This disc presents part of the cycle of Mahler’s works
that Bertrand de Billy led in Vienna. The recording makes available
his acclaimed performances of the Eighth Symphony. This particular
release includes a number of current or new soloists, who offer
fresh and exciting interpretations of the family parts of this
work, along with several choirs in Vienna and the environs and
the ORF Radio Symphony Orchestra. Taken as a whole, the musicians
involved are quite impressive, and Bertrand de Billy and Oehms
have taken the opportunity to release a solid recording of Mahler’s
Eighth Symphony.
In shaping the performance, de Billy is sensitive to the texts
that are essential to both parts of the work. His tempos never
compromise the presentation of the words, an aspect of de Billy’s
efforts with opera, an aspect of Mahler’s score that one
would also expect of its composer. The first part, the Latin
hymn Veni creator spiritus has the sense of a cantata,
with a blended choral sound supporting the solo voices. The
pacing, sense of line, and clarity of presentation are in place
from the start, with the recording capturing well the voices,
although sometimes at the expense of the orchestral accompaniment.
The orchestra can sometimes sound overbalanced in the treble,
and while the bass instruments are not absent, it is, at times,
difficult to hear the inner parts distinctly. This is not to
fault the performance, which is effective for the sense of immediacy
that emerges readily. The passage at the phrase “Qui Paraclitus
diceris” is a good example of the way in which de Billy
brings the performing forces together well, to give a sense
of the musical space and vocal delivery that Mahler created.
The interpretation is effective through to the conclusion, even
though the brass can sometimes be strident.
De Billy meets the challenges of the second part well, and gives
an equally fine reading of the final scene from Goethe’s
Faust, the passage in which the transcendent elements
found in the Latin text are expressed in the salvation of the
eponymous character of the German drama. In this section of
the Eighth de Billy allows the principals to bring out their
solo lines, with Boaz Daniel notable for his interpretation
of the character of Pater Ecstaticus in the passage “Ewiger
Wonnebrand”, in which the diction and line resound vibrantly.
Johan Botha is similarly effective as he expresses the passage
near the conclusion, “Blicket auf”, with fine intensity.
Here, the choral textures are particularly rich, with the voices
nicely unified and never straining. The women are also effective,
as found in the passage “Bei der Liebe, die den Füßen”
in which the solo voices are prominent. All these forces come
together with authority in the conclusion, the mystic Chorus
“Alles Vergängliches ist nur ein gleichnis,”
and de Billy gives the opening the same quiet beginning that
characterizes the final chorus of the Second Symphony, a similar
point of expression that did not escape the conductor. By allow
the volume to swell after the harmonic tension crests, de Billy
respects Mahler’s intentions in the score and creates
an aural tableau in which the lines of the Mater Gloriosa emerge
powerfully.
This is a fine recording which merits attention as a rare performance
of Mahler by Bertrand de Billy. That stated, this is a live
take, and it is possible sometimes to hear audience sounds;
the ear quickly accommodates such small imperfections. The result
is what matters. What we have here is an impressive interpretation
of this extroverted work in a festival-quality performance.
This is borne out by the respectful silence before the applause
at the end of the final track.
James L. Zychowicz
Full track-list
Symphony no. 8 in E-flat Major
Part 1.
1: Veni, creator spiritus 1:21
2: Imple superna gratia 3:29
3: Tempo 1. Allegro impetuoso. Infirma nostri corporis 1:58
4: Tempo 1. Allegro, etwas hastig 1:15
5: Sehr fließend. Infirma nostri corporis 2:43
6: Plötzlich sehr breit und leidenschaftlichen Ausdrucks.
Accende lumen sensibus 5:10
7: Qui Paraclitus diceris 3:05
8: A tempo. Gloria sit Patri Domino 2:42
Part 2.
9: Poco adagio 7:06
10: Piu mosso. Allegro moderato 3:48
11: Chor und Echo: Waldung, sie schwankt heran 4:46
12: Pater Ecstaticus: Ewiger Wonnebrand 1:15
13: Pater Profundis: Wie Felsenabgrund mir zu Füßen
4:39
14: Engel: Gerettet ist das edle Glied 00:57
15: Molto leggiero. Jene Rosen aus den Händen 1:47
16: Die vollendeterern Engel: Uns bleibt ein Erdenrest 1:53
17: Die jüngeren Engel: Ich spür soeben nebelnd um
Felsenhöh 5:19
18: Äußerst langsam. Adagissimmo. Chor 1/2: Dir,
der Unberührbaren 3:02
19: Mater peccatrix: Bei der Liebe, die den Füßen
5:36
20: Unmerklich frischer werden. Er überwächst uns
schon 4:07
21: Doctor Mariansu: Blicket auf zu Retterblick 5:55
22: Chorus mysticus: Alles Vergängliches ist nur ein gleichnis
6:18
Ricarda Merbeth (soprano 1) - Magna Peccatrix 
