I had intended to do a double review of the Sixth
and Eighth symphonies, the latest instalments in Jonathan Nott’s
Mahler cycle, but after careful reflection I realised it was best to
assess them separately. I’ve only heard his recordings of Nos.
1, 2 and 3 and his 2013 BBC Prom of No. 5. The good news is that his
‘Resurrection’ is one of the finest of recent memory (
review).
Taut, cogently argued and superbly dramatic it’s everything this
symphony should be, but rarely is. The bad news is that there’s
a huge gulf between that and his
First,
which suffers from ‘too many lapses of judgement and ensemble’
and his
Third,
which is ‘crippled by the kind of expressive liberties that give
these symphonies a bad name’.
That sounds pretty harsh, I admit, but then this is a hotly contested
field with many fine versions of these symphonies to choose from. That
said, few complete Mahler cycles are consistently inspired; I much admired
David Zinman’s Tonhalle series for instance, not least for its
liberating vitality and freshness, but that initial enthusiasm dwindled
from No. 6 onwards. One set that has few if any serious weaknesses is
Michael Gielen’s clear-eyed traversal with the SWR Baden-Baden
und Freiburg (Hänssler). If anything his live Testament Seventh
with the Berliner Philharmoniker (
review)
confirms the musical and sonic virtues of the Hänssler series.
In fact I’d go so far as to say that if you were to own just one
set of these symphonies - the box is complemented by a fine Tenth, recorded
later - then this must be it.
Given that sustained quality is rare in these works it would be short-sighted
of me to dismiss Nott’s cycle on the basis of two disappointments
- three, if you include his Proms Fifth. So what of his Sixth? While
there’s plenty of energy in the
Allegro the downside is
that dramatic tension is soon compromised by a certain doggedness, and
the wild-eyed nature of this movement is persistently underplayed. Also
- in stereo at least - the recording sounds very close, and the soundstage
is rather narrow. Still, the detail in the more spectral moments is
superbly rendered; what a pity, then, that Nott’s reading is so
detached, the music’s grim tread so unthreatening.
So, not an auspicious start, and anyone used to the rugged terrain of,
say, Boulez and the Wiener Philharmoniker (DG) will be disappointed
to find themselves stranded on a gently undulating plain. Stranded is
the operative word, for there’s no prospect of a quick rescue
here or in the ensuing
Scherzo. I’m always perplexed by
readings of this symphony that so comprehensively miscontrue its darkly
compelling centre; as if that weren’t dispiriting enough Nott’s
rhythms are inflexible and his tempo relationships are too arbitrary
for my taste. Indeed, the musical and emotional polarities embedded
in this music are conspicuous by their absence.
This is all the more distressing as the Bambergers play very well, especially
in the
Andante. Thanks to a barely discernible pulse Nott manages
to strip these lilting tunes of their gentle charm. Just sample the
recent RCO DVD/Blu-ray with Maazel and you’ll hear this music
breathe and bend in the most delightful way (
review).
Therein lies the rub; the artifice that distracted me so in Nott’s
recordings of the First and Third - and his Proms Fifth - trivialises
the Sixth's bleak narrative. Occasionally there are absorbing paragraphs,
but without a proper, overarching context these are apt to seem like
a series of
non sequiturs.
In mitigation Nott does capture something of the 'tragic' nature of
this piece in the
Andante, only to lose it at movement’s
end, where it all becomes so flaccid. That same lack of power is evident
in the
Finale - just listen to those frankly risible hammer blows
- whereas Boulez and his Viennese players are simply terrifying in their
intensity and amplitude. Enigmatic and infuriating by turns, Boulez’s
Mahler seldom makes me sit up and take notice; in that WP Sixth he has
my undivided attention, which is more than I can say for Nott’s
much too tentative account.
In an earlier review of one of Nott’s Mahler recordings I left
him flailing in the foothills, the distant summit well beyond his reach.
However, despite so many false starts I’d hesitate to consign
him to Room 101; indeed, anyone who can give us such a remarkable ‘Resurrection’
deserves more chances than most.
A seriously disappointing Sixth; perhaps Nott will redeem himself in
the Eighth.
Dan Morgan
http://twitter.com/mahlerei
Masterwork Index:
Mahler
6
[80:34]
