Mahler: Symphony No. 1 - Stenz

Oehms Classics OC 646
Stereo/Multichannel Hybrid
Classical - Orchestral
Mahler: Symphony No. 1 "Titan"
Gürzenich-Orchester Köln
Markus Stenz (conductor)
While composing his first symphony, Gustav Mahler was uncertain whether it should become a symphony or a symphonic poem. During first performances, he tried to make it more palatable to audiences by entitling it and its movements. The subtitle “Titan”, which was sometimes used, for example, refers to the novel of the same name by Jean Paul. At the Hamburg performance in 1893, Mahler provided a completely worked out program, which he soon withdrew, however, realizing that it could completely lead the audience down the “wrong path”. Only after the work was printed in 1899 did it receive the four-movement form and regular title “Symphony No. 1” that we know today.
This CD is a live recording made from performances held in July 2011 at the Cologne Philharmonie.
Support this site by purchasing from these vendors using the paid links below.
As an Amazon Associate HRAudio.net earns from qualifying purchases.
Review by John Broggio - September 8, 2012
This disc has to stand comparison to many of the favoured SACD Mahler first symphony recordings (Mahler: Symphony No. 1 - Fischer (Ivan), Mahler: Symphony No. 1 - Haitink and Mahler: Symphony No. 1 - Orozco-Estrada are 3 very fine but very different approaches to the work) not to mention the other (at time of writing) 27 incarnations on this medium alone! Like an increasing number (including Haitink's and Orozco-Estrada'a) this disc is an edited compilation of concert performances. Unlike theirs and Fischer's, there are many times when the raw playing and strained intonation reveal the source of the playing.
If these rough-edges were accompanied by a riveting approach from the podium, staggering recording and charismatic playing then they could be overlooked. Sadly none of these 3 aspects is there to consistently redeem the faults that nag ever more insistently on repetition. The playing and conducting are both good (pace the odd less than graceful moment already mentioned) but they are not completely top-drawer either. The recording if anything is too good for it readily draws the ear to both audience participation and the occasional slips in the execution.
In such a competitive field, it is hard to recommend this to anyone other than those committed to the cycle and wanting to have all issues in it.
Copyright © 2012 John Broggio and HRAudio.net
Performance:
Sonics (Multichannel):


Click here to report errors or omissions in the music details.