Sound Samples & Downloads
Gustav MAHLER (1860-1911)
Symphony No. 6 in A minor (1903-1904, rev. 1906) [84:35]
Orchestra dell’Accademia Nazionale di Santa Cecilia/Antonio Pappano
rec. live, 8, 10-11 January 2011, Sala Santa Cecilia, Auditorium Parco della Musica, Rome
EMI CLASSICS 0 84413 2 [38:47 + 45:48]
Having admired Antonio Pappano’s work in the pit at Covent Garden,
I was intrigued to see him branch into non-operatic repertoire
as well – with considerable success. Indeed, Dominy Clements
nominated this maestro’s set of three Tchaikovsky symphonies
as a Recording of the Month (review).
Given this double centenary, I suppose it was only a matter
of time before Pappano and the Santa Cecilia band, of which
he has been music director since 2005, would be persuaded to
record a Mahler symphony or two. But for a conductor with no
Mahlerian credentials, choosing the Sixth might seem a tad ambitious.
Not only is this a tough work to pull off, it also has to be
out of the ordinary if it’s to challenge the likes of Claudio
Abbado – in Chicago, Berlin and Lucerne – Pierre Boulez in Vienna,
and David Zinman in Zurich. The latter’s version is certainly
a fine one, but for all its transparency and skill I found it
rather lightweight (review).
Anyone lucky enough to have Sir Charles Mackerras’s live BBC
Philharmonic recording – a cover-mounted CD with BBC Music
Magazine Vol, 13 No. 7 – will surely mourn the fact he didn’t
record more of these symphonies.
Pappano makes a good impression with the trenchant march at
the start of the Allegro, the Santa Cecilia orchestra sounding
huge and forceful. The urgency and thrust of this music is very
well conveyed, our maestro pressing on without dawdle or distraction.
The unique timbres of this symphony come to the surface too,
the rasp of low brass, crisp side drum and piercing trumpets
especially well caught. Once or twice I sensed a slight change
of perspective – perhaps a ‘patch’ from another night – but
such is the energy and breadth of this performance that matters
not a jot.
Goodness, this is shaping up to be a formidable Sixth, Pappano
firmly in control, his orchestra playing with commitment and
gusto. The sound isn’t the most natural – it’s frankly overwhelming
at times – but the recording still manages to unearth all the
detail of this multilayered score. Any caveats? Well, the Roman
band doesn’t sound particularly idiomatic and Pappano is
inclined to be a little too brisk; plus, there’s a larger-than-life
quality to this reading – dare one say it, an operatic excess
– that’s, well, different.
But just minutes into the Scherzo and Pappano begins to sound
too aggressive and unvaried. Dip into any of the versions I’ve
listed and you’ll hear far more subtlety in terms of tempo,
rhythm and colour. And that’s where this new recording is likely
to fall short; for all his impetus and focus, Pappano isn’t
nearly as intuitive or insightful as his rivals. He certainly
misses the extreme, off-the-wall character of this movement
– Boulez is peerless here – and one senses he’s impatient to
bring it all to a close.
By the end of disc one my initial enthusiasm had begun to wane,
to be replaced by a certain wariness. It’s hard not to be seduced
by such a boisterous performance, but after a while it starts
to feel like bullying. As for Pappano’s generalised approach,
it couldn’t be more different from the finely calibrated readings
of Abbado and Zinman, or the forensic probing of Boulez. But
it’s in the echt-Viennese rhythms of the Andante that
Pappano really comes unstuck; they’re stilted, the harmonies
oversweet. Indeed, I couldn’t escape memories of a mascara-streaked
Dirk Bogarde in Death in Venice, a potent reminder of
just how easy it is for Mahler’s slow movements to sink into
a swamp of self-indulgence.
Needless to say, by this time any nascent admiration for this
Sixth had long since evaporated, to be replaced by a sense of
frustration. How would that maelstrom of an Allegro fare, I
wondered? Well, it certainly grabs one by the scruff of the
neck, but I’m afraid Pappano can’t match Boulez for coherence,
or rival Abbado for cumulative weight and tension. It seems
the finest Mahlerans are those who have their destination firmly
in view from the outset, and although Pappano hints at such
foresight he becomes hopelessly distracted along the way,. He
tops it off by piling Ossa upon Pelion in a fierce, fractured
Finale. Attentive listeners will detect audible ‘patches’ here
I so wanted to welcome this new Sixth and endorse the glowing
reports of others, but given the quality of the competition
this release falls far, far short of what I expected. Perhaps
it’s a reminder that classical A&R departments don’t always
know best, and that Mahler’s popularity doesn’t mean every Tom,
Dick and Antonio can record these works and get away with it.
Sadly, though, slick marketing will probably ensure they do.