[barry guerrero]

GUSTAV MAHLER
Symphony No. 8
Twyla Robinson, Erin Wall, Adriane Queiroz (soprano); Michelle DeYoung, Simone Schröder (alto); Johan Botha (tenor); Hanno Müller-Brachmann (baritone); Robert Holl (bass)

Chor der Deutschen Staatsoper Berlin
Rundfunkchor Berlin
Staatskapelle Berlin

Pierre Boulez

Deutsche Grammophon- 028947765974(CD)
Reference Recording - Bernstein (Sony & DG); Tennstedt (EMI); Gielen (Hänssler)
 
 
 
It's good to be able to report that Pierre Boulez ends his protracted Mahler Symphony cycle (the first installment appeared in 1995) on a decided high note. This was not a sure bet, as earlier releases varied in quality (No. 1 excellent, 3, 4, and 6 very good, 5 and 9 so-so, 7 "individual" to the point of controversy, No. 2 and Das Lied von der Erde disastrously dull).

Mahler's Eighth, with its massive forces and continuously interweaving contrapuntal lines, benefits greatly from Boulez's particular strengths, mainly his uncanny ability to "x-ray" a score and bring its inner details to the surface. It's a rare thing to hear so clearly the string writing at the dramatic start of Accende lumen sensibus in Part One, or in Blicket auf near the symphony's end--and likewise the orchestral timbres in the introduction to Part Two, which Boulez renders so distinctly and vividly. These and many more such moments reveal the enormity of Mahler's orchestral genius. Boulez clarifies the choral textures too, most tellingly in the first movement's whirlwind coda.

Of course, such fastidiousness has its cost: Boulez's rendition is the polar opposite of Bernstein's, which gives the impression of leaping into the fray, knife-in-teeth. The relatively cool, detached Boulez emphasizes musical values more than emotional ones. For example, he does not (in keeping with Mahler's direction) slow down (as many conductors do) for the build-up to the climactic reprise of Veni Creator Spiritus. Likewise Boulez downplays the angst in the prolonged beginning of Part Two (which sounds a bit more prolonged at his deliberate tempos), and there's not much feeling of rapture in Pater Estaticus' Ewiger Wonnebrand. But what does captivate is the amazing beauty of the score, which comes across even more fully in Boulez's hands.

However, this is not enough to bring off the work's grand conclusion, the one place where Boulez falters. After the intensity of Gielen, Tennstedt, and especially Bernstein, whose ecstatically pealing trumpets and tremendous orchestral volume make the final bars an overwhelming emotional experience, Boulez's ending sounds merely loud. The Staatskapelle Berlin, a marked departure from the big-name orchestras (Cleveland, Chicago, and Vienna) that performed the rest of the cycle, plays magnificently. The musicians' dedication and enthusiasm is discernible throughout the performance, while the choral forces consistently produce a rich, euphonious sound that carries the music aloft. The female soloists are all fine, with special mention for Erin Wall's radiant Una Poenitentium; of the men, only tenor Johan Botha (Doctor Marianus) makes an impression.

Deutsche Grammophon's recording captures the assembled performers in spacious yet delineated sound that features wide dynamic range and solid, deep bass. Collectors who've been keeping up with Boulez's Mahler series have their long loyalty justified in this final edition. Even if it's not the last word in Mahler Eighth's, Boulez's recording is special enough to warrant serious consideration by all Mahlerites.


--Victor Carr Jr



 

[barry guerrero]

I've been playing this one quite a bit at work, and it really has grown on me inspite of any shortcomings. I think that the clarifying of choral textures in Part 1 really helps. I also think that it was brilliant for DG to record this in the Jesus Christus Kirche - instead of the Philharmonie - and to import an electronic organ. I like the heavy bass on that organ, which is something that might not be to everyone's taste. I think that Johan Botha is really top notch, especially during the "Blicket auf" passage. You have to realize that the tenor has two huge solos in Part II, so it becomes an important issue upon repeated listenings. I also like the slow tempo for the end of Part II, even though the percussion are hard to hear. The trombones are really strong there, and that helps a lot - especially on the harmonic resolution immediately before the third tam-tam smash (the first one that's doubled by the cymbals). The low trombones really crunch that chord. I think that doing the end of Part II quickly (Bernstein, Solti, and Tennstedt - all of them!) sort of negates everything that you've built up in Part II. What's the point of doing that?

I think that giving it an 8 was a fair rating. I might have even given it a 9.

[Leo K]

Barry, thanks for your continued insightful thoughts on this M8...I agree the ending to Part II is much more impressive when not played too fast.  I'm looking forward to returning to this recording very soon.  And the vivid orchestral detail does make a difference in my appreciation of this Symphony.

--Todd

[John Kim]

To me, the weak organ at the end of II. is a big negative of this recording. Actually, I am not sure if there is the organ there at all.

John,

[barry guerrero]

Actually, I am not sure if there is the organ there at all    .    .     .   

.     .     .    it's mostly in the bass end, which is fine by me. I hear a lot more organ on this recording than on his Vienna "Resurrection" one. It's not a perfect M8 - it certainly has some shortcomings. But it's better than many, and it wears well with me on repeated hearings.

Barry

[Leo K]

Actually I really love the way ending is presented here...the feeling is powerful but not too "in your face" either...the word "floating" came to mind when I listened today.  Why would I like an ending such as this?  Shouldn't the M8 ending blast like the beginning of the Universe?  It is hard to answer this, as like any work of music subjectivity is almost useless to explain.  All I can say it that the ending to Boulez's M8 has nuance and subtlety, and don't get me wrong...there is power, but it is a "thoughtful" power.   I can hear the organ too...not overly loud in the mix, but I can hear it has a nice tone in the lower end, at least to my ear    As Barry said it is bass heavy, and this may not appeal to everyone.


--Todd

[barry guerrero]

I agree with your observations, Todd. I would have liked for the offstage brass to sound just a tad farther back, and for the tam-tam to sound a bit more forward. But other than that, I like it too. But I really like the way the low brass just crunch that Ab chord on the 8th measure of rehearsal figure 220 - 14 measures from the very end.

What Mahler does there is really cool. All eight horns (usually 9) are sounding a low Eb (sort of low for them) that's unison to the first and second trombones. The third and fourth trombones are playing an Eb one octave lower yet (located on the first ledger line below the bass staff). The tuba is on the fundamental low Ab, four ledger lines below the bass staff. It's a very open chord that makes the horns sound low, as well as the 3rd/4th trombones. It's hard to hear the tuba on the low Ab because it's also being played on the organ pedal, as well as by the double basses. Anyway, it's really good on the Boulez.