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  <TITLE>Mahler Symphony 4 Berg Songs Chailly: Classical CD Reviews- November
  2000 Music on the Web(UK)</TITLE>
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      <TD width="548" valign="top"><BLOCKQUOTE>
	  <P ALIGN=Left>
	  <BR>
	  <FONT COLOR="#ff0000"><B>MAHLER </B></FONT><BR>
	  <B><I>Symphony No 4 </I></B><FONT COLOR="#ff0000"><BR>
	  <B>BERG </B></FONT><BR>
	  <B><I>Early Songs
	  </I></B><BR>
	  <IMG SRC="redball.gif" WIDTH="13" HEIGHT="13"> Royal Concertgebouw
	  Orchestra/Chailly with Barbara Bonney
	  (soprano)<BR>
	  <IMG SRC="redball.gif" WIDTH="13" HEIGHT="13"> <B>Decca 466 720-2 </B>[74
	  mins]<A HREF="http://www.crotchet.co.uk/jilcat.cgi/order?;4667202;sourceZMUSIC"><BR>
	  <B><SMALL>Crotchet</SMALL></B></A><B><SMALL> </SMALL></B>
	  <P ALIGN=Left>
	  <P ALIGN=Center>
	  <IMG SRC="mahler4chailly.jpg" WIDTH="299" HEIGHT="300">
	  <P ALIGN=Justify>
	  For older listeners Mahler straddled the second half of the last century,
	  each of us with precious memories and an ongoing process of renewal and
	  revaluation. A virtually unknown composer during ones formative English
	  schooldays, discovered through Walter's Vienna recordings of Das Lied von
	  der Erde and the 9th Symphony, in huge piles of 78s; life was never quite
	  the same afterwards.
	  <P ALIGN=Justify>
	  It was a long wait to hear Mahler live, with his prohibitively enormous,
	  costly orchestras. My first encounter with those was the 5th, soon after
	  the War, at the rehearsal and performance in a London theatre (the Cambridge,
	  I think) with the LPO, struggling manfully with this strange and demanding
	  music - it proved hard for their first trumpeter to get beyond the opening
	  call to attention to the satisfaction of Heinz Unger. At the end, he shared
	  his historic triumph with the composer, holding the score proudly high aloft
	  - a gesture which has tended to become a clich&eacute;, but felt wholly
	  appropriate then for that auspicious occasion, a turning point for Mahler
	  appreciation in UK.
	  <P ALIGN=Justify>
	  After that, one 'collected' performances of the symphonies, when orchestras
	  (and notably the BBC) began to dare risking the cost of employing all the
	  extras needed to mount Mahler symphonies. One's memory must be suspect, and
	  I cannot remember the sequence of discovery, but the 4th (1902 - its date
	  belying its newness and originality), with its less gargantuan orchestra,
	  gradually began to be heard more regularly. It was a long time before the
	  tally could be completed with, I think, the 7th &amp; 8th, the latter under
	  Horenstein (Decca Legends).
	  <P ALIGN=Justify>
	  This brings me close to the topic under consideration, the latest recorded
	  4th, made in the Amsterdam Concertgebouw with the orchestra which was so
	  central for keeping Mahler known to the European public during a period when
	  we British were isolated and isolative.
	  <P ALIGN=Justify>
	  From a memorable occasion in the Albert Hall, I recall the unaffected simplicity
	  of Elisabeth Schumann in the heavenly child's finale, direct and sharing
	  delight, with not a trace of archness. She may have sung nothing else on
	  that occasion, probably at a Prom (one has often felt pity for Mahler's vocal
	  soloists, when they have to sit patiently awaiting their turns late on, leaving
	  one wishing to have heard more from them).
	  <P ALIGN=Justify>
	  This recommendable CD disposes of that problem sensibly, by coupling the
	  Mahler with the orchestral version (1928) of seven of Berg's romantic Early
	  Songs of 1907 for his future wife. (Berg idolised Mahler and in 1902 had
	  seized the baton with which he had premiered the Fourth as a keepsake!)
	  <P ALIGN=Justify>
	  The poems are rather generalised in their nature mood-painting, but evoke
	  rich settings, with varied orchestrations and developing harmonic richness.
	  They are sung attractively by Barbara Bonney, in good voice &amp; well recorded,
	  but for me are less interesting than the detailed picture of heavenly bliss
	  particularised verse by verse in the Knaben Wunderhorn song which ends the
	  Mahler, and with which the preceding movements are thematically connected,
	  Max Graf (1902) likening the symphony to a Hebrew Bible 'which has to be
	  read back to front'! CD tracking makes it easy to make that experiment, and
	  this sympathetic and searching performance would not pall if heard once backwards
	  before being restored to its proper order!
	  <P ALIGN=Justify>
	  <B>Riccardo Chailly</B>, popular incumbent of the position held before him
	  by so many famed Mahlerians from Mengelberg to Haitink, instils confidence,
	  from his measured beginning with the jingling ritornello, like a simple child's
	  musical box, right through to a child's vision of the heavenly lifestyle.
	  The playing is confident, the direction assured in a way which puts out of
	  mind thoughts of other interpretations (for comparisons and selections of
	  Mahler symphony CDs look instead to Tony Duggan on
	  <A HREF="../../../Mahler/index.html">MotW</A>). The ideal acoustic of the
	  Concertgebouw plays its part at such moments as the breath-stopping conclusion
	  of the great, longest slow movement. Donald Mitchell is Decca's thoughtful
	  guide to this successful reunion of Mahler with his devoted admirer, Alban
	  Berg.
	  <P>
	  <B><I>Peter Grahame Woolf</I></B>
	  <P ALIGN=Left>
	  <IMG SRC="5star.gif" WIDTH="105" HEIGHT="20">
	  <P ALIGN=Left>
	  <P ALIGN=Left>
	</BLOCKQUOTE>
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