Search - Mahler, Abravanel, Uso :: Symphonies 1-9

The Essential Mahler

wesleycrusher | 03/20/2002

(5 out of 5 stars)

"Yes, there are other Mahler recordings out there. There are also other conductors who do a fine, excellent or even terrific job of this difficult material. But for those who really love Mahler's symphonies and want to study them, this series is the one to not be without.
Mahler's symphonies are not only works of music but also metaphysically charged through many undertones and nuances that are brought to full daylight and brilliance on this recording. From the innocent steps of the introductory, almost playful movements of the First, the recording proceeds to the almost easy yet brilliant triumph of the Titan's finale in a lightness that does not overwhelm at such an early stage, keeping reserves for the later and yet more powerful symphonies.
The seriousness with which the matter is approached fully shines in the Second, possibly the key to the entire work. Building on the resolution of the First, the more mature and serene Second ends in a joyous acceptance of a life that is more than mere mortal but also already hints at the darkness to come when we progress through the further works.
With the Third and Fourth, outwardly still playful and positive, the doubts and dark thoughts of Mahler's later works are premonished instead of brushed aside and we already see that eternity is just the next step and not as easy to tackle as common religious interpretation often wants to make believe. The Bells Choral in the Third correspondingly marks the last pure moment before the finale of that symphony asks a question that only seemingly gets answered in the Fourth - the naive and childlike pure heaven of the Fourth remains a dream, a place of temporary respite before venturing on.
The Fifth marks a turning point in the whole sequence as, in its third Scherzo movement, the darkness is no longer an enemy but a force to be taken just along with the light and this conflict continues throughout the entire Fifth and Sixth, where both the light and dark elements share in triumph, alternating for dominance. The solution is found in the seemingly simple and straight but in reality infinitely deep interpretation of the Seventh in which the listener is taken through the first serenade movement into a moment of absolute darkness before being given a glimpse of hope in the second serenade. This hope then fulfills in the Seventh's finale where for the first time dark and light elements join in a triumphant march directly leading into the glorious first half of the Eighth before that symphony's later half takes us towards infinity and ultimately, in the last chorus, an ending in which darkness and light, power and weakness become meaningless in a glimpse of the harmony of the universe.
In this context, the Ninth, separated from the first eight through the Song of the Earth missing from this recording becomes little more than an afterthought and the incomplete Tenth asks the question of what would have been had there been another complete cycle of four symphonies (counting Song of the Earth as the "true" Ninth - it is definitely needed between the Eighth and Ninth to provide the missing continuity).
In Abravanel's hands, the symphonies of Gustav Mahler become one work with no real beginning or end of individual symphonies. You can start with any movement, listen some, and end at any movement and still have the feeling of having heard a complete and logical work - a distinction that cannot be given to any other Mahler recording. If the collection has one flaw at all, it is that is missing the Song of the Earth and the remainder of the reconstructed Tenth to complete a true collection of the essential symphonic Gustav Mahler."

A good set at a modest price

Ray Barnes | Surrey, British Columbia Canada | 03/18/2000

(3 out of 5 stars)

"I have not had the pleasure to hear the re-release in 1995 on CDs but I have heard this cycle on the original LPs from several years ago. I cannot comment on the improvement with the recent transfer but the original sound quality was very respectable. These performances took place in the Mormon Tabernacle and the acoustics were excellent, and needless to say the Choir is self-recommending. The orchestral playing is good but not in the same rank as the Bavarian Radio Symphony Orchestra or the Chicago Symphony Orchestra, and Abravanel's readings have the same component of restraint as do those of Rafael Kubelik. When this cycle was originally issued it along with the Kubelik were among the only complete cycles available, and the critics at the time tended to prefer the Kubelik but thought the Abravanel was good value. Recently the Kubelik has also been re-released for very modest price and at this range is probably the better recommendation. Many critics thought the performance of the 7th was the best of the cycle and I would concur with that, it is well worth hearing and very sensitively played. I found the 8th was quite successful too with many details in the rich score coming out more clearly than usual - such as the mandolin playing. All in all, this cycle is still very enjoyable."