Hunt-Lieberson and symphony's ending steal the show I want to like this better than I do, as the good moments are truly great. But upon repeated listenings, once again, MTT finds spots to just suddenly slow down for no real or good reason. Here, it's in the scherzo; towards the end. In particular, there's a passage where Mahler makes it sounds as though time is standing still for a bit. Naturally, MTT feels that he has to exaggerate that which Mahler has already built into the music. It's so typical of what he's been doing in his on-going cycle. Also, slow and soft passages throughout the performance are, indeed, SLOW! If I'm not mistaken, MTT's finale stretches well beyond 35 minutes. And, as with his earlier SFSO recording of the Mahler third symphony, the second movement is somewhat faceless and prosaic. Too bad, because there are some other really fine things that happen here - the climax to the first movement being one of them. Not only does MTT nail that climax, but he also erases the awkwardness of the next moment by having the low strings jump right back with their fast, ascending flourishes - almost without any waiting. That's a brilliant interpretive touch. But then there's that faceless second movement, followed by the scherzo with the strange dragging of tempo, here and there. Too bad, because then we get Lorraine Hunt-Lieberson, who has graced this recording with possibilly the greatest vocal performance ever! In addition, the end of the symphony is quite thrilling; although, the organ sounds far stronger on the more natural sounding Blomstedt/SFSO M2 from Decca (as a trade-off, the alternating salvos of the percussion are stronger here).
In the final analysis, although the mezzo is nowhere as good, I just feel that the Blomstedt/SFSO M2 flows better from begining to end. I also like the stronger organ and firmer sounding chorus. MTT's strange tempo anomolies grow tiresome upon repeated listening too. If you want to hear darn near everything done right in this large and multi-faceted work, I recommend the recent Ivan Fischer/BFO Mahler 2nd on Channel Classics. If a more historical perspective is your interest, you can't beat Walter or Klemperer - especially his live stereo one from Munich with Janet Baker.
OH MY GOD! I haven't written a review on this site in a really long time. But there are just some things that require coming out of exile.
The performance and recording of the massive work are massive, phenomenal. I have LOTS of recordings of this piece, and I've listened to each and every one of them LOTS and LOTS. Mahler is a God to me. He (and Bruckner) got me through my teenage-years... This performance is special. There is so much power, SO much beauty, SO much intensity, SO much care taken... I've never heard such ferocity (and irony, and agony, and ecstacy) in the first movement, such delicacy (and verve) in the second and third movements, and as for the last movement -- hot damn, son of a gun -- the things Michael Tilson Thomas does with it are just spectacular.
This is my favorite, my absolute favorite. Please give it repeated listenings. There are so many rewards in store for you.
Mahler 2-wow !! This is one of the finest recordings of Mahler 2 ever!!! The interpretation is superb..very Bernsteinish (who singlehandedly brought Mahler back into the public eye on his recordings with the Vienna Phil) The only problem is that the recording is too soft for those of us who like to listen in the automobile...otherwise wonderful
Absolutely Thrilling Michael Tilson Thomas's fifth Mahler recording with the San Francisco Symphony Orchestra in his series of the complete Mahler symphonies is just as wonderful and exciting as any Mahler performance can be. The second, commonly called the Resurrection Symphony, is the most successful of the first four symphonies in structure, clarity, and overall architecture. Unlike the unbalanced third and forth symphonies and the sometimes indulgent first, the second is strong in its architecture, powerful in its emotional scope, and wonderfully rich in its musical language. The second is Mahler's answer to death and resurrection, a powerful transition from minor to major, that, when well performed, is chilling in its emotional impact.
The symphony begins with an arresting funeral march in dark minor. The stirring of the low string in fff is frightening as they call together the whirling activity. The movement is in sonata form, with a double development, each capped of with terribly exciting climaxes. The lovely andante is calming in its gentle swing, but is still filled with the passion of the first movement. The enigmatic scherzo, with its wonderfully vertiginous orchestration, is a dark compilation of Jewish melodies. The lovely forth movement, with its wonderful vocal writing, acts as an introduction of sorts to the dramatic and gigantic finale. The finale is a vivid journey through darkness and adversity, leading to the wonderful glory drenched ending of the symphony.
There are few faults in this consistently splendid recording of the symphony. The San Francisco Symphony is in great form, delivering a performance congruous with Mahler's idiomatic sound world. The first movement begins with tremendous energy; the lower strings really dig into their parts with the necessary vehemence. Thomas's tempo is a bit slower than usual - however, he uses the tempo to judiciously draw out aspects of the score. At times, tension sags due to heavy rubatto, but overall, the good outweighs the bad: the orchestra really delivers a dark, rich sonority; the dichotomy between the dark and light episodes is accentuated effectively; the final climax before the recapitulation has never been bettered; and Thomas immediate transition into the recapitulation after the climax maintains a great deal of tension, eliminating the awkwardness of the moment. All in all, this is not only Thomas' best conception of a sonata-form movement within the cycle, but it also stands up handsomely to the competition, including Bernstein's recording on DG, which also suffers from slow tempos and slackening tension.
The second movement goes well enough. The strings sing their part warmly, offering a plush sound which is remarkably lovely - even if it is somewhat at odds with the rustic charm of the dance. Thomas indulges his penchant for rubato in excess ever so slightly - a tighter grip would have improved this otherwise wonderful movement.
The scherzo, however, hangs fire. There are too many wonderful moments here to highlight but of particular note are the droll clarinets, Thomas's wonderful transition into the trio, and the magnificent "cry of despair" which captures the all dread and intensity frighteningly well. The clarity of texture, not to mention the top-to-bottom perfection of ensemble, is a joy.
And then there is the Urlicht, one of the finest on disc, so faithfully performed by the late Lorraine Hunt Lieberson. Never has a voice so rich, so powerful, yet so sensitive graced this movement. She draws the text from the score masterfully, highlighting all the correct emotions, while imbuing the lied with a gravitas that never sounds forced. Thomas's sensitive accompaniment only adds to this gem, this brief dream before the onslaught of the finale.
The finale is uniformly spectacular, from the opening Bb minor outburst to the final "resurrection" in Eb. All offstage effects register with immaculate clarity, the various marches all embody the correct character, the orchestra really digs into their parts, delivering the vile sounds of purgatory with utmost character while expertly contrasting that with true visions of heaven. The entrance of the chorus is hair-raising and Hunt Lieberson is just as fine here as ever. Isabel Bayrakdarian, however, is a bit more problematic. Her small voice and quick vibrato do not suite the music well, keeping her vocal line stubbornly earthbound when transcendence is so necessary. However, her part is small and is easy to overlook when compared to the closing passages, where Thomas really creates a "resurrection." Expertly paced, perfectly balanced, and magnificently captured, the final passages are astoundingly powerful, carrying a great deal of tension and gravitas. Thomas may not revel in this music like Bernstein, who really plods through the final passages, but allows this conclusion to arrive naturally, creating a thrillingly satisfying close to this symphony. A magnificent installment in the ongoing series and a highlight in the discography of Mahler seconds.
On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, at times even coquettish. The brass is rich, powerful, but not overbearing. The percussion, especially the bass drum and tam tam (wow), is astoundingly powerful. The strings have a bright sheen, but deliver some of their darkest timbres on disc here. Regardless, the real matter of interest in this recording is what is being said. Michael Tilson Thomas is quite well versed in Mahler and there is a profundity of incite here. There is no such thing as definitive when it comes to a Mahler performance. This recording, however, comes remarkably close.
The final performance was the greatest I attended multiple performances of these recording sessions, and I can assure you that the final performance, the season finale Saturday night, was the greatest musical experience of my life. I was unable to move at the end of it. And I have all the definitive recordings of this symphony, which I consider second only to LvB9.
I have not heard this disc because I want to keep that memory pristine in my mind. The disc, I understand, was edited from several performances (and a member of the chorus told me there was a patch session after the last performance). I just hope they took much of it from Saturday...and I wish they allowed me to buy that performance (complete with the idiot making noise backstage in the 1st mov't) separately, so I could relive it.
I hope this disc is a shadow of what I experienced that night. I honestly have never heard MTT do anything even close to that, and I'm there all the time.
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