Mahler: Symphonies 4 & 8 (cond. Tennstedt, perf. Popp, Connell, Wiens, Smith; Tiffin School Boys’ Choir and London Philharmonic Choir & Orchestra)
Friday, August 29th, 2008
I got this two-disc set for Mahler’s eighth symphony, more often referred to as the Symphony of a Thousand since it premieried with 171 instrumentalists and a chorus of about 850. It’s a monster-sized symphony and widely regarded as one of the canonical pieces that would influence, directly and indirectly, most other 20th century classical pieces. The eighth’s reputation is well deserved, as I’ve never heard anything quite like it, however I came away from this recording more enamored with Mahler’s fourth symphony.
The fourth premiered in 1901 and is simultaneously gorgeous, unpredictable, and immediately accessible. Its four movements hold tight to traditional symphonic form. The main themes are comfortably tonic, but Mahler’s development of them introduces touches of dissonance here and there that bring an air of excitedness to modern ears. The list of symphonies I’m familiar with is very short, but this is almost certainly my favorite of that small bunch.
The lengthy eighth symphony is accompanied by a chorus nearly thoughout its entire 80 minutes. It is divided into two parts and, by its extensive use of vocal soloists, is reminiscent of cantatas from centuries earlier. The eighth is a difficult, challenging listen. I’m talking straight from Algebra to Calculus hard. This symphony will make you feel stupid…honestly, I think it’s very similar brain patterns to that lost-in-math-class feeling.
Like all challenging music, it sounds better if you’re paying attention to it rather than focusing on some other task while it’s playing in the background. The first part is bold proclamations layered upon bold proclamations topped with even bolder proclamations. It places a strong emphasis on choral harmonies and themes, especially prior to the wacky, Debussy-esque orchestral interlude midway through. The last nine minutes are fabulously majestic.
The second part uses the text from the final scene of Goethe’s Faust, complete with choruses of angels, blessed boys, younger angels, penitents, “more perfect angels.” The first 14 minutes are quite enjoyable. It contrasts with the first part by starting slowly and quietly, with a lone, trembling violin and continues in dramatic, suspenseful fashion. The final 10 minutes, with their glorious climax, are brilliant. I defy you to listen to that many choral members sing the praises of pagan gods and not come away spiritually moved. The 36 minutes or so in the middle, though, are quite ponderous and dense. I’m talking four-dimensional geometry from a translated Soviet-era textbook hard. You’ll walk away from this part not quite sure what you just heard, whether you understood it, or whether there was really anything to understand, but convinced that there was definitely a lot of something there.
The sound on these recordings from the 1980’s is amazing. The performances are note perfect and every participant can be heard clearly. If I close my eyes I can see all 1000 performers crammed into my office.
Rating:
Keepers: Symphony 4, Movements 1, 2, and 4, Symphony 8, Part 1: “Veni, Creator Spiritus,” “Imple superna gratia,” “Veni, Creator Spiritus” (again), “Gloria Patria Domino,” Part 2: “Waldung sie schwankt heran,” “Uns bleibt ein Erdenrest,” “Blicket auf zum Retterblick,” “Alles Vergängliche”
Filed Between: Made In MN—Everything From A To Z (a two-disc Minnesota music sampler put out by Best Buy) and Main Stage Live—Falcon Ridge Folk Festival