REVIEW:
The Philadelphia Orchestra’s first two releases for Ondine under Christoph Eschenbach (Bartók and Tchaikovsky) were extremely good, no doubt about it, but this Mahler Sixth is really extraordinary. Part of its success must stem from the fact that the best German conductors usually do misery especially well, finding the dark side of just about everything. If you don’t believe me, check out Kurt Sanderling’s startlingly deep and edgy rendition of Poulenc’s Concert Champêtre on Supraphon. So you can just imagine what can happen with a piece like Mahler’s Sixth. Anyone fortunate enough to have heard Eschenbach’s performances of this work with the NDR Orchestra in Hamburg will know that he has a special feeling for its harrowing intensity and expressionistic instrumental palette. Toss in the collective virtuosity of the Philadelphia Orchestra, and the result is, to put it mildly, pretty special.
As a coupling, the early piano quartet movement is more appropriate than you might at first think. First of all, it shares the same key as the symphony, and second, it’s useful to have it along as part of an all-Mahler program, allowing collectors to round out their collections without having to search for an acceptable all-chamber-music program. The engineering also represents the best in this series so far, with virtually no audience noise, tremendous presence in both stereo and multichannel formats, and extremely natural balances between orchestral sections. I know that Mahler Sixes seem to be a dime a dozen these days, but this one, a first for Philadelphia, belongs among the elite few (Bernstein I and II, Chailly, Levi, T. Sanderling, and Gielen). It’s just bloody thrilling.
— ClassicsToday.com (David Hurwitz)
