Composer: Gustav Mahler
Works: Symphony No. 6 in A minor “Tragic,” Alban Berg – Three Pieces for Orchestra op. 6, Franz Schubert – Andante in B minor (D 936A No. 2)
Performers: SWR Sinfonieorchester Baden-Baden und Freiburg / Michael Gielen
Recording: Recorded in the Festspielhaus, Baden-Baden (Mahler, 1999), Hans Rosbaud Studio, Baden-Baden (Berg, 1993), Konzerthaus, Freiburg (Schubert, 1998)
Label: Hänssler Classic CD 93.029
Gustav Mahler’s Symphony No. 6, composed between 1903 and 1905, occupies a pivotal place within the evolution of late Romanticism, straddling the transition into modernism. Often referred to as the “Tragic” Symphony, it encapsulates the composer’s tumultuous emotional landscape and his confrontation with fate, making it a profound reflection on the human condition. Accompanying Mahler’s monumental work in this recording are Alban Berg’s Three Pieces for Orchestra and Schubert’s Andante in B minor, which together create a rich tapestry of Viennese musical heritage, underscoring Mahler’s position within this lineage.
Michael Gielen’s interpretation of Mahler’s Sixth is marked by a compelling duality of gravitas and introspection. The first movement, with its complex structure and emotional depth, showcases Gielen’s nuanced approach. He navigates the intricate interplay of themes with a deliberate tempo that allows for both clarity and emotional resonance. Gielen’s use of rubato in the second subject—often interpreted as a musical portrait of Mahler’s wife, Alma—introduces a personal touch that, while unconventional, adds a layer of intimacy to the performance. The orchestral textures reveal a fine balance, particularly in the pastoral interlude, where cowbells and shimmering strings conjure an ethereal atmosphere that contrasts sharply with the impending weight of fate.
In the Scherzo, Gielen’s interpretation leans into the grim undercurrents of Mahler’s writing, contrasting sharply with the lighter altvärterisch trio sections. This movement’s dissonance and rhythmic complexity are handled with a deftness that recalls the stylistic innovations of Berg, whose own Three Pieces for Orchestra are included in this set. Gielen’s command of the orchestra allows for a vivid exploration of sonority, particularly in the first piece (Präludium), where the sustained melodic line is pitted against a well-defined bass texture, creating a sense of profound depth. The lower brass’s articulation stands out, leaving an indelible impression that echoes through the subsequent movements.
The recording quality is exceptional; the engineering captures the full spectrum of the orchestra’s sound palette, ensuring that every detail is rendered with clarity. The contrasting timbres of the woodwinds and brass come through distinctly, enhancing the emotional nuances of each work. This is particularly evident in the Andante, where Gielen’s interpretative choices encapsulate a sense of longing and nostalgia that resonates with Schubert’s lyrical style. David Hurwitz’s program notes provide insightful context, guiding listeners through the intricate relationships among the three composers.
Gielen’s approach to the Symphony No. 6 culminates in a final movement that is both devastating and cathartic. The two hammer blows, emblematic of fate’s inexorable march, are delivered with a precision that underscores their significance. Gielen respects Mahler’s intention by omitting the third blow, allowing for a dramatic space where the listener is left to grapple with the emotional aftermath of the preceding movements. This decision is not merely a matter of adherence to the score but reflects a deep understanding of the symphony’s overarching narrative.
This recording stands as a significant contribution to the Mahler discography. While I hold a deep admiration for other interpretations—particularly those by Thomas Sanderling and Simon Rattle—Gielen’s performance offers a refreshing perspective that marries emotional engagement with a scholarly rigor. The inclusion of Berg and Schubert provides a fascinating context, illuminating Mahler’s artistic milieu. For anyone seeking a profound experience of Mahler’s Sixth, this recording is an essential addition, revealing the intricate interplay between fate and artistic expression in a time of great transition.
