Search - Gustav Mahler, Pierre Boulez, Vienna Philharmonic Orchestra :: Mahler: Symphonie No. 5 - Wiener Philharmoniker / Pierre Boulez

Incisive, insightful conducting

10/26/2000

(5 out of 5 stars)

"I felt obligated to write this if only to counter the 1-star reviews below. This is outstanding Mahler conducting, a performance of crystal clarity and much insight. It moved me as much as any performance, if not more. It is not a typical Mahler performance, as it does not drip with Late Romanticism, which may be what the other reviewers feel is lacking. Rather, it presents Mahler as the forebear of what was to come in the 20th century, as well as keeping one foot firmly rooted in Viennese Classicism. Kudos to Boulez for helping all of us rethink what a Mahler performance can and should be."

Worth it for the Adagietto

Shota Hanai | 09/27/1999

(4 out of 5 stars)

"Those of you who shy away from Boulez will probably find this a bit odd, but by far the most affecting portion of this disk, and which is in my opinion the most overwhelming version ever recorded, is the stunning rendition of the famous adagietto. It is one of the most profoundly moving symphonic movements ever written, and Boulez captures both the romantic and religious elements of this movement in a way I had no idea was possible until I heard this disk. The rest of the disk is wonderful as well, although there is nothing overwhelming to distinguish it from its competition in the way the adagietto does. Even if you hate the rest of the disk, it is most definitely worth it for the fourth movement. I've nearly worn my disk out from playing it so often."

Dry-eyed, analytical Mahler

Pater Ecstaticus | Norway | 11/04/2005

(4 out of 5 stars)

"I now own a couple recordings of Mahler symphonies conducted by Pierre Boulez, but not all of them (yet). And I must say that in general I like his approach, especially in for example the rarefied musical textures of 'Das Lied von der Erde'. Boulez' vision, in his modern recordings of Mahler's symphonies with the Chicago Symphony Orchestra, the Cleveland Orchestra and the Wiener Philharmoniker, is indeed very consistent along the whole line, mainly in wanting to clarify the complex musical textures (emphasizing their quality as Modern music) and wanting to avoid any excess, especially on the emotional level. Sometimes, to my idea, this works wonderfully, but at other times, like in this recording, it is less successful (at least to my ears).

This Mahler Five by Boulez and the Wiener Philharmoniker is to my idea as dry-eyed a performance as it can possibly get. Maestro Boulez almost seems to be telling: forget this Mahlerian idea of the symphony reflecting a whole world of experiences, the result of which has often been the conductor (unwittingly) coloring the music with all possible kinds of emotional inflections, and, as a result of over-indulging by the conductors, excess.

The overall result here may be the feeling of this recording just being an exercise in Modern music-making. Pierre Boulez' commonly known dislike of tradition and mannerisms, combined with an analitical view and keeping a tight rein on the orchestral forces, has here resulted in a detached kind of Mahler which is kind of strange to the ear, but, I would like to say, as legitimate as any other view. But still I miss a certain involvement with what one could call the meanings behind the notes.

Anyhow, Boulez sometimes seems to be totally immune to the often all too human (emotional) peculiarities of Mahler's music, (purposely?) out of touch with the worlds of feeling that one could (and should) expect behind the notes. This can sometimes be a blessing, injecting the music with a kind of new freshness, but here, in this particular music, which can indeed be directly connected to specific circumstances in Mahler's own life, it feels not quite right, I believe.

There are other performances which I do rate higher, mainly because of their being more 'charged' with both power and emotion. Take for example Bernard Haitink's 1986 live Christmas Matinee Concert performance (Haitink is often said to be 'better' live), Benjamin Zander's recording with the Philharmonia Orchestra, and Eliahu Inbal's recording with the Frankfurt Radio Symphony Orchestra.

Nonetheless, evaluating it in one sentence, this album by Boulez and the Wiener Philharmoniker, although often missing the verve and feeling necessary for this symphony, is a fine, beautiful-sounding recording in its own right."