‘Mahler: Symphony No. 2’
(EMI Classics Korea)
Why we recommend it: One can imagine no better conductor-orchestra pairing to rejuvenate the roof-raising oomph of Mahler’s “Resurrection” but it does not transcend the raw, impassioned theatricality of the Rattle’s 1986 recording with the Birmingham Symphony.
Recommended track: “Allegro maestoso”
Simon Rattle, the Berlin Philharmonic and Mahler ― an introduction seems hardly necessary.
The conductor is undoubtedly one of the most respected interpreters of Mahler symphonies today. He was inspired to become a conductor upon hearing the massive No. 2 at age 12 and his 1987 debut with the Berlin Philharmonic, which premiered the piece in 1895, was with No. 6. In 2002, as the new music director of the orchestra, he showcased No. 5.
This live recording of Symphony No. 2 marks the maestro’s fourth recording of Mahler with the ensemble (following Symphonies Nos. 5, 9 and 10) and comes just in time for the centennial of the German composer’s death.
The five-part “Resurrection” symphony, which runs about 86 minutes in this particular rendition, had been the most colossal, in terms of both roof-raising oomph and length, work to date upon its completion. One could think of no better conductor and orchestra pairing to resurrect the glory of the piece. After all, a score remains a living, breathing organism that is only “completed,” or fully resurrected, via the interpretation of its performer.
Twenty-five years ago, Simon Rattle created nothing short of a sensation with his first recording of the Second Symphony with the City of Birmingham Symphony Orchestra. His uniquely ingenious approach to the piece made it Gramophone’s Album of the Year and shot him to international stardom.
In his second recording of the piece, Rattle brings an intriguingly delicate, dreamlike approach to the first movement. However, though the orchestra’s virtuosity shines, the overall performance does not transcend the raw, impassioned force of the 1986 recording.
Also, the introduction of the chorus by the much-too quiet Rundfunkchor Berlin goes unnoticed, while young British soprano Kate Royal and mezzo-soprano (Rattle’s wife) Magdalena Kozena offer rather contrived solos.
The recording nevertheless offers fans something to mull over until the Rattle-led Berlin Philharmonic returns to Seoul for a concert in November.
Two-and-a-half out of four stars.