Back in March 2014 I reviewed a new recording by the late
Gilbert Kaplan with the Wiener Kammerorchester of Rob Mathes’ arrangement for
small orchestra of Gustav Mahler’s (1860-1911)
Symphony No.2 in C minor ‘Resurrection.’ An initiative of the Kaplan
Foundation, one of the leading institutions in Mahler research, Rob Mathes made
the arrangement in order to provide an opportunity for chamber orchestras,
small community orchestras and regional opera orchestras to perform this work.
Whilst bringing this work to smaller ensembles the recording
of the arrangement was not universally welcomed in that it was hardly likely to
replace the original version for which there are many fine recordings. I was
rather more enthusiastic, enjoying the greater transparency that revealed aspects
of Mahler’s creation sometimes missed.
Piano transcriptions of orchestral works were popular in the
19th century when, in the absence of recordings, not everyone could
get to hear major works. One only has to think of Liszt’s transcriptions of
Beethoven’s symphonies.
It was in 1898 that the great conductor and Mahler disciple,
Bruno Walter (1876-1962) made his reduction
of Mahler’s Symphony No.2 for piano four hands. If anyone was going to
undertake this task then there was surely no better choice. It is for Walter’s
involvement, if nothing else, that a new recording of this reduction will
surely be welcomed.
Pianists’, Maasa
Nakazawa http://ameblo.jp/maasa-n and Suhrud Athavale, new recording of Bruno
Walter’s piano four hands reduction of Mahler’s
Symphony No.2 for Naxos www.naxos.com is
a world premiere.
 |
| 8.573350 |
Maasa Nakazawa and Suhrud Athavale hold together the
sometimes faltering musical line and slow tempo of the Allegro maestoso very well. As the movement progresses there are
some fine, rhythmically sprung passages with this reduction highlighting many
details. They bring some pretty volatile moments and, in some of the slow
development sections, hold the attention surprisingly well, building to some
moments of intense drama before an extremely effective coda. One, of course,
remembers and misses so many orchestral aspects.
These two pianists pick out many fine little details in the Andante moderato, displaying some
terrific ensemble in the faster passages as well as a fine rubato. There are some
beautifully shaped passages with crisp playing of great precision.
They bring a very fine rhythmic opening to In ruhig fließender Bewegung creating a
fine forward flow, weaving some lovely musical lines, crisp and rhythmically
sprung. The lyrical central section is quite beautifully done before they reach
a fine climax from which the music falls away perfectly.
In the Urlicht: Sehr feierlich,
aber schlicht we should, of course, have an alto voice. However, in this reduction
there is much care to bring out the melancholy poetry of the original with some
beautifully limpid, delicate passages, never overdoing the little surges of
urgency.
But when we arrive at the Finale: Im Tempo des Scherzos there is a terrific surge of energy.
Where the off-stage trumpet should sound, Maasa Nakazawa brings a suitably
haunting feel. These players bring many fine moments that elucidate the detail,
building a suitable tension. When we arrive at ‘O Glaube’ one obviously misses
the voice and text which is so much of Mahler’s expressive vision and, of
course, when the hushed choir should enter there is a natural loss of
atmosphere, but these two fine pianists bring a real sense of drama and wonder,
extracting some intense feeling as the music develops. They bring some fast
buoyant passages where they provide a terrific rhythmic, forward bounding drive
as well as some hauntingly hushed moments. The cry of a bird that appears part
way has a particularly eerie quality before we are led funereally forward. Here
Nakazawa and Athavale reveal a most poetic moment bringing a fine atmosphere. Normally
a soprano would rise out of the orchestra but these pianists make up for this,
in part, by fine detail and poetry. These two pianists create a great feeling
of stillness before building in grand chords to the final climax.
This is an intriguing and fascinating piano reduction that
receives a very fine performance, revealing aspects of the music that may be
lost in full scale performances. To make too much of the losses caused by the
absence of soloists, choir, orchestra and organ is to miss the point of hearing
this fascinating reduction. Mahler’s publisher was obviously keen to share this
work with a wider audience through Walter’s reduction, something no longer
needed. But for Mahler enthusiasts this new recording will be a must.
The recording made in the Fanny Hensel-Mendelssohn Hall,
University for Music and the Performing Arts, Vienna, Austria is excellent. There are useful booklet notes.
See also:
I love this piece precisely because I know the fully orchestrated version so well. That is, I think I have somehow learned from it as one gets a sense of the simple melodies/rhythms that feel like original inspiration itself (what Mahler heard while walking) and how these simple elements combine to create the majesty of the 2nd symphony. As though we somehow participate in its creation, not merely in its performance.
ReplyDelete