This recording of Mahler's Fifth Symphony by the Tonhalle-Orchester Zurich under it's Music Director Paavo Jarvi, is the first in a complete cycle of Mahler symphonies. Jarvi has of course conducted Mahler's works many times in his career, but has waited for the right moment to record the complete cycle in the studio: the right moment not only in his life as a musician but also in his relationship with the Tonhalle-Orchester Zurich; the maturity and power revealed in the orchestra's recordings for Alpha Classics have been hailed by the music press since 2019. "Mahler truly opened up a new universe with the Fifth, in which he initiated an incredibly personal style of music-making." says Paavo Jarvi. "It is the very nature of it's opening - a military funeral - and of it's tragedy, in conjunction with the very idea of beginning a symphony in this way, which signals that something completely different is in store for us".

The Czech Philharmonic and its Chief Conductor and Music Director Semyon Bychkov continue their acclaimed Mahler cycle with the composer's Third Symphony, working together with mezzo-soprano Catriona Morison, the Prague Philharmonic Choir and Pueri Gaudentes. In this monumental work, Mahler combines a text from Nietzsche's Also sprach Zarathustra with the folk song inspirations of Des Knaben Wunderhorn, culminating in eternal bliss in the closing Adagio. To Bychkov, this longest Mahler symphony offers his "least hysterical" music, and hearing it for the first time as a 10-year-old choirboy kindled his life-long fascination and love for this composer. With this recording, it comes full circle.

The Czech Philharmonic - recently awarded Gramophone's Orchestra of the Year Award - is one of the world's orchestral gems, recognized for its rich tradition with the Czech masters as well as European repertoire. Together with their Chief Conductor and Music Director Semyon Bychkov, they have so far recorded for PENTATONE Mahler's First, Second, Fourth and Fifth Symphonies (2022-2023), part of the complete Mahler cycle to be released by the label, as well as Smetana's Ma vlast and Dvorak's Seventh, Eighth and Ninth Symphonies (2024). The Orchestra is also featured on the albums Folk Songs (2023) and Czech Songs (2024) recorded by Magdalena Ko�ena and Sir Simon Rattle, as well as Dvorak Legends & Rhapsodies with Tomas Netopil.

The series devoted to Vladimir Delman continues with this second album: in the first one Mahler's Symphony No. 9 in D Major; here, by the same composer and in the same key, the Symphony No. 1.

...I think Ormandy sees [Das Lied von der Erde] very much in symphonic terms. It's a view often put forward by scholars casting the first and second songs as first and second movements, songs three, four and five running together as a kind of scherzo-intermezzo third movement (fourth song as quasi trio to the other two movements' scherzo), and the sixth song as fourth movement/finale. The reason I see this in Ormandy's account is that he seems to see the third, fourth and fifth songs in very much the same way, the same tone, with very little variation in approach from song to song though he stressed well the chinoiserie that is a feature of Mahler's orchestration. Then there is the fact that less than usual of the work’s darker undertones are brought out by him. There are some lovely woodwinds at the start of "Von der Jugend", though, matched with Richard Lewis's lighter delivery paying greater dividends here than elsewhere. However, Lewis is always much more the witness than the participant, especially in comparison with others, and even more detached from the words in "Der Trunkene im Fruhling". This work must involve the listener at all times and there are passages in this recording when I am not. Though let it be said there is a fine "stepping inside" of the scene by Lewis at "Ja! Der Lenz ist da" (Yes! Spring is here") and he also manages a laugh when describing the bird's laughter. Lewis has limited attack in the first song, though. He is more mellow and lyrical than colleagues like Peter Schreier for Sanderling (Berlin Classics 009 4022BC) but Ormandy matches him in being more lighter-toned than Klemperer, Sanderling or Horenstein (BBC Legends BBCL 4042-2). He is more concerned with the singing line and communicating energy and lift, which is certainly no bad thing in itself. There is less contrast between the varying sections of the song too. The passage starting with "Das firmament blaut ewig" is delivered by Lewis with none of the irony it is capable of and in the "ape and graves" section he is a little overwhelmed by the orchestra, well though he sings. Here Wunderlich for Klemperer (EMI 5 66892 2) manages to ride the climax admirably. Not surprisingly Lewis doesn't have Schreier's distinctive delivery on each "dark is life; dark is death" refrain" for Sanderling. The playing of the orchestra is superb, however, giving notice from the start we are in the presence of one of the world's great ensembles.

Ormandy opens the second song with admirable restraint and icy-coldness. This is late autumn with no heat at all. Lili Chookasian has a light voice and her first entrance doesn't bode too well for what is to come. All this brings some dividends when the orchestra shows a wonderful burst of warmth, especially from the lower strings at "Bald werden die verwelkten" ("Soon the withered golden leaves"). In fact, the Philadelphia strings are (and it should be no surprise) one of the glories of this recording and show Chookasian up rather. If only she could sing as well as they do! At "Ich weine viel in meinem Einsamkeiten" ("Long do I weep in my loneliness") hear also the solo horn against the oboe picked out by Ormandy and then "Sonne der Liebe willst du nie mehr scheinen" (Sun of love will you never shine again), where, as with Lewis in the "ape and graves" section of the first song, Chookasian is rather overwhelmed by the power of the orchestra. In "Von Der Schoenheit" she struggles to make the words tell, not least in the horse section which Ormandy takes very fast making her hang on for dear life. Then in the opening of "Der Abschied" there is some lack of tragic weight. But this is in common with what appears to be the philosophy behind Ormandy's performance. Again and again the stress is on refinement, fastidiousness, polish and no praise can be too high for the orchestra who bring really cultured playing to everything. Again Chookasian seems more than a touch under-involved. With Lewis detachment could be looked on as a positive stance but with Chookasian I feel it's simply that she isn't quite up to the peculiar demands of this piece. This is never more so than in the challenge of the last song where her rather peripheral feeling for the words tells most of all. But Ormandy's polish is in evidence throughout and a good example is his accompaniment of "Die Blumen blassen im Dammerschien" ("The flowers grow pale in the twilight"). He is very controlled too, helped by a slightly faster tempo than we are used to so that crucial line "Alle sehnsucht will nun traumen" doesn't move us as it should. He also skates too discursively over the wonderful bird section. This is a real example of his refinement robbing the music of one of its most distinctive moments: more "Ma Mere l'oye" than "Le Chant de la terre". Although that expressionist, "Pierrot Lunaire-like" section beginning "Es wehet kuhl" with flute and string bass underpinning has a fine sense of stillness it has less depth than it needs so that when the music warms up there is less feeling of respite. In the funeral march orchestral passage there is some extraordinary music where Mahler pushes the boundaries of tonality to the limit, but Ormandy rather throws it away in pursuit of smooth edges. The overall tempo is also too quick to make the effect it has to, though there is some wonderful playing from the cellos at the climax, really digging into their phrases. This is more than Chookasian does in the closing section, I feel. Her attention to the words is not really close and her tone rather one-dimensional; not expressive enough for music that expresses so much and Ormandy rather forces her on.

In sum a beautiful performance of Mahler’s late masterpiece, especially from the point of view of conductor and the orchestra. But there is more to this work than what lies on the surface and Ormandy's apparent stress on those symphonic aspects seems to encourage him in his refinement of everything else. Lewis's detachment at least seems to have point. Chookasian, on the other hand, one suspects is witness because she doesn't know how to get more involved or whether she should. On balance I think the same applies to Ormandy who doesn't really impress as a Mahlerian in this most elusive of works. He is saved by his wonderful orchestra who, in spite of some slightly faster tempi than we are used to, make this a performance to be enjoyed, for all I may not regard it as a front runner.

A coupling for Das Lied is rare but here is a very substantial one in the shape of the five Rückert Songs in a performance that finds Frederica Von Stade at the height of her considerable powers and Andrew Davis as ever an excellent accompanist. This is not a reason to buy this release, but certainly one to make up for any shortcomings in the main work.

Ormandy and his great orchestra are the real stars of this fine release.

-- Tony Duggan, MusicWeb International

MAHLER/BERIO, STRAUSS: ORCHEST

MAHLER: DAS KLAGENDE LIED BOU

"I enjoyed this performance enormously. Davis's Mahler is perhaps too restless, too blatantly 'conducted' for some tastes, but his occasionally heavy-handed manipulations of tempo are at least symptomatic of a desire to communicate a personal vision of and affection for Mahler's score. Both playing and recording are of exceptional standard, even if the lack of ironic edge to the sound lends the music-making a somewhat old fashioned air (strikingly at odds with RCA's strident, pop-inspired packaging). Davis's scherzo is warm and characterful in a rather cumbersome Sort of way, but his slow movement is a marvel -elevated in feeling and blessedly free of the intrusive inflexions which mar an otherwise refreshing account of the opening movement. No more affecting account has appeared for a decade and only Maazel's Vienna Philharmonic produce such glorious string tone. After this, the finale disappoints just a little. The 'operatic' soloist does not really point her words with sufficient poignancy -nor does she seem willing or able to sing quietly in her upper register - and Sir Cohn again insists on playing up the composer's expressive hesitations, adding one or two of his own. This may not be wholly idiomatic Mahler and yet, like so many recent discs from this source, it has abundant humanity and an extraordinary lack of artifice. The sympathetic acoustic of the Herkulessaal, well caught, is great asset.

-- Gramophone [7/1996]

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