Search - Gustav Mahler, Michael Tilson Thomas, San Francisco Symphony Orchestra :: Mahler: Symphony No. 4 [Hybrid SACD]

Michael Tilson Thomas' Mahler Survey - a Pause

Grady Harp | Los Angeles, CA United States | 10/12/2005

(5 out of 5 stars)

"The Symphony No. 4 by Gustav Mahler is probably the most accessible to the newcomer of all of his symphonies. The work is short in comparison to his others, the melodies are copious, the movements are well defined, and there is the addition of a soprano solo to transport the listener to heaven as a finale. There are few of the, at times, problematic abrupt tempi shifts and literally none of the chest thumping about which detractors of Mahler complain. It is simple, lovely and straightforward.



In the overall plan to present all of Mahler's symphonies as conducted by Michael Tilson Thomas with his own San Francisco Symphony in his own Davies Hall ambience, this recording of the 4th seems like a languid resting station. Some may quibble about the slow tempi, the overly zealous shaping of phrasing, the lingering and portamenti that tend to beach the lovely second movement, and a general low energy level of Thomas' vision, but for this listener this is a loving, thoughtful and welcome pause in the Mahler cycle of Sturm und Drang!



The orchestra is supple and responsive to Thomas' every wish and the sound is clean and warm. Laura Claycomb is the excellent soprano chosen to intone the ethereal 'Das himmlische Leben' and the symphony ends with a whisper. Though this performance may lack the excitement of the other recordings in the cycle, it is definitely 'Mahlerian' - and very lovely at that. Grady Harp, October 05"

Heavenly

Prescott Cunningham Moore | 10/16/2006

(5 out of 5 stars)

"Objectively looking at Michael Tilson Thomas's ongoing Mahler cycle has been increasingly difficult for me mainly because, the more familiar you are with something, the more egregious the faults become. Thomas's penchant for rubbatto started off as an interesting, if unnecessary, detail in the 6th and 1st symphonies. It became a bit more problematic in the 3rd. And finally, it became irritatingly obnoxious in the 7th and 5th symphonies. Thomas's insistence on smothering his interpretations with a thick coat of decorative frosting and fussy, mannered detail leaves a fluffy, decadent, at times even saccharine aftertaste which belies the often overwhelmingly high-level of musical nourishment these recordings offer. Indeed, nearly every other musical choice Thomas makes is a good one - it's just a shame he cannot discern between the good and bad.



However, Mahler's more elastic works respond resplendently to Thomas's heavy-handed mannerisms. No where is this more evident than in this divinely miraculous performance of the 4th symphony. The small, youthful, chamber-like proportions of the work invite rubbatto while the delightful orchestration underscores the playfully whimsical nature of the symphony. Thomas is clearly in his element here as he takes every twist and turn of this work and the heavenly sound he has instilled in the orchestra is a real joy to listen to.



The first movement alone is a miracle in orchestral balance. All the first deck players execute their parts flawlessly - the clarinets are playful, the horn a delight to behold, and the flutes (usually a liability for this orchestra) possess a wonderfully full-bodied sound in the lower register. All the delightful orchestral colors register with shocking clarity, creating a full-bodied sonority that is a true idiomatic Mahler sound. Couple that with Thomas's delightful interpretation that allows all the wonderful orchestral effects to register without compromising the architectural scope of the movement. Of particular note is both orchestra and music director's execution of the development - miraculous in both its beauty and maturity of musical thought.



The scherzo is just as delightful. All the soloists are equally marvelous here as they were in the first movement. Thomas's flowing tempo allows the transition to the trio to arrive naturally. The adagio is like a dream. The strings sing their parts with breathtaking sublimity, capturing the correct mixture of gravitas and simplicity. The final climax and transition into the finale is astounding - the explosive E-major chord is almost ecclesiastical in its intensity.



Laura Claycomb sings her role wonderfully, capturing the youthful boyish tone perfectly. This is the music of heaven and Thomas treats it as such. The sound of the orchestra is like a plush cloud upon which Claycomb's angelic voice rests. Thomas captures the twists and turns of the score wonderfully but never distracts from the vocal line. At the close, the music fades into a calm still that truly is heavenly.



On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, and at times even coquettish. The brass is rich, powerful, but never overbearing. The numerous percussive effects register with perfect clarity. The strings are rich, plush and bright. Indeed, the playing here is not only the best in the series but the recorded sound is captured faithfully. As far as digital 4ths go, this is far and away the best available. Regardless, the real matter of interest in these recordings is what is being said. Michael Tilson Thomas is quite well versed in Mahler and there is a profundity of incite here. There is no such thing as definitive when it comes to a Mahler performance. These recordings, however, come remarkably close. My only reservation and I do mean only, is that the orchestra sounds a bit cold. The sonics are a bit dry in the first two movements and, thus, tend to make the strings sound a bit steelier than in some of the other installments in the series. Still, it's a small quip and the strings are so rich in the third movement that I can easily look past this and recommend this recording enthusiastically."

A very special performance

David Solomon | New York | 01/07/2008

(5 out of 5 stars)

"For almost half a century George Szell's recording of the 4th has been largely considered the finest ever put down. It is an excellent interpretation with exceptional singing from Judith Raskin. And while I own over 30 recordings of the 4th, I always ended up preferring the Szell. One version in particular I found to be a fine alternative, Lorin Maazel's with the Vienna Phil and Kathleen Battle. While Maazel did not bring the piece across with the same complete realization as Szell, the acceptional vocal on the fourth movement always stood out for me as the best ever recorded.



However, one day everything changed for me with regards to the way I enjoy the 4th. It was the day I heard this Michael Tilson Thomas recording. I immediately felt more connected to it than any other. The tempo was perfect in each movement for the piece to be fully realized. Yes the third movement is exceptionally slow, I believe the longest ever recorded. BUT the playing fits this accentuation. I have trouble listening to the adagio played any faster, because I hear its full potential at this slower speed. The vocal here by Claycomb is on par with Raskin and nearly as beautiful as Battle's. I will say this, because of the slow tempo of the 3rd movement here, there is a greater emphasis on the importance of this movement. Many conductors I find tend to view the WHOLE 4th symphony in the light of the last movement, which was the symphony's seed. What essentially happens is the whole performance conveys a fairy tale-like aura. This is fine in the 1st, 2nd, and last movements, but in the 3rd there isr a entirely different necessity. Mahler said of this movement that it was a portrait in music of his Mother and memories of him with her. What we know of Mahler's mother is that aside from being possibly the most important person in Mahler's life, she was abused both physically and mentally, and the torment of this had a deeply disturbing effect on the young boy. Please listen to this movement with this in mind and you will understand just why its taken at the tempo it is played at here.



I've learned to wait a good 6 months before sharing my opinions on a particular recording, in this case I've waited over a year. The reason for this is when I make a claim such as this, I want to be sure I'm not having puppy love with a brand new recording.



A side note - The recorded sound is the best you will ever hear for this symphony."