Gustav Mahler David Zinman Tonhalle Orchestra Zurich - Mahler Symphony No 6 (4 tracks) +Album Reviews

A welcome respite from the recent flurry of overindulgent Ma

Prescott Cunningham Moore | 08/15/2009

(5 out of 5 stars)

"This is a very fine Mahler Sixth, a recording that is certainly justifiable as part of the Tonhalle's ongoing cycle of the Mahler Symphonies. However, this performance could not have been released at a worse time. I the last decade, there have been more Mahler Sixths than even the most die-hard Mahler fans (and there are many) could possible listen, including (but certainly not limited to) the following: Michael Tilson Thomas with the San Francisco Symphony in 2001; Christophe Eschenbach in Philadelphia; James Levine in Boston; Ivan Fischer with the Budapest Festival Orchestra; Haitink (again) in Chicago; Abbado (again) with Berlin; the London Symphony Orchestra twice - once with Mariss Jansons and again with Valery Gergiev; Mariss Jansons (again) with the Concertgebouw; Benjamin Zander with the Philharmonia; and Lorin Maazel with the Philharmonic. And these recordings are only in the last ten years, to make nothing of the now classic recordings of Mahler by the likes of Bernstein, Haitink, Tennstedt, Gielen, Inbal, and Chailly to name just a few. So it seems rather silly to compare Zinman's interpretation to the competition; rather, understanding Zinman's interpretive point of view is much more instructive.

Listeners that like their Mahler to sweat blood and tears may find Zinman's approach somewhat "dried eyed," for lack of a more appropriate term. His horns don't wail and wallow in lachrymose, the winds don't screech and scream, and the brass as a whole is kept firmly in check by Zinman's steady hand. However, Zinman's succeeds with his keen intent on presenting Mahler as a symphonist. Mahler was aware of his important position in music history, as the last great symphonist of a tradition begun by Haydn. Zinman understands this and his interpretations are less about superficial details than on architectural scope, shaping movements rather than moments, and driving towards climaxes with unfaltering concentration. Thus, Zinman's first movement sounds more "classical" than many, but it is Zinman's ability to shape the music and maintain concentration throughout that makes the movement as a whole more satisfying than recordings by conductors that may indulge in histrionics. This holds true for the magnificent andante (placed second), which is handled as a true andante, flowing magnificently under Zinman's baton. The alpine episodes balance bucolic charm and stormy excitement quite well while the great climax is satisfying both emotionally and musically (cow bells fully audible), leading to the movement's touching close. The Scherzo (placed third) is reasonably paced which allows Zinman to elicit some truly gruesome sounds from the orchestra. In the trio, Zinman capture's Mahler's cheeky humor while still maintaining a sense of child-like simplicity (Alma said the trio was a musical depiction of children at play, although whether that is true or not remains questionable).

It is in the finale, however, that Zinman really delivers, from the portentous introduction to the allegro, benefited greatly by clearly etched bass lines, reinforced by some superb tuba playing. Zinman's phrasing and sense of architectural scope is quite magnificent; listen to how the development moves towards each hammerblow with march-like intensity of how Zinman maintains excitement without sacrificing textural clarity. The recapitulation further builds tension, with each thematic reoccurrence tempered with added gravitas, leading to a satisfying coda and conclusion.

If I liked this release perhaps more than I should have, forgiving Zinman's failure to dramatize climaxes or the general dynamic ceiling pervading the performance as a whole, I found Zinman's refusal to make the performance about anything other than the music refreshing. With so many conductors adding unnecessary rubatto, creating false excitement through vulgar tempos shifts or indulgent dynamic extremes, Zinman focus on architecture, melodic line, and on presenting a cogent, cognizant symphonic soundworld is a welcome respite from the hundreds of recordings that create superficial excitement by taking every interpretive pit-stop, forsaking the musical journey as a whole. For those that like fire and brimstone, Zinman's Mahler will seem too cool and even-tempered. But for those who are looking for a satisfying and magnificently presented performance that from start to finish has a clear interpretive point of view, Zinman's Sixth (and the cycle as a whole for that matter) will be a pleasant surprise.

Sonics throughout are wonderful, clear, and the engineers have captured the capacious sound of the Tonhalle wonderfully, both in stereo and SACD. The orchestra is equally magnificent, violins antiphonally placed, violas left, cellos and bases right.

On a final note, I would also like to commend RCA for its recent reemergence as a leading source of quality classical recordings. After a disastrous 80s and 90s, BMG's merger with Sony has seen improvements for both labels, but especially for RCA, which has produced a small, but immeasurably satisfying catalogue in the last five years, from a reference Paris Symphonies Set from Harnoncourt, fabulous violin recordings from Nikolaj Znaider, and Paavo Jarvi's brilliant and awe inspiring Beethoven cycle with the Deutshe Kammerphilharmonie Bremen. Bravo!"

Another fine Sixth

Rodney W. Helt | Verona. WI USA | 07/21/2009

(5 out of 5 stars)

"I rather enjoyed this latest addition to Zinman's continuing cycle. RCA has furnished us a detailed, spacious recording. While I would place Mr. Zinman in the objectivist Boulez school of conductors, this rendition is not fussy, detached, or cold hearted like so many of Boulez's efforts. I found that none of the emotional content that is in the center of Mahlers compositions was downplayed here. An excellent example of Mahler conducting! I still prefer Bernstein, Karajan, or Levi for my desert island choices in this repertory, but well done Mr. Zinman!"

Among the best, in my opinion

B. Guerrero | 03/20/2010

(5 out of 5 stars)

"I hadn't reviewed Zinman's Mahler 6 previously because I chose to review his "Going Against Fate" dvd instead. I would still urge anyone who's truly fascinated with Mahler's demonic 6th symphony to check that out, regardless of what you might think of Zinman as a Mahler "interpreter" (hate that word). Mr. Moore has already done a very good job of giving a play-by-play account (or blow-by-blow in the finale). Again, it really helps if you turn these Zinman/RCA recordings way up. If you do so, not only will you find the balances pretty much exemplary between all four sections of the orchestra (strings/woodwinds/brass/percussion), but you'll find that the two hammer-strokes have plenty of visceral impact.

This performance is given in andante/scherzo order, which many claim is unarguably correct (I'm not so convinced, based on purely musical issues). In this case, that's a good thing. Why? . . because Zinman takes the "andante moderato" marking for the slow movement at face value - clocking in a bit less than 14 minutes - while minimizing contrasts of tempi in the scherzo movement. In other words, he takes the scherzo proper a bit slower than usual (yet, sufficiently emphatic), while also keeping the numerous trio sections from dragging. I, for one, do think that the scherzo could have used a tad more contrast between sections. But placed third in the line-up of movements, it works quite well. Unlike another reviewer here, I think the finale is darn near ideal. Again, you need to turn it way up - especially if you're listening in SACD mode.

So, if you're in need of something that's more of a subjective "interpretation" (yet, has great playing and great sound too), I would direct you towards the weird yet powerful Eschenbach/Philly Mahler 6 from Ondine. But, if you also view Mahler 6 as an overgrown Haydn "sturm und drang" symphony (his predominately minor keyed period) on steroids; yet, you need to hear it in andante/scherzo order, I think it would be hard to do better than this. For me, this is truly a keeper (along with about 7 other Mahler 6 recordings!). For me, it has both more heft and clarity than the otherwise very fine Abbado/Berlin Phil. Mahler 6 from DG."

A Good Mahler Sixth

Virginia Opera Fan | Falls Church, VA USA | 08/06/2009

(3 out of 5 stars)

"The domestic release of this recording puts to rest fears that Sony/BMG had abandoned the SACD format for the Zinman Mahler cycle. My first copy, an import, was a standard "redbook" CD that was also defective - the discs split from center to edge the first time they were inserted into jewel case. My advice is to make sure you get the SACD hybrid.

As to the performance, repeated listening leaves me less satisfied than I was upon first hearing. BMG's sound is pretty seductive, but the performance seems more ordinary as time goes on. True, Zinman emphasizes clarity of the polyphonic strands of this very complex symphony. Mahler's various lines and counterpoint emerge with uncommon clarity - aided no doubt by a clear and spacious recording. (I have listened to the SACD multi-channel layer only.) Zinman adopts a swaggering march tempo for the first movement and the "Alma" theme soars. He also observes Mahler's exposition repeat, giving the movement the appropriate balance. The end of the ethereal "cowbells" episode seems to catch the conductor off balance and he takes awhile to recover momentum.

The wonderful Andante is well played (as the second movement) and again, the lines emerge with clarity. Zinman allows the emotional content of the music to speak for itself. The Scherzo is a true to the "weighty" indication of the score. This odd movement gains a sense of gravity in Zinman's handling. Both inner movements emerge as undercharacterized.

The Finale, in Mahler's revision without the third hammer stroke, makes its points through clarity of line and texture. Again, Zinman seems be allowing the sense of tragedy to accumulate through attention to structure and detail. This is Mahler in the objectivist/classicist vein.

I prefer Mahler's first thoughts on the sequence of the Scherzo and Andante. When the Scherzo is played as the second movement, the A Minor/Major tonality of the Allegro energico carries over into the second movement along with permutations of the thematic content of the first movement. The Andante's impact as a lyrical "oasis" between the opening Allegro and Scherzo and the harrowing finale is emphasized, not to mention the relative major/minor key relationship between the Andante and the opening of the Finale. Since the final three movements are on a separate disc, the listener can program the inner movements in their preferred sequence.

Zinman's Sixth is a continuation of his workmanlike series - good, if generic, leadership, good orchestral execution, and excellent sound. I have been lukewarm about his efforts to date and the Sixth doesn't change those impressions."

Restrained and interesting, but the Finale is a let-down

MartinP | Nijmegen, The Netherlands | 12/23/2009

(4 out of 5 stars)

"Despite its emotional excesses, the Sixth is Mahlers most traditionally classical symphony in form. Those familiar with Zinman's Mahler style will not be surprised that it is this characteristic that he brings out in particular. Clarity and transparency define the first movement, with a slightly nervous, lithe rendering of the Alma theme, and a somewhat understated take on the more lugubrious moments - the descent back into darkness a bit before fig. 37 doesn't chill the spine like it does with Bernstein. And while the triumphant outburst just before fig. 45 is thrilling, it isn't as shattering as it could be. Yet I wouldn't call Zinman's approach light-weight; indeed, the sound of the Zürich orchestra is noticeably more powerful than in their recording of the Seventh. The bass drum has slightly better definition too than it has in the later work.

Whether one agrees with Zinman's choice to play the Andante before the Scherzo is a moot point in the days of CD - you can have it any way you like, both Andante and Scherzo are on the second disc. The slow movement gets a reading of great delicacy, very still and serene, but with no lack of passion in its one great outburst. Lovely cowbells, too. The Scherzo is surprisingly hefty, truly Wuchtig, though some may find the tempo just a bit on the plodding side. Surely, Zinman does get into trouble a bit with the internal tempo relations in this piece, because Mahler demands several subsequent slowdowns that, given Zinman's relaxed opening tempo, would result in a virtual standstill. Occasionally, too, he ignores Mahler's admonition not to drag (but at least, unlike many of his colleagues, he doesn't erroneously take it as a cue to speed up). Despite these reservations the Scherzo comes across very well, dark and disturbing as it should be, and with a deeply wistful ending.

Unfortunately the Swiss team then looses track in the Finale. Zinman doesn't seem to have a very clear idea about the main lines, and is apt to highlight details that are of secondary importance. The woodwinds apparently have no clue as to the meaning of words like `grell' or `feurig'. The violins, too, sound distinctly undernourished at times, and there is an incomprehensible slackening of tension just before the first hammer blow (though the hammer blows themselves are quite possibly the very best I've heard in any of the many recordings I own of this work). Like many others too Zinman, in the opening pages, opts for completely the wrong kind of bells: too distinctly pitched and therefore making the ensemble sound out of tune. For considerable stretches of this piece the overall result verges on messiness, even if some things, like the great horn theme at fig. 140, are done beautifully.

There are still enough things in this Mahler VI to make it worthwhile. But it clearly isn't a first choice. For that, look to Bernstein for all-out emotion and sheer power, Boulez for a more classical approach, or Eschenbach for a reading that isn't always true to the letter, but very much to the spirit of the score.

"

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