Search - Arleen Auger, Dame Janet Baker, City of Birmingham Symphony Orchestra and Chorus :: Mahler: Symphony No. 2 "Resurrection"; Rattle, Auger, Baker

A massive Resurrection in Five Movements...

ewomack | MN USA | 07/31/2005

(4 out of 5 stars)

"Mahler supposedly tied his First and Second Symphonies together thematically. The story goes that the "hero" of the First Symphony descends to his grave in the funereal first movement of the Second Symphony (this first movement, which began as a symphonic poem called "Todtenfeier", dates from 1888, around the same time Mahler composed his First Symphony). Not only that, in a letter of 1900 Mahler claimed that the First Symphony finds its total resolution only in the Second. So here stands another example of the continuity and interdependence of Mahler's works.



In the Second Symphony, after the "hero" is laid to rest (First Movement), there is a reminiscence of the joys of the fleshy and corporeal world (Second and Third Movements), followed by the Last Judgment and the Resurrection (Fourth and Fifth Movements). The symphony is bookended by two enourmous movements: the First (on this disc almost 24 minutes long) and the Fifth (here divided up into seven small and distinct sections that run more than a half hour; some recordings also break down the other movements into smaller sections which can make for a huge track list: e.g., Berstein's well known recording has 25 tracks!). These movements contain the meat of this symphony and represent death and rebirth respectively. Likewise, each of these important movements contain their own dramatic conclusions. Both have rather salient openings as well. The First snakes ominously forward and the Fifth begins with an earth-shattering bang (much like the final movement of his First Symphony) that builds up to the finale. In the manner of other Mahler symphonies, the Second was constructed from pieces previously composed and fit together with new material to make an organic whole. Some think that Mahler finished the heartbreakingly beautiful song "Ulricht" in 1892 and, though not originally intended as a symphonic movement, inserted it into the symphony. The complete score has a date of 1894. Here Mahler begins to play with the Symphonic tradition (though the First originally contained five movements, it was eventually cut down to the traditional four). He puts in choirs, vocal soloists, songs, and long breaks of silence (Mahler wanted a five minute break between the First and Second movements supposedly for reflection; this has not remained a tradition). The song collection entitled "Das Knaben Wunderhorn" begins touching Mahler's symphonies here as well (this collection also turns up in the Third and Fourth symphonies). The Third and Forth movements originate from this collection (though the Third does not actually get sung). Lastly, Mahler himself wrote two-thirds of the lyrics of the final "Resurrection" song. He had heard the first two verses sung at the funeral of his friend, and fellow eminent conductor, Hans Von Bülow in 1894, and decided to add some verses of his own. The symphony closes in an all-encompassing "resurrection" (Mahler did not give the symphony this name) bombastically reiterating the theme from the beginning of the movement. This final movement contains some of Mahler's best and most moving work. Thus the symphony has remained, and will likely remain, a popular one.



Rattle's recording contains extreme dynamism. The lows are really really low and the highs are head-shattering. This makes for a roller-coaster experience, but I find myself turning the volume up and down throughout the length of the CD. The soft parts sound heavenly in headphones, but the loud parts can split one's skull in such an intimate and closely coupled environment. Throughout the music is for the most part incredible. And for good reason this recording gets put alongside the best recordings of this symphony. However, one can probably sympathize with the oft-stated criticism that the finale seems a little underwhelming. It's as though the First movement sets one up for something that never quite happens as completely as one would expect. Nonetheless, Rattle, the CBSO Chorus, and the City of Birmingham Symphony Orchestra pull off an amazing performance of one of Mahler's best works.



An intruiging question remains dangling after reflecton on this symphony: what is its true religious stance? The themes obviously ring of Christianity, but Mahler wasn't officially converted to Roman Catholocism until 1897. Born into a Jewish family, Mahler faced virulent anti-Semitism during his life, and debate still ensues whether his conversion represented a career-minded or spiritually oriented move. In the end, though speculation always provides entertainment, this symphony's incredible music will always outlast any of its analysis or its supposed or intended themes. One not need think of religion to enjoy this massive work of one of the greatest of all symphonists."

One of the all-time best of this symphony

Bruce Hodges | New York, NY | 01/31/2002

(5 out of 5 stars)

"This recording continues to generate high praise, and for good reason. This is one of Rattle's finer Mahler recordings. I was lucky enough to hear him perform this piece live (with the Philadelphia Orchestra) and it was an overwhelming experience, much like this document. Other versions of the Mahler "Resurrection" I admire are those by Bernstein (with the NY Philharmonic), Chailly (with the Concertgebouw), and the late Sinopoli, whose complete Mahler cycle with the Philharmonia remains a favorite. But Rattle places his own stamp on the piece, for example in the gigantic unison descending scale that closes the first movement. No one has taken this passage at such a broad, deliberate tempo, and the effect has an earth-shaking finality. The soloists are excellent, the chorus in the final section sounds radiant, and the City of Birmingham orchestra is at its best throughout the symphony. This project was recorded not long after Rattle began his partnership with these outstanding musicians, and the match was clearly a good one. Until Rattle records the piece again, hopefully with the Berlin Philharmonic, this CD remains highly competitive."