Composer: Gustav Mahler
Works: Symphony No. 5 in C sharp minor
Performers: Concertgebouw Orchestra of Amsterdam, Rafael Kubelik (conductor)
Recording: Recorded live at Concertgebouw, Amsterdam on 21 June 1951
Label: TAHRA TAH 419
Mahler’s Fifth Symphony, composed between 1901 and 1902, occupies a pivotal position in the composer’s oeuvre, marking a transition towards a more personal and introspective idiom. Emerging from the shadow of his earlier symphonic works, the Fifth is both a meditation on mortality and a celebration of life, encapsulating Mahler’s unique ability to juxtapose contrasting emotional landscapes. Rafael Kubelik’s 1951 live recording with the Concertgebouw Orchestra of Amsterdam serves as a remarkable testament to the interpretive possibilities of this complex score, revealing an understanding of Mahler that predates the widespread recognition of his genius.
Kubelik’s conducting is characterized by an invigorating vitality that diverges from the more ponderous interpretations that have proliferated in recent decades. His approach in this performance is fleet, clocking in at just under 65 minutes, notably quicker than both his later studio recording and the performances of many contemporaries. This briskness is not merely a matter of speed; it reflects an inherent understanding of the music’s pulse, allowing the orchestra to navigate the intricate emotional terrain of each movement with clarity and precision. The first movement’s opening fanfare is executed with a careful pacing that establishes a commanding presence, leading into a funeral march that is both potent and nuanced. The transition at bar 155, marked by the explosive unrolling of the Trio, is particularly striking, showcasing the orchestra’s ability to balance power with control—a hallmark of Mahlerian performance.
The Concertgebouw Orchestra, steeped in a rich tradition of Mahler interpretation, delivers an extraordinary performance that resonates with authenticity. Despite the mono sound captured from radio transcription discs, the recording quality is commendably clear, with Charles Eddi’s restoration efforts allowing the orchestra’s rich sonorities to emerge vividly. The woodwinds, in particular, shine with an earthy quality that contrasts sharply with the more polished sounds often favored in modern performances. This authenticity is especially evident in the second movement, where Kubelik’s restraint allows the music to breathe, eschewing excessive emotional thrust in favor of a more supportive, conversational interplay among the players.
A critical aspect of Kubelik’s interpretation lies in his treatment of the Scherzo, which he imbues with a buoyant energy that captures the movement’s dual nature of exuberance and introspection. The horn solo, characterized by a warm mellowness, stands in stark contrast to the sharper articulations often employed today, echoing an earlier, more lyrical approach to Mahler’s orchestration. This sense of historical performance practice enhances the listener’s experience, inviting a deeper engagement with the work’s thematic transformations.
As the symphony progresses into the Adagietto, Kubelik’s interpretation remains steadfastly lyrical, steering clear of the overly slow tempos that can obscure Mahler’s intention of creating a “song without words.” The strings of the Concertgebouw provide a warm-hearted and consoling texture, deftly handling the emotional weight of the movement while maintaining a sense of forward momentum. This seamless transition into the final movement, executed “attacca,” is a testament to Kubelik’s comprehensive vision for the symphony, culminating in a triumphant chorale that embodies both joy and a sense of closure.
This 1951 performance is not merely a historical artifact but a vibrant contribution to the Mahler discography, demonstrating that Kubelik, even in his youth, grasped the complexities of Mahler’s language with an insight that remains compelling. The vitality and emotional depth captured in this recording present a version of Mahler’s Fifth that stands apart from later interpretations, marked not only by its technical precision but also by an abiding respect for the composer’s intent. For aficionados of Mahler, this recording is an essential addition to the collection, evoking the spirit of a bygone era while illuminating the enduring relevance of Mahler’s music.
