My favorite Mahler 9 - period.

Mahler: Symphony no. 9 in D
Chicago Symphony Orchestra
Carlo Maria Giulini, conductor.
DG catalogue 437-467-2

Lets face it. It is difficult to get an ideal utopian Mahler recording. A perfect one would combine Bernstein's passion (not to mention klezmer), Klemperer's stoicism, Walter's lyricism, Horenstein's edginess and analytical ears of Boulez. Only in a utopian world, my friends. Of course there are some few which everything is nailed perfectly and you don't need to listen anything else. Abbado's Mahler 7th with CSO and Lucerne Festival Orchestra, he nailed all the elements and chemistry needed for that piece you won't be bothered of newer versions from say, a Barenboim. Of Mahler's symphonies, the 5th and the 9th I had yet to find a perfect recording. Why? For the 5th even though the Barshai recording is my clear cut favorite I'd wish the middle Scherzo has a little more verve and maybe some groove in Bernstein's for example instead of Boulez-ian coolness which makes me feel a bit dozy to keep awake (the rest of the movements I have no complaints).

I'd thought before I encounter this recording, the Horenstein/LSO on BBC Legends is top notch. It is everything Tony Duggan of Musicweb hyped about, the dark dark night of the soul, the nihilism and dualistic struggle that is non-existent in Karajan/BPO and the painful but inevitable acceptance of death in the Adagio. Too bad the only drawback is the playing that isn't up notch to today's LSO standards. But pity you do not have conductors who could utilize that today, and forget Gergiev or Rattle, please (unless it's a Haitink). Of course David Hurwitz of classicstoday gave it a stinker for obvious reasons and if you like Mahler played on a Ferrari, go stick to Karajan BPO (zzzzzzzzzzzzzz). Or...

Here comes this recording. Both Duggan and Hurwitz gave glowing reviews to this one and you can't go wrong with it. The Chicago Symphony Orchestra is one of the most formidable Mahler orchestras on this planet simply because it has the brass section with the most balls. But you won't turn around and grab a Solti Mahler recording because it sounds like Mahler Out Loud or Mahler-In-Your-Face when you want to annoy kids who listens too much James Blunt. Do not forget though under guest maestros like Claudio Abbado, the CSO has a caliber that only rivals Berlin or Vienna Philharmonic Orchestras. Only when you put those brasses on leash.

Maestro Carlo Maria Giulini, another guest CSO conductor was often called "St Sebastian" because he is one of the few living saints holding the baton. He was not gay, or slept with women or has mistresses, a devout Catholic, doesn't flaunt ego or diva behavoir and players loved him. Now that is a true saint, unlike another lovable figure named Bruno Walter who actually has a few controversies that betrays his persona (you find that out). It is as no surprise that one would compare maestro Giulini with Walter over similarities of interpretation. Both are lyrical, "moralist" conductors (quote dear ol' Klemp) who tries to gloss over "nastiness" or rough orchestral edges as much as possible. Negative reviews of this recording seems to reinforce that sort of stereotype; the middle two movements lacked earthiness and the grotesque of Bernstein or Klempere who doesn't lack. Is it really true?

The first few minutes in 1st movement Andante Comodo is tender, dreamy, perhaps too cantabile in the phrasings of the strings that may seem a bit odd for a Mahler but which one may get used to it. Towards the first climax before the first call of "death knell" trombones the CSO brasses sounds superb here. Maestro Giulini manuevers through the alternating episodes without great contrasts than Bernstein does, but that it because he is more focused on delivering the "big picture" of the whole movement. Come the big climax despite one of the most brutal brass blasts it felled short of knocking one out of their seat, like Karajan or Horenstein does but there's little complaint for that. However Giulini delivers probably the finest rendition at the aftermath, the funeral procession and then to a haunting and mournful solo for flute before gradually the movement subsides into a peaceful close.

The landler is a pleasant surprise because it displays underrated woodwind playing, especially the bassoons which is highlighted very prominently. Whole movement sounded a little too stoic, despite the fact he demonstrated contrast from Tempo I to II but the whole effect sounded very heavy footed like a country bumpkin which probably is well-intended effect. Listen also to how the strings dig in the waltz and the violin solos are grim and sinister if you think Giulini will eschew the grotesque.This is the only recording I've heard so far which highlights the contrabassoon solo before the coda and it's playing brilliantly although the one in Haitink's RCO recording is more sinister sounding. Terrific brass snarls and mutes as one expects from CSO again.

I also loved the Rondo-Burleske and despite not played as abandoned and frenzied as (again, Bernstein) it is still a formidable performance of tour de force for counterpoint as Mahler intended and the interlude is the most moving I have ever heard, like a flashback, before one's life fade away forever. And the last few minutes of that movement has formidable "collapse" that one has to hear to believe. Finally for the Adagio, it is as long breathed as one could expect like a Bruckner Adagio and although doesn't match the inevitable and tragic acceptance of Horenstein, Giulini interprets it differently. In this movement, Mahler probably found God while in Horenstein, he resigns to Fate. Thought provoking for listeners.

In short this is one recording one MUST listen for fans of Mahler and the Ninth symphony. If one laments that good interpretation always hampered by poor or subpar playing, this recording has first class orchestral playing to back it up.

This copy of Mahler 9 is probably out of print and rare to find, but it is much better for you to get the new Originals repackaging coupled with a Schubert 8th which is a better bang for your buck. The new remastering eliminates the supposedly disruptive engineering noises in this recording I am reviewing. But rest assured it is the same performance.

Sharon Bezaly's debut at DFP

"God's gift to the flute" made her debut at Dewan Filharmonik Petronas this week with Malaysian Philharmonic Orchestra. Sharon Bezaly is one of very rare full time professional flute soloist, unlike Emmanuel Pahud who still plays with the Berlin Philharmonic and other ensembles from time to time. A graduate of Paris Conservertoire and student of Aurèle Nicolet, both Ms. Bezaly and Mr Pahud shared the same upbringing and sure comparisons have to be made, despite the lack of it. Mr Pahud has been hailed as successor to Jean-Pierre Rampal's mantle with his clear, wide tonal palette and vibrant musicality. Ms Bezaly meanwhile, has quotes attesting her flute playing comparable in virtuosity with names such as Vladimir Horowitz and David Oistrakh and has virtually perfect flute technique, including laser-precision tonguing (no shit, Sherlock) and perfect use of circular breathing. Both flautists has vastly different repertoires with Pahud specializing in Baroque masters such as Bach, Telemann,
Vivaldi while Bezaly champions contemporary composers such as Gubaidulina, Kalevi Aho and Christian Limberg to name a few (and has 7 concertos dedicated to her name).

This season for Dewan Filharmonic is an extremely auspicious year for flute enthusiasts, for when again can you have two best living flautists in the whole damned planet coming to Kuala Lumpur? Mr Pahud came down with his Berlin Baroque Soloists band and brought the whole house down with his two nights dedicated to Baroque masters last October. Sadly Bezaly's debut seemed to be dampened last Sunday, with lacklustre accompaniment by Malaysian Philharmonic Orchestra and Mathias Bamert plus what I think is a equally lacklustre work, Nielsen's flute concerto. Or maybe we're just unlucky to have caught one of her Bezaly's off-days. Goodness knows whose choice is it, whether it's Ms Bezaly or the management or Mr Bamert or whoever, the Nielsen concerto dubbed a "Pastoral" piece isn't a really piece that's my cup of tea. Even though Mr Pahud recorded it with the Berliners and of course technically the work isn't cakewalk but it just ain't memorable.

However I may dead wrong. I was lucky enough to catch the rehearsal on Friday where they ran through the Nielsen thrice. Even seating at the back, Bezaly's tone could penetrate through the orchestra at some climaxes (although barely) although her tone isn't as commanding as Pahud. And her playing beguiled the group of schoolkids and observers with her typical virtuosity, especially those lightning sharp staccatos, non-existent need of breath and the golden tone from her luscious 24k gold custom-made Muramatsu flute (look at em' sparkle, ma!). Also I noticed Ms Bezaly requested Mr Bamert to speed up some passages a few times. See where's the fault? No wonder her virtuosity was virtually non-existent on THAT day in the Nielsen with the orchestra scrambling their way through the work Mr Bamert probably forgot some requests by Ms Bezaly at some passahes >_> and when she tried to shook Mr Bamert's hand at applause, he did not notice it and Ms Bezaly looked back at the audience, cheekily bemused. That guy's gone as soon as possible, the better since he looks totally clueless and I sure as hell won't miss him.

Overrated? God's gift to the flute? A flautist virtually without peer, not even Pahud could touch her? Those quotes were repeated in newspapers and promo ads prior to the concert and the Nielsen just turned out so-so but Ms Bezaly took out her encore, which was a piece from Sweden (as she told the audience) and then finally she showed them light. It was a sort of a folk-like piece with insane fast passages inserted in between which Ms Bezaly used flutter tonguing or goodness-knows-technique to produce a unnatural series of harmonics in the low registers, and a kid exclaimed "Wah" at my back. My jaw dropped as fast as anvil and could the wunderbar kid Pahud top that? Still the applause at the end indicated the audience still felt it wasn't a big deal but from Ms Bezaly's response, she may have took it in stride. Contrary to some rumours that she was cold and unfriendly, she was terribly warm and even more friendlier and receptive than Pahud when I met her after the Friday rehearsal. My newly-bought gold pen didn't work much effect on the "Bridges of Pyranees" cd I bought and she took the trouble trying to get another pen from her handbag (I think I'm going to weep!). So I got my programme book and cd autographed and despite some mispelling of my name (no fault of hers, I insist) I was in rapture, naturally.

The following Brahms 2nd wasn't too shabby, but again I switched to Bernstein/VPO after the whole thing. I can tell you those who attended the rehearsal on Friday noon must've felt it was the best RM 5 they've ever spend. After all, it was said that the great Toscanini produced more results in a rehearsal than in a concert. If you think Ms Bezaly ain't no big deal, listen to her "Bridges across the Pyranees" cd and listen to her Rodrigo's Concerto Pastorale, Ibert's Flute Concerto or the Carmen Fantasy by Borne and be prepared to be blown away. Ms Bezaly's "Nordic Spell" is on my next shopping list!

One of Bernstein's finest achievements

Brahms: Symphony no. 2, Academic Festival Overture
Wiener Philharmoniker
Leonard Bernstein, conductor.




Critic David Hurwitz is a unabashed Lenny arse-kisser. To him, Lenny is the greatest conductor ever to grace the record (move over Karajan!). But somehow the symphonic cycle of Brahms recorded with Vienna Philharmonic detests him, in which he remarked "Most people like chocolate, but not as a topping for fried liver and onions. Well, like that combination, Bernstein and Brahms just don't mix. ". He supported his assertation by arguing Lenny's typical mannerisms; wild fluctuating tempos, too much indulgence in music making and sometimes agonizingly slow tempos don't work with Brahms which Hurwitz wants to listen in "simplest, most unaffected manner possible". I think he'd rather stuck his head with HIP specialists like Mackerras, Norrington, Harnoncourt if I get his gist.

Hurwitz has no problem with such approach in Mahler which he incase he forgets, also work in typical, most unaffected manner possible too. The composer is notorious for super-attention to details marking in his works, like how he demands the oboe to play a certain "hinaufziehen" or an extraordinary upward glissando in a 4th movement of the 3rd symphony or the conductor should adopt the same tempi as the previous movement in "Stürmisch bewegt" of the Fifth. Conductors like Klemperer, Horenstein who adopted literal approach to his symphonies didn't interpret them less exciting. Anyways enough digressing for listeners who appreciate Lenny's conducting like me accepts his music-making as a sort of gambling, taking chances no different from say, Furtwangler. There are good and bad results to expect and it is part and parcel of real music making. Most awful results of Lenny's "experimentations" for example, Tchaikovsky 6 with NYPO on DG which is most notoriously slow on records, Elgar's "Enigma" variations but for these shortcomings he make it up among them, Barber's "Adagio for Strings" recorded with Los Angelas Philharmonic which is probably unparalled in anguish and intensity, a individualistic but distinctive Shostakovich 5 with NYPO (Sony) and also this Brahms 2nd, recorded with VPO.

VPO has maestros who knew how to utilize them as a incandescent instrument and Lenny is among the very few. Despite being Jewish and gay which would've turned them off instantly, the players enjoyed making music under his direction as demonstrated by their recordings of Sibelius, Mahler, Beethoven and Brahms. Contrary to the Brahms 3rd, which probably sounded too distorted and out of character, Lenny hit all the right spot in the Brahms 2nd. There isn't any saccharine-induced melodrama moments, only very human performance. I've rarely heard the violins of VPO sang with much cantabile in the first movement and has the celli ever sounded so longing, like a child who yearns for its mother? The last movement is played with genuine jubilation, instead of hyper-frentic dash. Coupled with the symphony is no less finer performance of Acedemic Festival Overture. To think that before listening to this recording I despise Brahms 2nd. Thank heavens for maestro Lenny!

Technical: 9
Intrepretation: 9
Recording: 9

To all Good Music Guide users

HAPPY APRIL FOOLS.