Composer: Gustav Mahler
Works: Symphony No. 5, Das Lied von der Erde
Performers: London Philharmonic Orchestra, Klaus Tennstedt (conductor), Agnes Baltsa (mezzo soprano), Klaus König (tenor)
Recording: Studio, Abbey Road, London, 1978
Label: EMI Classics 5 74849 2 [2CDs: 75.40 + 66.56]
Gustav Mahler’s Symphony No. 5, composed in 1901-02, marks a significant turning point in the composer’s oeuvre, encapsulating the emotional turmoil and existential reflections typical of his later works. The symphony’s trajectory, from the ominous funeral march of the opening movement to the euphoric brass chorale of the final Rondo-finale, presents a remarkable arc of transformation and resolution. This recording, featuring Klaus Tennstedt and the London Philharmonic Orchestra, emerges as a vital document of Mahler’s vision, showcasing the conductor’s profound interpretative sensibility and the orchestra’s virtuosic capabilities.
Tennstedt’s interpretation of the Symphony No. 5 is characterized by a keen awareness of Mahler’s intricate emotional landscape. The opening trumpet fanfare is rendered with impressive clarity, allowing the crescendo to swell with a palpable urgency. The transition into the lamenting strings of the funeral march is deftly executed, presenting a compelling contrast that underscores Mahler’s expressionist crises. Tennstedt’s handling of the second movement, marked ‘With the utmost vehemence,’ is particularly noteworthy; he navigates the ebb and flow of tension with precision, intensifying the emotional stakes as he prepares the listener for the subsequent revelations. Here, the brass and strings interact with a dynamic interplay that captures the essence of Mahler’s orchestral writing.
The central Scherzo of the Fifth is played with an infectious energy, the LPO horns showcasing their virtuosity against a backdrop of rhythmic emphasis that aligns with Mahler’s intentions. The recording, remastered by Simon Gibson, adheres admirably to the complexities of Mahler’s orchestration, though moments of congestion in the climactic coda hint at the challenges inherent in capturing such a densely woven score. Yet, the Adagietto emerges with a poignant slowness that is both tender and introspective, showcasing Tennstedt’s ability to shape this movement’s profound expressiveness. The transition to the Rondo-finale is executed brilliantly, with the orchestra delivering a buoyant momentum that culminates in a triumphant conclusion, although some may find the spiritual depth in this final section less pronounced compared to other interpretations, notably Barbirolli’s acclaimed recording.
Turning to Das Lied von der Erde, Tennstedt’s interpretation reveals the symphonic nature of this work, challenging the conventional perception of it as merely an orchestral song cycle. The orchestral playing is superb, with Baltsa’s mezzo-soprano voice blending seamlessly into the lush textures crafted by Mahler. Although König’s tenor occasionally exhibits strain, particularly in the opening movement, this does not detract significantly from the overall impact of the performance. Tennstedt’s orchestral balances are particularly commendable; the lighter inner movements showcase nuanced orchestral colors while maintaining a focus on the vocal line.
The final movement, Der Abschied, poses a formidable challenge due to its expansive length. Tennstedt successfully navigates this lengthy span, maintaining the music’s tensions and lyrical beauty throughout its 31 minutes. Baltsa’s performance holds its own against those of more celebrated interpreters, offering a compelling interpretation that resonates deeply within the context of Mahler’s transformative vision. The EMI recording captures the orchestral details with clarity, allowing the subtleties of Mahler’s writing to shine through without overshadowing the vocal contributions.
This reissue serves not only as a testament to the legacy of Klaus Tennstedt as a Mahler interpreter but also as a reminder of the enduring power of Mahler’s symphonic language. Both works are presented with a compelling vitality that remains relevant, even decades after their initial recordings. The pairing of Symphony No. 5 and Das Lied von der Erde, while perhaps unconventional, offers a rewarding listening experience that showcases the depth of Mahler’s artistry and the interpretative prowess of Tennstedt and the London Philharmonic Orchestra.
