Mahler Barshai Junge Deutsche Philharmonie - Symphony 10 5 (10 tracks) +Album Reviews

Truly impressive

T. J. Friedman | Tallahassee, Florida | 02/04/2007

(5 out of 5 stars)

"I echo the splendid remarks made concerning the truly accomplished performances and sound quality in both the fifth and tenth symphonies. What I wish to add is that the Barshai tenth is without a doubt the first version of this reconstruction that I have had the pleasure of listening to, that I have felt to be a fully realized conception of what Mahler might have written, had he lived to complete this elusive work.

This is because the various incarnations by Cooke that I have heard, fine as they were, have always sounded somewhat flat, lacking originality in orchestration and tonal variety due to being done in a careful, musicological mainstream manner with the view that nothing the master wrote should be changed anymore than absolutely necessary and that where possible, bits and pieces of prior writings are the best way to flesh out new work. Performing editions which fail to take into account that Mahler was continously forging ahead in new directions and recycle old ideas render Mahler's compositional progress finished prior to the start of the composition of this symphony (at the end of Das Lied).

The musical establishment, particularly the British one, is conservative and has generally opted for being scrupulous (itself a noble sentiment) not to venture into any "new" territory not specifically sanctioned by a composer. However, to do so slavishly without taking into account that Mahler was likely doing so, at least based upon those portions of the original sketches of the 10th score that I have seen, seems to me to be unduely careful and results in boring reconstructions. After all, Mahler's colleagues were Webern, Berg, Stravinsky and the like, and they definitely were in the process of eschewing tonality. Mahler must have been aware of this. Music was changing forever and Mahler certainly could not have intended to be left behind. He spent his entire career being in the forefront of modernists. One need only look at the beginning of his career, when he interacted and some would say, freely borrowed, from his colleague Hans Rott, to see that he was most definitely influenced by his peers to strike out in directions that were years ahead of the current musical establishment of the time. As a result, it seems to me to be a shame that our musical establishment should render Mahler conservative reconstructions of his music, even today. I prefer this somewhat radical Barshai view of Mahler any time.

His version his been prepared one with the requisite knowledge and performance experience needed for this task. His is a Mahler tenth that will grow more interesting with repeated listening, rather than the clinical Cooke versions that have frankly staled with age."

Superior

A. Yen | MA, USA | 02/05/2007

(5 out of 5 stars)

"Live recordings capture the moment unlike a studio job. Unfortunately the other contender for contemporary Best Live Mahler 5 falls quite flat: Abaddo's Mahler 5 on DG is somewhat banal and sounds like a second-pressing.

This recording, on the other hand, has as close to everything you could get in one recording of Mahler 5 (more on 10 later). With vibrant string playing, intense brass, sensitive woodwinds, and an overwhelming percussion sound at the big moments, this is a serious orchestra. I get to hear some of the best young players around in my area's youth orchestra, so I know there is amazing talent in the world. This is a college-age orchestra, but just like the best youth orchestra here in my place (which, unlike this orchestra, does not accept players older than 19), on recording, you can never tell it wasn't adults behind the stands. Incredible playing aside, this recording's sound quality captures nuances galore. Perhaps not every single detail is audible, but this is NOT one of your milked studio recordings where details, rather than complimenting the recording, pop out at you and sock you one to the jaw.

As for Mahler 10, I must say that if you are interested in Barshai's reconstruction, then by all means check it out. I personally think the first movement, (which seems, to my ears, to follow the original Mahler orchestration) is a tad slow, losing a bit of the lilt and "funkiness" of the strangely dark waltz tunes, for example. The rest, since it contains various differences, I really don't know much about; it is safest to assume you want this disc for the Fifth Symphony.

If it's the Fifth you want, buy this ridiculously cheap recording now."

Great overall performance for a dismatched bargain price.

-Ashi- | San Jose, CA United States | 03/20/2007

(4 out of 5 stars)

"I've listened to several versions of Mahler's 5th. This one is among the top. I should point out that Barshai's adagietto (from Symphony No. 5) may be a surprise to some who are familiar with the piece. The overall tempo is certainly okay (flows like a love song, instead of a funeral march, said another reviewer), but the use of rubato is a little distracting. While it injects a nice dose of energy into the piece, one must question whether a Chopinesque approach is right for Mahler. That's the only thing that prevents me from giving it a five-star. Otherwise, the reconstruction work for the 10th is marvelous. The performance of the symphony overall is certainly quite a pleasant treat. The bargain price tag certainly does not reflect the quality.

The pamphlet insert contains a nice little intro for the reconstruction (of Symphony No. 10), and a praise for the 5th."

A Really Satisfying Tenth

Stephen Grabow | Lawrence, Kansas | 04/09/2008

(5 out of 5 stars)

"Mahler's 10th has always seemed a fascinating proposition to me. I started out with the Wyn Morris version on LP and then moved on to the first Rattle with the Bournemouth and then the second Rattle with the Berlin -- which never quite lived up to all the hype it got from the UK music critics. Lately, I have come to prefer Chailly and Gielen and have started to enjoy the Lopez-Cobos recording with the Cinncinnati of the revised Mazzetti version. But this new one by Barshai (of his own "reconstruction") is really satisfying. There are moments where one feels the continuity more with Das Lied von der Erde than with the 9th in the sense of being more exotic, more forward-looking. It is also more refulgent and, most of all, sounds like Mahler. This is perhaps to be expected from Barshai who, compared to Cooke and the others, is a much more accomplished musician (founding member of the Borodin Quartet and long-time conductor of the Moscow Chamber Orchestra, etc.) And the sound is great."

Indispensable for its emotional directness

Ralph Moore | Bishop's Stortford, UK | 10/01/2010

(5 out of 5 stars)

"This bargain double disc has not been re-issued and is hence now available only on Marketplace for inflated prices, unless you can find a second hand copy somewhere. All is not lost, as there have been subsequent issues by Brilliant of the two discs separately, still at bargain price, but there is something very satisfying about owning two such sterling performances in one attractive package with informative notes.

Make no mistake; these are in no sense merely worthy efforts by a youth orchestra but stand comparison with the finest versions. It is true that there is neither quite the depth of sound nor the sheen on the strings associated with the world's top ten orchestras but there is a compensatory sense of spontaneity and enthusiasm to convince the most jaded listener. The key to Barshai's approach is directness and honesty; there is no conscious striving after effect but a slow-burn appreciation for the architecture of the symphonies and a real grasp of the relationship between the individual movements which eschews overt emotionalism or obtrusive point-making. Some may find the Tenth, in particular, a bit "straight" but I like the extra richness imparted by Barshai's more layered orchestration as opposed to Cooke's starker, grander conception and the virtuosity of the instrumental soloists, captured in mellow, spacious sound with a touch of reverb, is jaw-dropping for a youth band. Barshai makes more use, in particular, of percussion than Cooke and sometimes one suspects a bit of overkill and hears a bit of sonic overload in its application, but it certainly commands the listener's attention, especially at the opening of the last movement; similarly, the tam-tam at the end of the of the second movement of the Fifth reverberates wonderfully. I guess it's true that weariness with routine and boredom with repertoire can periodically afflict even the greatest orchestras, such that that they may occasionally be outshone by the zeal and freshness of a very talented young band under the direction of an inspirational conductor like Barshai. And if it comes to technical polish, I would ask you to listen to the closing bars of the first movement of the Tenth if you want to hear string playing of melting poise and beauty. Nor are notoriously vulnerable and exposed passages such as those entrusted to the trumpets and horns in any way to be found wanting; their polish and accuracy are astonishing. The famous Adagietto in the Fifth does not linger sentimentally but is urged onward passionately by Barshai - probably a wise interpretative choice given that he could not hope to emulate the silky sheen of the VPO here, even with an orchestra as fine as the Junge Deutsche Philharmonie.

These are live performances and the odd, almost imperceptible cough obtrudes, but you are hardly aware of it. However, a previous reviewer is quite right: despite claims elsewhere that both symphonies were recorded live without interruption, there is an obvious edit right at the end of the second movement in the Fifth when the acoustic dips slightly and you can hear someone talking quite loudly in the background, evidently unaware or uncaring of the fact that snippets from rehearsals might be needed for later remedial work. It's a small, negligible flaw, hardly evidence of dishonesty and barely worth mentioning but once again one wonders how much we can trust the information we are given on discs, given how over the years more serious and even scandalous frauds have come to light - such as the EMI issue of the 1951 Fürtwängler Beethoven's Ninth dress rehearsal at Bayreuth as a live performance.

No matter, this is a great double disc.

"

Search - Mahler, Barshai, Junge Deutsche Philharmonie :: Symphony 10 & 5

CD Details

Similar CDs

CD Reviews