Gustav Mahler – Das Klagende Lied

★★★

   The early Mahler’s cantata Das Klagende Lied has been composed between 1878 and 1880 to the original text written in 1878 by composer himself, when he was only 18 years old. In this three part cantata he was following the story known as German fairy tale Das Klagende Lied (The Song of Lamentation) published by Ludwig Bechstein. Other version of this story was published as folk tale Der singende Knochen (The Singing Bones) in famous collection of brothers Jacob and Wilhelm Grimm. This early work is highly important because it is already containing some consistent characteristics of Mahler’s personal style. Its epic impetus, its spiritual and physiological dimensions are announcing the modernistic turn happening in next decades.
   The epic dimensions are the basis for Mahler's imagination and music. Since his very first compositions he was aiming to create big cyclic forms and wide narrative structures constructed in suggestive context. There is no coincidence he had started with songs and the greater part of his songs was written to his own lyrics. Even in his fully instrumental works he has always great mimetic potential, using some elements of sound painting with orchestration imitative effects and powerful extensions of audible space. These two categories – space and time – in Gustav Mahler’s music are elements occupying privileged position. And in best of his works this pair was elevated to some kind of cosmic and eternal groundwork of the world. These qualities are determining metaphysical profundity of Mahler’s work.

Gustav Mahler – Das Klagende Lied (1970)

   Such narrative vision of Mahler’s music was strongly expressed feature of performances by Pierre Boulez. Elements of this attitude are related to those presented in his legendary interpretations of Richard Wagner’s music. In Mahler’s songs and symphonic works Boulez found perfectly clear and universal language of storytelling. It is connected straight to conscious realizations of Berlioz ideas of orchestration. Two decades after Das Klagende Lied was composed, in 1899 Gustav Mahler made himself revision of this cantata. Whole first part was omitted. In 1970 Boulez recorded shorter version of Das Klagende Lied for CBS with Grace Hoffman (mezzo-soprano), Evelyn Lear (soprano), Stuart Burrows (tenor) and The London Symphony Orchestra Chorus led by Arthur Oldham and The London Symphony Orchestra.
   After release of Das Klagende Lied recording (CBS 72773), Boulez recorded first part of original composition Waldmärchen and Adagio from Symphony No. 10 (CBS 72865). Later both recordings were published on double LP edition (CBS 77233). The first LP of this final album comprised parts 1 (Waldmärchen) and 2 (which was part 1 of revised version). It was pressed and sold with cover and inlay with complete information and texts for Das Klagende Lied in 1899 revision. The catalogue number was still 72773. There was no information about Waldmärchen part, which was on 1st Side of the record. This is strange such mistake was not noticed. Maybe it was policy of the producer – listeners who bought Waldmärchen and Das Klagende Lied still had to buy double LP to complete this cantata. Strange policy of recording company but still three stars for great music and competent performance.

Rozhdestvensky conducts Bruckner’s Fourth

   Symphony was pure classical form, perfectly matching enlightenment ideas with its formal balance and clear emotional rhetoric. After Beethoven’s improvements it became suitable container ready for romantic ideas. The augmented construction where minuet has been replaced with scherzo has still had a great potential for developing expressive and rhetoric means. And next generations in 19th century music have adopted this symphonic idea of forming and rebuilding construction of symphony. They gain excellent results giving different and new directions for French symphonic music, Austrian and German symphonies or Russian symphonic movement in romanticism and then in 20th century music. One of highest achievements as composer of full-blown romantic symphonies was Anton Bruckner.
   Anton Bruckner was born in 1924 in Ansfelden near Linz in the family of village teacher. He started school as 6 year old and his first teacher was his father, then he continued education to be an organist. When Anton Bruckner was 13, his father died, so was send to school in Augustinian monastery in Sankt Florian to be a choir boy, and to learn to play organ and violin. And, and from his early years he was an organist and a teacher of village schools. As composer he started career in his twenties, but real progress he made as 30 year old. He showed his Missa Solemnis and was accepted to be a student of famous music theorist Simon Sechter. Twenty years later, in 1974 he started to compose his fourth symphony, finishing first version in 1980. 

Anton Bruckner – Symphony No. 4 (1985)

   Symphony E-flat Major No 4 „Romantic” is probably most popular work by Anton Bruckner. On the list of his symphonies it is certainly the most commonly performed and recorded one. His nine accomplished symphonies are numbered from No. 1 to No 8. There is also an early „student” symphony called „00” and Symphony No. 0 D Minor (Die Nullte) which has been rejected by composer and thus numbered as Zero. Last of his great works, Symphony No. 9 D Minor remained unfinished. Many of his symphonies had different versions, because he was reworking most of his symphonies many times. This lack of clear decision and between concurrent releases was called The Bruckner Problem. One of such works was the Symphony No. 4. It was so frequently edited, with composer’s revisions it was known in seven versions and six versions were separately published. 

   But there was one more version of Bruckner’s Fourth. When Gustav Mahler was preparing in 1895 premiere in Hamburg, he cut some parts and rearranged the symphony by changing orchestration, giving the form and a whole sound more transparent and polyphonic character. And in Mahler manner it really sounds different, yet great in terms of symphonic form. Once more Anton Bruckner appeared as consequent continuator of the traditions of Austro-German Romanticism and talented follower of symphonic ideas derived from Beethoven's works. In 1984 great Russian conductor Gennadi Rozhdestvensky became the head of newly established ensemble, The USSR Ministry of Culture Orchestra. With this orchestra Gennadi Rozhdestvensky recorded in 1984 complete of Bruckner symphonies, published as a series of albums very next year. He choose Mahler’s version and it is probably the one and only recording of this beautiful version. Two composers presented in this solo work are both great and despite the difference somehow similar. Great version and great rendition both deserve more than four stars.

George Szell – The Cleveland Orchestra – William Walton's Partita and Mahler's Tenth Symphony

   When in 1946 George Szell took the post of musical director of the Cleveland Orchestra, the artistic possibilities of famous band were far from ideal. For the orchestra still remembering good times of Artur Rodzinski and Erich Leinsdorf but weakened by the war limitations, critics and listeners had demanded decisive measures. Szell had to build the new orchestra, and he did it in ten years. Many musicians lost their jobs, while more others were hired. In effect he expanded and renewing orchestra in completely new manner. New Cleveland Orchestra was build gradually to have American type of powerful sound and European sensitivity of nuances and interpretative issues.
   In effect during the season of 1957/58 The Cleveland Orchestra was at the peak of its professional power. After the decade of building the team, exchanging musicians and expanding the group, there was virtually no symphonic work that could be too hard to play for this band. With more than a hundred handpicked musicians Szell was able to perform every symphonic composition with equal easiness. One of records giving a chance to observe the technical accuracy and artistic flexibility of the Cleveland Orchestra and conductor George Szell is the one presenting 20th century orchestral pieces by William Walton and Gustav Mahler, released in 1959 by EPIC (LC 3568).

George Szell – Walton – Partita, Mahler – Symphony No. 10 (1959)

   William Walton’s Partita is the result of polystylistic synthesis. It takes over some impressionistic ideas of orchestration colors and some technical solutions and neoclassic formal ideas of Prokofiev or Stravinsky. Neoclassicism is predominantly shown in construction of the work, which is planned as a three-part late 18. century sonatine form. Composed in London, November 28th, 1957, and dedicated for the Cleveland Orchestra it was premiered by the recipients in Cleveland in January 30th, 1958. Listening to this three part work makes it easy to understand why Partita was dedicated to the Cleveland Orchestra. The score of this composition demands absolute discipline in every parameter of the orchestral sound and for some bands it could be just difficult to perform.
   Walton’s Partita is orchestrated for different sets of orchestral instruments and in some fragments could be considered as a concert for virtuoso orchestra. First part Toccata (Brioso) shows some mobility and rhythmic agility giving surprising syncopated effects with constant movement of violins. In second movement Pastorale Siciliana (Andante comodo) melodic patterns are introduced by solo viola, than oboe, and raised by various wind instruments in reprise form. In Giga burlesca (Allegro gioviale) fast and highly energic melody with repetitions in small rhythmic values like in fast recitative gives orchestra one more chance for virtuoso passages.

Szell & Cleveland Orch. – William Walton – Partita (1958)

   The Tenth Symphony by Gustav Mahler was unfinished. The fragments, composed in 1910, remained unknown to 1924, when facsimile was published. Only two movements were progressed far enough to reconstruct a reliable score – first and third. This work was undertaken by Ernst Křenek and the same year premiered in Vienna. After war it was premiered in Erie Philharmonic Orchestra conducted by Fritz Mahler, who was composer’s cousin, and published in New York. Recorded by George Szell with the Cleveland Orchestra it became a rarity in history of recorded music. According to Lewis M. Smoley (Gustav Mahler’s Symphonies: Critical Commentary on Recordings Since 1986. Westport: Greenwood Press, 1996, p. 260) this is the only recording conjoining these two movements. He also qualified this performance of Symphony No. 10 as “one of the best versions ever recorded”. Undoubtedly the metaphysical aura of the Andante – Adagio movement is quite touchable and Intermezzo (Allegro moderato – Allegro non troppo), which in original bears the superscription Purgatorio, is as grotesque as consequent and compact. This rendition makes this music so much alive, it meets as a complete piece.

Mahler – Symphony No. 1, The Budapest Version, Lieder eines fahrenden Gesellen

   Gustav Mahler worked on his first symphony since 1884. First sketches to this composition were closer to symphonic poems than symphonic form. These fragments became basic material for composition he finished in years 1987-1988. Completed symphony was premiered 1989 in Budapest, though it was still titled Symphonic poem in two parts, where first part comprised three movements with second movement called Blumine (Flowering) or Bluminenkapitel, and second part was double movement. The premiered work was well received, but some critics had some doubts, so composer continued to work on formal issues of his first symphony.
   Next version was titled Titan (first time in 1993) and still including second movement Blumine. It is serenade written to Joseph Victor von Scheffel's poem Der Trompeter von Säckingen featuring gentle trumpet solo. After devastating critique this part was omitted in 1894 performance and two years later it was completely removed. There are some references to the style of Blumine part in other fragments of the symphony. In common opinion the definitive version is 1896 four movement setting in version published in 1899, and some of greatest conductors like Leonard Bernstein, Georg Solti and Bernard Haitink refuse to perform earlier settings. Many conductors perform Blumine as an independent piece, fewer insert this serenade into later four-part setting as the second movement.

Gustav Mahler – Symphony No. 1, The Budapest Version (1982)

   Performances of Mahler’s Symphony No. 1 in Budapest Version are pretty unique, and even rarer are phonographic records. Only issue I know is 1982 recording made for Hungaroton (SLPX 12267-68) by Hungarian State Orchestra conducted by Iván Fischer. Precise and well recorded performance shows this work as interesting. The Blumine part is quite interesting moment of quiet, slowly moving moment of time stopping before scherzo movement with strong folk tune type melodies and rhythm of landler-type theme. Alive and full of energy and best expectations is the sweet trio episode. A lot of positive energy will prepare next movement contrasting with ironic, grotesque march which subject is taken from popular student’s tune Frère Jacques. After this characteristic melody, comes short interlude with citation of last song from the cycle Lieder eines fahrenden Gesellen. These works has some more common points.
   The cycle of songs, Lieder eines fahrenden Gesellen, was the first Mahler’s cycle. It has been composed for voice with piano in years 1884-1885, the time of first sketches and projects of the symphony. In symphonic version the cycle has its premiere in 1896 in Berlin. In the Symphony No. 1 there are two references to Songs of a Wayfarer. Main theme of second song can be heard in first movement of First Symphony. Second one has been mentioned before. The album conducted by Iván Fischer features recording of Lieder eines fahrenden Gesellen cycle with Klára Takács, star of Budapest Opera House, featured also in series of very good recordings of romantic songs. The double album was part of ambitious and successful project of Hungarian artists.

Lorin Maazel – Symphony No. 1 by Gustav Mahler

   The cycle of Gustav Mahler’s symphonies consists of ten symphonies (the 10th was completed from the sketches) and one unnumbered work in form of symphony Lied von der Erde. Whole cycle completes the separate chapter in the history of music. The first of Mahler’s orchestral works, Symphony No. 1 in D major is most traditional and probably the best known. Some later works, 5th, 2nd Resurrection or 8th Symphony of a Thousand are also well recognized but the level of performing requirements makes them rare events in weekly concert repertoire. In fact the 1st, sometimes called Titan is not easy too, but along with 4th or even 5th, it’s easier to follow for average listeners, so this symphony is performed most commonly.
   The first version idea of this work was a symphonic poem basing on novel Titan by Jean Paul. Four volumes of romantic story on education and getting mature gives Mahler the idea of instrumental work, but later he dropped this project. The title Titan was applied to prior versions of 1st Symphony, but after some changes in the structure of symphony, Mahler removed the title and broke any connections with literary prototype. In 1896 he introduced new version with no additional title, and without Blumine which was the second movement in first three versions. Thus the composition following traditional four-part symphonic construction was more coherent and compact.

Lorin Maazel – Mahler –  Symphony No. 1 (1980)

   The most important requirement for the good performance of Mahler's symphony is the precision and richness of orchestral sound. This is what really makes so interesting to follow different renditions with different orchestras. And it’s really hard to find a good orchestra or a conductor who didn’t try their powers in Mahler’s music. The orchestra of considered achievements with this repertoire is Orchestre National de France which over the decades was basis for many conductors and many interesting albums. And one of most deserved Mahler’s interpreters recording with this orchestra was Lorin Maazel’s rendition who in late seventies conducted performance recorded and published by CBS Masterworks.
   Maazel’s recording shows how open and deep can be Mahler’s First Symphony. Under the grey cover, the performance as the music itself is shimmering with colors. From soft, almost impressionistic nuances in pianissimo, to brave expressive phrases of chamber groups of instruments, from mysterious moments of expectations to the clarity of revelation. Perfectly set tempos and the sound of Parisian Orchestre National is what makes this performance so colorful. Wind instruments can work as a sample of sound capacity. Some romantic reminiscences in culmination of first part, in dancing fluency of scherzo (Ländler) and in inevitable marching continuity of third movement, orchestra is exploding with colors and emotions. The climax of narrative idea is the fourth movement which gives a chance for connecting various ideas. Four and half of highest star.

Otto Klemperer – Gustav Mahler – Das Lied von der Erde, Symphony No. 2 “Resurrection”

   Otto Klemperer was a brilliant artist, the multitalented conductor and composer. He was one of most acclaimed conductors in 20th century. The fame of his phenomenal interpretations and conducting skills was as great so his compositions are almost completely forgotten. He was born in Breslau (now Wrocław in Poland). In 1905, shortly after his debut in Berlin, twenty years old conductor met Gustav Mahler. He was conducting the off-stage brass section in Symphony No. 2 performance led by Mahler. Then Klemperer visited Mahler in Vienna where he impressed composer playing by memory the Scherzo. As composer’s assistant, Klemperer made piano reduction of whole Resurrection Symphony. In 1910 he assisted Mahler in preparing premiere of Symphony of a Thousand. Later Symphony No. 2 C Minor “Resurrection” has become Klemperer’s highlight and one of the most important positions in his repertoire. He worked with many orchestras in Germany and gained the fame of the artist performing a new music. In fact he was paving the way for successes of Hindemith, Schoenberg, Stravinsky along many others.
   In 1933, when nazi-regime came to power in Germany, he fled to USA, but he has many troubles with a domestication in a new realm. Situation of an exile and various devastating experiences entailed setbacks in the professional life and the personal health. Klemperer had an operation of removing the brain tumor and suffered depression. His misfortune across the pond led him back to Europe after the war. The third stage of conductor's career came with recordings. First time he was recorded took place in 1924, but the technology of long playing records gave him a new chance for exposing interpretations of the greatest symphonic works. Since fifties his position gradually improved. He started series of recordings with Philharmonia Orchestra where he became first principal conductor in 1959. In this period Klemperer worked also at the Royal Opera House Covent Garden. In 1971 artist retired and he was living in Zurich where he died in 1973.

Klemperer – Mahler – Das Lied von der Erde, Symphony No. 2 (1960)

   The conductor’s discography comprises long list of Mahler’s symphonic works recorded with various orchestras. Only in 1951 Otto Klemperer has recorded Symphony No. 2 twice with Vienna Symphony and with Concertgebouw Orchestra. To the famous Klemperer’s recordings of this work belongs also the one made with Philharmonia Orchestra in 1968. In 1951 Vox Records released two albums including Otto Klemperer’s interpretations of Gustav Mahler’s great works. Both were recorded in Vienna and later reproduced in many license editions. In 1960 Vox republished these legendary recordings as one three-disc album (VBX 115) in monophonic sound reproduction system but in the Ultra High Fidelity system. Despite the advanced pressing technology, the quality of these recordings is not always corresponding to the contemporary standards.
   Both recordings were played by Vienna Symphony Orchestra. These years the chief conductor for this orchestra was Herbert von Karajan, who later was admirer of older conductor’s artistry. And the main directions of their esthetical ideas were always close, so we can assume the orchestra met the needs. The recordings are also a valuable documentary capturing an image of the 1951 Vienna Symphony Orchestra’s sound. The historic sound of Vienna Symphony came with strong tutti, massive strings with pronounced slow vibrato, then the balanced wind and brass sections and contrasted dynamics. The orchestra sounds better in performance of Das Lied von der Erde than Symphony No. 2 where tone is unstable and sometimes annoying. Probably the most of floating sounds came out of the recording technology.
   There are some mannerisms typical for the pre-phonographic era and the orchestral sound sometimes is just not modern. Some mannerisms one can find in Elsa Cavelti (mezzo-soprano) performance in Das Lied von der Erde. Her partner was Anton Dermota (tenor) singing with nice lyric voice and natural ease. Symphony No. 2 has been recorded with joint choirs Akademie Kammerchor and Singverein der Musikfreunde and singers were Ilona Steingruber (soprano) and Hilde Rössl-Majdan (alto). Also parts of this recording show how even the beautiful voices can be spoiled with mannerisms and lack of technical excellence.

Gennadi Rozhdestvensky conducts Suites by Bach-Mahler and Janáček-Talich

   Gustav Mahler remains one of the greatest creators of symphonic cycle. He has completed development of the symphony form, and led it to the final results. In his works he was referring to folk and historical music, but one source of influences was always on top. This was work of Johann Sebastian Bach. Mahler was keen of musical output of the author of Kunst der Fuge. He was considering of connections between his own style and Bach’s creative attitude. He has to say that „in Bach, the vital cells of music are united as the world is in God”. It is interesting how much Mahler is Bach alike. The same what was Bach’s Kunst der Fuge for baroque polyphony, Mahler’s works mean for 19th century form of symphony. 

   In 1909 in New York, working on his Ninth Symphony, Mahler compiled and rearranged Suite consisting of four parts taken from two Bach’s Orchestral Suites. Some critics say this work remains one more Mahler’s sketch of symphonic cycle, but it was more his contribution to the promotion of great baroque composer in symphonic repertoire. In first decades of 20th century there were not too many baroque works in repertoire of symphonic orchestras. And what was even worst, there were virtually no orchestras specialized in playing baroque music. This was cultural background for many arrangements of baroque music, and many of this was just automatic transcriptions.

Rozhdestvensky – Suites by Bach-Mahler and Janáček-Talich (1977)

   Mahler was aware of difficulties and esthetic problems he has to solve. He wrote: “Instead of genuine Bach we are often offered a mere skeleton. Performers simply throw away the chords which make the music so rich and full of substance, as if Bach had written the bass part without any sense and purpose. But it must be played, and what a tremendous roar is produced then by the surging waves of chords!” Development of period instruments performances caused that not only pure transcriptions but also the creative developments of composers like Mahler and Busoni became rarely performed. It is worth devoting more attention to the album recorded in 1977 by Gennadi Rozhdestvensky with Leningrad Philharmonic Orchestra. In 1984 this album has been republished in US as audiocassette by Vox/Turnabout label.

Boulez – Mahler – Waldmärchen

Gustav Mahler, born in 1860 was undeniably one of greatest composers in history of symphonic music. But he was also artist immersed in the historical process who concluded romanticism with great works being both recapitulation of romantic ideas and opening to forthcoming modern music. His first full range composition which he called his “first opus” was composed between 1878 and 1880 and it was cantata called Das klagende Lied (Song of Lamentation) – huge three-movement, nearly 70 minutes long romantic cantata, composed to his own lyrics. These early Mahler’s visions were close to the canonic themes in German romantic literature and visual arts. The main idea has been taken directly from fairytale Das klagende Lied by Ludwig Bechstein but the plot has been written by Mahler in his own poem.
The plot of Das klagende Lied is derived from popular in romantic culture story about the queen, who promised marriage to someone who will go to the deep forest and will find a very rare red flower. Two brothers set off in search of plant – one fair and noble, the other an unscrupulous opportunist. When honest finds the flower, the consequence is a treacherous death from the hands of dishonest and jealous brother. Following the crime he takes the brother’s prize and marries the queen. However, the wandering minstrel finds bones of the murdered brother and is making the pipe singing whole tragic story. Minstrel goes to the castle and interrupts the wedding ceremony. Scene breaks out, all quarrel and in this pandemonium the castle collapses into the ground. 

Boulez – Mahler – Waldmärchen (1970) 

The first version of Mahler's cantata was composition in three parts, but soon he began to perform it without the first and most extensive movement. First part takes 30 minutes what takes almost half of whole cantata duration. The reason was not only the scale of the first episode. Whole story was still readable when told after hideous act of fratricide, maybe even more mysterious, and this is what always has given a chance for more general associations.  Author’s decision of reduction the work to second and third movements can be understand but still Waldmärchen is great work, even as standalone piece. Comparing to the other two movements, first part shows more ease narrative style where elegiac and lyric elements interlace with dramatic and emotional episodes. 

When tenor Ernst Haefliger chants the first line of cantata text – “Es war ein stolze Königin” – it’s just like an invitation to recall mystery feelings of a child hearing a tale about proud queen and her strange request. Originl idea is to arrange vocal parts in instrumental way. Text of Mahler’s poem has been divided to small particles sung by various sets of vocal staff. Narration about queen is sung by male voices, after tenor and choir comes bass Gerd Nienstedt. Then history of finding the flower and murder is told by soprano Elisabeth Soederstroem, mezzo-soprano Grace Hoffman and choir. 

Illustrative resources are so much diverse as far from literality. In many stylistic solutions this music is close to Richard Wagner’s style. No wonder. In his student years Mahler was clearly influenced by Wagner’s ideas of music and narration. Later, when he became famous conductor, director of Viennese Hofoper and Vienna Philharmonic, Gustav Mahler remained faithful to his esthetic choices and one of best interpreters of Wagner’s works. In his mature works he became more polyphonic and spectrum of his expression was much wider but he was still close to the idea of narrative music. Wagnerian inspirations were clearly dominating over young Mahler’s style. This relationship can be observed on many levels from formation of lyrics, through characteristic references like leitmotiv technique and totality of orchestration, to the precedent idea of whole composition’s narratives reflecting in work’s structure. 

It was good idea to collate Mahler’s first and early works on opposite sides of one album. Waldmärchen from Das klagende Lied and Adagio from his final 10th Symphony are frame closing one of most original visions of romantic symphonic music and despite composers untimely death it shows how consistently he was developing his music. In Pierre Boulez interpretation both works are sparkling like a precious stones. London Symphony Orchestra and Chorus sound perfectly clear and massive. Great solo voices gave this part of cantata an additional dimension of narrative contents. It’s worth to notice this was premiere recording of Waldmärchen in the history and unlike many premiere recordings, this one is probably the best.

Gustav Mahler – Kinertotenlieder and Lieder eines fahrenden Gesellen

Maybe most thrilling songs ever composed is Gustav Mahler’s cycle of five mourning songs about death of the infants – Kindertotenlieder. Texts for all five songs composer choose from ample collection of 428 poems written by German romantic poet, Friedrich Rückert. In 1833 and 1934 he wrote numerous poems about illness and death of his children. These poems were part of private grieving, perhaps even a kind of self-therapy, and the author did not intend to publish them. Rückert was professor of oriental languages at The University of Erlangen and in Berlin, master of thirty languages and outstanding translator of essential poetic, wisdom and religious works of Middle and Far East, especially literary documents of ancient civilizations. German culture owes him Indian legends and tales, arabic makamas and folksongs. Inter alia Rückert made translations of Koran and Wisdom of Bramins in six volumes. He was also the author of inspiring poems many composers used for their song cycles. 

Mahler composed the cycle Kindertotenlieder in first four years of the century. It was most dramatic part of Mahler’s Vienna period – last year of his directorship in Vienna Philharmonic and increasing hostility against him after resignation. New cycle was premiered January 29, 1905 with Friedrich Weidemann as soloist and orchestra conducted by the composer. Four years after he composed these songs, Mahler’s daughter Maria died to scarlet fever. Later Mahler wrote, he was placing himself in situation of father mourning his children, but after such traumatic experience he wouldn’t be able to compose these songs.

Gustav Mahler – Kinertotenlieder and Lieder eines fahrenden Gesellen

There are many good renditions of Mahler’s Kindertotenlieder cycle. Considered as absolutely classic recording is the one featuring Kathleen Ferrier with Wienner Philharmoniker under the baton of Bruno Walter recorded in 1949. And it is the reference recording for many later performances. Among highly interesting interpretations of the cycle is that which has been published by Hungaroton in 1980 (SLPX 12044). Hungarian mezzosoprano Klára Takács did a wonderful job here. While maintaining the lyrical mood, she discreetly grades tension leading the listener to a climax and pervasive sense of loss. Singer's voice sounds great, is deep and saturated, but still transparent, fully interacting with the orchestra. The same with instrumental layer of the work which was never limited to accompany the soloist, but together with her vibrant voice is building multi-dimensional space of the work. Budapest Symphony Orchestra conducted by György Lehel gave here excellent performance, one of the whole series published by Hungaroton Records in the eighties. 

On the B-side of the album publisher placed other great Mahler’s cycle – Lieder eines fahrenden Gesellen (Songs of a Travelling Journeyman) with baritone Sándor Sólyom Nagy and with the same orchestra and conductor. Soloist was one of distinctive European vocalists known in the eighties as an expert of late romantic repertoire. He was also known from performances in Wagner’s operas. This cycle was finished in 1885 and is way easier to interpret than composed twenty years later Kindertotenlieder. Travelling journeyman (or in less precise, traditional translation, Wayfarer) is author’s porte-parole who was under impression of unhappy love affair. Poetic texts were written by composer but the idea of first song was taken from Des Knaben Wunderhorn collection. There are also some thematic links between this cycle and First Symphony. The Nagy’s interpretation is very traditional and emotional in conception and execution. And he has proved he had the whole talent he needed for interpreting in such way the most popular Maler’s songs.

Gustav Mahler – Des Knaben Wunderhorn

Des Knaben Wunderhorn is wide collection of folk poems edited by Achim von Arnim and Clemens Brentano and published in Heidelberg during first decade of nineteenth century, became the foundation of German romantic folklore idealizations and vivid movement creating new national identity for people divided by borders between many German countries. The edition quickly took prominent position in cultural heritage of German language societies. Great importance of the collection has its musical impact – among composers writing songs with texts from Des Knaben Wunderhorn are Johannes Brahms, Carl Loewe, Felix Mendelssohn-Bartholdy, Robert Schumann, Carl Maria von Weber, Alexander Zemlinski and most consistent and magnificent Gustav Mahler.
Mahler come up to Des Knaben Wunderhorn many times and always with great creative effect. For the very first time in 1884 he took only inspiration from the poem Wann mein Schatz and composed narrative song cycle Lieder eines fahrenden Gesellen (Songs of a Travelling Journeyman). Then he has elaborated settings of nine songs chosen from the Wunderhorn collection. Mahler composed these songs after 1887 and closed in 2nd and 3rd Volumes of Lieder und Gesänge aus der Jugendzeit (Songs and Airs from Days of Youth) – three-volume collection of solo songs with piano.

Gustav Mahler – Des Knaben Wunderhorn

Next 12 songs collection, known as Des Knaben Wunderhorn, Gustav Mahler composed in years 1892 to 1895. Originally songs was composed for voice and piano. Made out of Des Knaben Wunderhorn selection has been dynamically changed in years of creation and after. First five songs he composed in 1892 and next year three more songs. Then he slow down and completed the cycle in 1998. Some songs from this set he used his symphonies in instrumental extended setup or as vocal movements like Urlicht in Second Symphony and Es sungen drei Engel in Third Symphony. In 1901 he removed these two songs from Wunderhorn collection and replaced them with another two newly composed songs – Revelge and Der Tamboursg'sell both composed in 1901. After his death Universal Edition replaced piano accompaniments with piano reductions of orchestral score.
Des Knaben Wunderhorn is probably one of best known song cycles with orchestra. Some songs are lighter than other works and for sure it’s not as much difficult as Kindertotenlieder or any other of Mahler’s ten symphonies. In 1980 recording of this work was published by Hungaroton label (SLPX 12043). Complete collection of 12 songs sung by soloists of Budapest Opera soprano Éva Andor and baritone István Gáti with accompany of Budapest Symphony Orchestra conducted by György Lehel. Andor sung with precision and with perfect emotions her soprano sounds with some operatic touch. Gáti shapes his phrases in more emotional way, building good connections with instruments. Testing his expressive possibilities he gave great rendition of the song Des Antonius von Padua Fishpredigt and Revelge, and he sings perfectly in style – these two songs are examples of narrative, highly dramatic song. In Der Schildwache Nachtlied soprano parts are profoundly emotional and mysteriously gentle. Orchestra plays precisely and with rich sound. Both singers and the orchestra gave exact, professional performance and clear, well planned interpretation of whole collection.

Bruno Walter – Mahler’s Fifth and Kindertotenlieder

Since Gustav Mahler was graduating from Vienna Conservatory, he was working with sequence of opera orchestras in Olomouc, Kassel, Leipzig, Prague and Budapest. Every engagement was successful and droves his career to higher positions. Great successes, he achieved as a director of Stadttheater Hamburg and then Hofoper in Vienna, didn’t protect him from attacks of anti-Semitic press. Doubts and accusations had escalated when Mahler begun his work as director of Vienna Philharmonic. Orchestra was displaying discontent of his habit to re-orchestrate well known works. Musicians protested because they had to learn their parts from the beginning. First chosen unanimously, than openly criticized for his artistic decisions, overworked and tired of attacks Mahler resigned off the function. But this decision didn’t help and he was still under attacks as the director of Hofoper. In October 1907 Mahler resigned and after farewell performance of his Second Symphony on November 24th, he left Vienna for New York. One month later 1st day of 1908 Mahler made his New York debut conducting Wagner’s Tristan und Isolde in Metropolitan Opera where he stayed for last three years of his life.
Despite not too much numerous catalogue his works has bad reception during his life and in next decades. Instrumental and structural requirements of his works were usually higher than most symphonic works in his times, so for years he was omitted, played only by few most professional and conscious conductors. Among them were Mahler’s assistants Bruno Walter and Otto Klemperer, as well as some prominent artists – Willem Mengelberg, Leopold Stokowski, and Henry Wood. But still Mahler’s music was not known to wider public. After Nazis recognized Mahler’s music as „degenerate”, it was totally banned in Germany and satellite countries. Rare presentations in Berlin (Symphony No 2) and in Amsterdam under German occupation (Symphonies 1st & 5th) had been performed by Jewish artists and for Jewish audience only.

Bruno Walter - Mahler's Fifth and Kindertotenlieder

Better times for Gustav Mahler’s legacy came after the war. Rediscovery of Mahler’s music was possible amid another thank to the new media and recording techniques. Unparalleled in history of mankind accessibility to the values of the culture changed the way of social understanding and participating. Once recorded, music had been played from gramophone records and radio auditions. But probably it was contemporary music what had served Mahler best. Better understanding the powers of modern symphonic orchestra and the meaning of the sound in formal setting were qualities extremely helpful for Mahler’s listeners. Later to the group of great conductors joined next generation of artists, Pierre Boulez, Claudio Abbado and many others. The better these new renditions were, the more impressive appeared older Bruno Walter’s recordings.

Bruno Walter has center position in history of Mahler’s heritage. In 1894 when Bruno Walter met Gustav Mahler for the first time, he was only 17 years old. Musical and creative personality of sixteen years older Mahler had to make a huge impression on novice conductor. In next years young artist was conducting assistant of the great composer. This fascination and even idolization resists for decades – Bruno Walter became the conductor strongly connected to Mahler’s work. He was spreading his promoter’s music by playing numerous premieres and working on piano transcriptions of Mahler’s compositions. And his recordings of Mahler’s works became one of legends in Twentieth Century recording history. And not only because we can believe Mahler’s himself would have conducted in closest way. Fifth Symphony recorded by Bruno Walter in 1947 has so many shadings and nuances it’s hard to catch simple pattern characteristic for this interpretation.
Highly narrative, dramatic and meaningful Symphony No 5 sounds with inevitable power of sound, but cycle of mourn songs about death of the children Mahler wrote to his own poems in many parts is even more soulfully profound and emotionally pronounced.  Fifth Symphony and legendary recording from 1949 of five song cycle Kindertotenlieder with great Kathleen Ferrier and Wienner Philharmoniker were published together as double LP album issued by Odyssey. It is unbelievable how vividly and transparently sound these recordings after 64 years.

Bruno Walter – Gustav Mahler – Symphony No 2

Gustav Mahler is probably most important composer connecting separate worlds of romanticism and modernism, nineteenth century irrational trust in development and progress and twentieth century blend of pessimism and exalted emotionalism. His creative output was almost exclusively delimited to symphonic works and songs cycles. Exceptions in most cases are a student works, among them one opera and very few piano compositions. These compositions are predominantly lost even if some of them resist as a parts of symphonies or song cycles. Some of his early works composer later revised and included into new projects. Mahler’s major activity was conducting. For orchestras he led he was constantly rescoring historic compositions, and this can explain why list of his mature compositions is so short.
Symphony No. 2 in C Minor called „Resurrection” is undoubtedly one of highly valued Mahler’s masterworks. Since it’s premiere in 1895 it was recognizable and esteemed as a masterpiece of postromantic symphonic form. Five movements of this symphony were set with philosophic program, which Mahler confided to his friends. First movement based on Mahler’s earlier symphonic poem Totenfeier represents funeral rites and express query of life after death. There are still a lots of doubts about formal and constructive ideas or about composer’s intentions of the first movement. Second part, illustrative slow landler with two contrastive episodes, represents remembrance of past life. First two movements of Second Symphony are focused on past live.

Mahler's 2nd Symphony by Bruno Walter

Third movement opens totally new perspective of musical vision. First two movements are cancelled. Anything keeping us bounded with this life occurs false value. Foundation for biting sarcasm of third movement is satirical song from Des Knaben Wunderhorn cycle – Des Antonius von Padua Fischpredigt. The scherzo-like movement is designated by composer as In ruhig fliessender Bewegung but it has not much to do with joking spirit of scherzos. Its naïve serenity from bright enthusiasm turns into dark and depressive consciousness of defeat, like it was trying to convince listener that even under the mockery hides the nonsense of the world. The solution comes in fourth movement for which Mahler included the song „Urlicht” (Primeval Light) from Des Knaben Wunderhorn, which is straight confession of faith in redemption from God. Final movement comes as hymn in choral and orchestral setting. There are some construction analogies with Finale from Beethoven’s Ninth. Poetic text of this is poem Die Auferstehung by Friedrich Gottlieb Klopstock to which Mahler wrote alternative closing.

This work is extremely hard for interpretation and life performing. This is confirming by notable differences between various renditions. Recording of this work occurs even more difficult. Among few good records especially one is extraordinary. It is 1957 stereo recording made under baton of Bruno Walter for Columbia with New York Philharmonic, Emilia Cundari, Maureen Forrester and Westminster Choir directed by John Finley Williamson. Conductor of this performance was Mahler’s assistant so it is easy to believe his interpretation is as much close to composer’s intentions as it is possible. And perfect sound he achieved is so transparent, it makes polyphonic structures readable and clear. After more than half of the century this recording is still fresh and powerful vision of Mahler’s Second.