Restoration and remastering by Jerry Bruck, Posthorn Recordings
BBC Legends BBCL 4075-2 2 CDs [113.38]
Gustav Mahler (1860-1911) Symphony No. 9 in D Major, Kindertotenlieder
In this newly restored recording of Mahler’s Ninth Symphony, conducted by Jascha Horenstein, we encounter a performance steeped in historical significance, resonating with the nuances of live interpretation that only the concert hall can provide. This release, part of the BBC Legends series, showcases Horenstein’s remarkable ability to illuminate Mahler’s complex emotional landscape, a quality that has earned him a venerable place among the great interpreters of this repertoire.
Interpretive Choices and Historical Context
Horenstein’s approach to the Ninth is characterized by a stark, unflinching portrayal of its somber themes, aligning with the work’s overarching narrative of farewell and existential reflection. As noted in the liner notes, Horenstein considered this symphony a personal war-horse, and his commitment to the score is evident in his incisive attention to Mahler’s orchestral textures. Notably, the first movement unfolds with a grim inevitability, framed by Horenstein’s emphasis on the lower frequencies within the orchestral fabric. The conductor’s deft handling of dynamic contrasts and phrasing creates a visceral experience, echoing Deryck Cooke’s assertion that this symphony represents Mahler’s “dark night of the soul.”
Horenstein’s interpretation stands in stark contrast to more romanticized readings of the Ninth. In this performance, the orchestral colors are stripped of sentimentality, revealing a raw emotional core. The clarity with which Horenstein delineates the intricate polyphony allows the listener to perceive the underlying tensions within Mahler’s orchestration. For example, his treatment of the climactic moment at bars 314-318, where the trombones announce the fate theme amidst tumultuous timpanos, is delivered with a visceral weight that resonates deeply.
Performance Analysis
The Scottish National Orchestra and the London Symphony Orchestra, while not without occasional ensemble slips—most notably in the Rondo Burleske—manage to convey a palpable sense of urgency and commitment. Horenstein’s decision to perform the second movement Scherzo without a pause before the Rondo creates a cohesive flow, inviting listeners to draw parallels between irony and grotesque beauty inherent in both sections. The Scherzo, infused with Mahlerian sarcasm, effectively showcases Horenstein’s mastery of tempo, allowing the orchestral lines to emerge with clarity and precision despite the occasional technical lapse, which, paradoxically, adds to the authenticity of the live performance.
In comparison to Horenstein’s earlier studio recording from 1953, this 1966 performance reveals a deepening of interpretative insight. The darker hues of despair are more pronounced, particularly in the opening movement, where Horenstein’s gradual pacing accentuates the unfolding tragedy. This nuanced understanding reinforces the notion of Mahler’s Ninth as an elegy—one that acknowledges the despair while hinting at fleeting moments of beauty.
Comparative Recordings
While Horenstein’s interpretation is compelling, it is important to position it within the broader landscape of Mahler recordings. The lush, romantic readings of conductors such as Bernard Haitink and Leonard Bernstein often emphasize the emotional highs, whereas Horenstein’s more austere approach is reminiscent of Bruno Walter’s interpretations, which similarly grapple with the existential themes present in Mahler’s late works. Walter’s 1938 recording, though technically flawed, captures an unhinged quality that Horenstein, in his more controlled manner, refrains from pursuing.
Recording Quality and Engineering
The restoration by Jerry Bruck has yielded a commendable stereo sound that enhances the listening experience, allowing the nuances of Horenstein’s interpretation to shine through. The ambient applause interspersed between movements, left intact, serves to recreate the atmosphere of the concert hall, immersing listeners in the immediacy of the performance. This sonic quality is particularly noteworthy when juxtaposed against earlier mono recordings, affirming the value of live performance in capturing the essence of Mahler’s orchestration.
Conclusion
In sum, Horenstein’s performance of Mahler’s Ninth Symphony is a monumental addition to the canon of Mahler recordings, embodying the visceral intensity and emotional depth that define this work. The historical significance of this recording, coupled with the interpretive clarity and commitment of the performers, makes it an essential listen for both scholars and enthusiasts of Mahler’s music. While the Kindertotenlieder featuring Janet Baker may not reach the same interpretative heights, it still contributes to the overall value of this release, underscoring the importance of Horenstein’s artistic legacy. This recording should be regarded not just as a document of performance, but as an essential artifact of the Mahlerian tradition, deserving a prominent place on the shelves of any serious collector.
