The release marks the beginning of a new Mahler symphony cycle by this artistic team. The orchestra recorded its first complete cycle under David Zinman (RCA) less than two decades ago; in 2018 Sony Classical rereleased the recordings as a budget boxed set. Järvi recorded video performances of the symphonies in Frankfurt at roughly the same time, all of which are readily available. It seems reasonable, therefore, to ask whether collectors are clamoring for a new cycle from this artistic partnership.
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Has this orchestra reached new levels of technical excellence? There is considerable technical accomplishment playing from all sections of the ensemble, with a precision that brings clarity to even the densest contrapuntal writing. First chair solos are arguably more characterful here than in Zinman’s earlier recording. But anyone hoping for the weightier corporate sound heard in Amsterdam, Berlin, Chicago, London (and even Frankfurt) will be disappointed. Especially in the Finale, the lithe, athletic playing made textures almost Mendelssohn-like. But is that really the sound Mahler intended?
As to Alpha’s engineering, the sound of this release is unexpectedly better than RCA’s Super-Audio production. The earlier recording was a rare misstep for the engineers: textures muddy (a result of too much room ambiance in the mix) whereas Alpha finds the sweet spot of clarity and warmth. Brass has less presence in the Zinman recording, and while the bass drum has a palpable physicality in this new recording, the Tam-Tam is underwhelming (the same is true of the earlier recording).
This leads us to the final and most significant question: has Järvi significantly changed his interpretative ideas? Over the last few years, I have reviewed several of his Bruckner and Tchaikovsky recordings, and in most of those reviews I have criticized Järvi’s emotionally remote readings of overtly passionate (at times histrionic) music. But last year I wrote glowingly of his Schoenberg’s Pelléas et Mélisande recording, which had a dramatic urgency I rarely hear in his interpretations. I very much wanted that same level of emotive connection in this Mahler performance, but instead Järvi adopts his usual objective stance, which dampens the more melodramatic moments of this score.
In readings by Bernstein (Vienna/DG) and Barshai (Brilliant Classics) the opening funeral march paints the image of a vulnerable mourner unable to contain their grief. And the grief is constantly morphing, from sadness to anger to confusion to desperation. Järvi’s reading suggests the older brother who holds his emotions in check so that he can comfort the rest of his family. Mahler’s music is surely an exploration of the pain, complexity, and vulnerability of that mourner. If Järvi is trying to capture these feelings by significantly speeding up for the first trio, the manicured precision he solicits from his players prevents the music ever sounding chaotic or out of control. Instead, marvels at the technical brilliance of the playing.
The second movement is driven and angry, though Bernstein and Tennstedt find an even greater ferocity. The cello lament (track 2, 4’22”) is achingly vulnerable, making the return of the opening material more unsettling, building to an angry dramatic climax. But when the trumpets announce the chorale-like figure, Järvi dramatically pulls back the tempo, bringing a sag in energy. The Scherzo features plenty of interesting details, with tempos between the movement’s six sections skillfully managed. Ivo Gass’s horn solo is beautifully shaped and expertly played.
Paavo Järvi (image ©️ Alberto-Venzago)
At 9’52” Järvi’s Adagietto is on the faster side (suggesting he subscribes to Mengelberg’s contention that it is Mahler’s love song to Alma). Sweetly sung by the strings, the reading skirts the darker elements of the writing. Both Abbado (9’00” – Berlin/DG) and Ádám Fischer (10’05” – Düsseldorf/Avi Music) at similar tempos, explore those darker aspects more fully. In the liner notes, Järvi described the music as “so powerful, so honest and so brilliantly organized.” Once I read that I understood what was missing: I can hear the music’s organization, its structure in Järvi reading, but again, I would argue that is the last thing Mahler wanted us to focus on.
The Rondo-Final is a great romp – energetic, with all its polyphony clearly rendered, but the brass lacks the power and weight I want in this music, and when the chorale-like music from the second movement returns (this time truly victorious) Järvi barely slows down, minimizing any sense of emotional catharsis. Franziska Gallusser’s liner notes contend that is exactly Mahler intends, an argument I find unconvincing.
As can be gathered, despite all the technical finesse and impressive audio quality, the interpretation didn’t always speak to me, though others may find it more convincing. Hopefully, future releases in this new cycle will better capture Mahler’s more unrestrained and emotionally charged moments.
Recommended Comparisons:
Abbado | Bernstein | Barbiolli | Adam Fischer (Digital)
Top image: ©️ Kaupo Kikkas
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Album Details |
|
|---|---|
| Album name | Mahler – symphony No. 5 |
| Label | Alpha Classics |
| Catalogue No. | ALPHA1127 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artists | Tonhalle-Orchester Zürich, Paavo Järvi |
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