Why Mahler?

[vaneramos]

Just finished reading Why Mahler? How One Man and Ten Symphonies Changed the World by Norman Lebrecht, who seems to be a controversial music critic. The book falls short of making a convincing argument for the title, although anyone who explores Gustav Mahler's music will discover what a surprising influence it has had on orchestral music to this day, notably film music. Mostly Lebrecht provides fascinating insight into one of the most dogged and revolutionary creative minds of musical history. Mahler's work rewards investigation and repeat listening. Unlike many of his contemporary composers, he wrote relatively few works, just the 10 symphonies (11 actually) and a few Lieder (songs). Many of the songs are unremarkable, however the symphonies are consistently monumental: large in scope (most timing well over an hour), rich and eccentric in orchestration, cosmic in their depth and diversity. Whether or not you are familiar with the symphonies, or even a fan of orchestral music, a work through them would make an amazing adventure, with this book as a guide.

I am taking inventory of the Mahler symphony recordings I have, comparing them to the versions Lebrecht recommends, and noting ones I would like to add to my library if I have the opportunity.

• No. 1 in D minor: I have Georg Solti and the LSO for this one (1964) and the 2nd (1966). Lebrecht says Solti "went wild" and "ferocious in the finale." He places Mahler's friend Bruno Walter "at the opposite end of the spectrum", elegaic in 1961 with the Columbia Symphony Orchestra. But he makes intriguing arguments for the the eccentricity of Klaus Tennstedt with the Chicago Symphony Orchestra (1990).
• No. 2 in C minor: Lebrecht considers my Solti version uninteresting. This symphony is practically too big to be recorded credibly; a live performance would be worthwhile. Again a more recent Klaus Tennstedt version, this time live in concert with the LPO, sounds the most interesting: "The climax is nothing short of revelation."
• No. 3 in D minor: one of my least favourites, but I would like to give it another try. Of my version, Leonard Bernstein with the New York Philharmonic, the author says only the conductor "takes a tumble" along with many other high order conductors. He suggests the most effective rendition is F. Charles Adler with the Vienna Symphony Orchestra, a 1952 release reissued by Conifer in 1997.

I must continue with no. 4 another time. Work is hard this week and I need bed.