Search - Gustav Mahler, James Levine, Chicago Symphony Orchestra :: Mahler: Symphony No. 4

A very good outing for Levine, though not his best Mahler

Santa Fe Listener | Santa Fe, NM USA | 11/30/2005

(4 out of 5 stars)

"As he traversed the landscape of Mahler symphonies over the 1970s, the young James Levine proved that he was to the manner born, almost as much as Bernstein. His RCA versions of the Third, Fifth, Sixth, Seventh and Ninth are full of exuberance, power, and original ideas (Levine's incomplete cycle omits the Second and Eighth). All of those readings can stand beside the best and far surpass Haitink and Chailly, whose cautiously interpreted Mahler continues to be admired.



The first half of Levine's Fourth raises high hopes. In his view this is an untroubled work. Levine approaches it without stark contrasts of light and shadow. Such an interpretation risks turning cloying, since the Fourth is a bit candied anyway, but Levine has so many novel turns of phrase, and the CSO plays so beautifully, that these first two movements come off very well. (The listener should be forewrned that the solo violin in the second movement is strongly highlighted, sounding louder than the rest of the string section combined.)



My hesitation is with the last two movements. Levine takes the slow movement, which is marked Poco Adagio, so broadly that it finishes in 22 min. compared to 18 min. for Klemperer; the average on disc is about 20 min. Since Levine also restrains the cntrast of light and dark here, making very little of the "heaven's gate" climax, the prevailing serenity gets monotonous. The finale is brisk and light, but Judith Blegen sings with no regard for the words. She makes no attempt to imitate the tone of a child's voice or emotions, and her notes get noticeably weak at the bottom. She's lovely in an abstract way but not involving. Finally, the remastered sound of this mid-price reissue, though clear, retains a bit of digital glare in the strings, with insufficient body in the bass.



There's no denying that Levine continues to impress as a born Mahlerian, probably the most gifted one America has produced after Bernstein, but this performance isn't one of his best."

A neglected performance

Jeffrey A. Fong | Tacoma, WA, USA | 02/26/2006

(5 out of 5 stars)

"This truly is a fine, overlooked performance of Mahler's 4th, of sufficient caliber and musicality to stand up there alongside Szell's iconic recording with the Cleveland Symphony. The interpretation is nuanced and higlighted by the unusual, closely miked recording - which is flattering to some performers (e.g. Ray Still, oboe) and harshly depicting others, namely violins. Well worth getting, especially at the modest price."

A famous sleeper

L. Johan Modée | Earth | 09/14/2004

(4 out of 5 stars)

"This famous 1974 recording with James Levine and Chicago Symphony Orchestra is one of the great performances of Mahler's 4th.



Here are some reasons. First, Levine is faithful to Mahler's score, no doubt about that. Most rubatos are there, and the odd tempo changes as well (for instance at the very beginning). Second, CSO is in top form. Third, it is a very good recording. Fourth, Judith Blegen is pretty convincing as childish in the final movement (at least in my ears).



At midprice, a self-recommending issue."