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.