![]() ![]() The ovation that must have greeted such a performance was not preserved and even in the quietest moments it is all but impossible to detect the presence of the audience. The sound is fortunately first-rate, indeed it is so natural and vivid that one can almost visualise Haitink directing the orchestra. A triumphant reading for all concerned - one dearly wishes that more from this team will follow before too long, for this is the interpretation from which dreams are made. As a point of interest, Haitink does not add on a second percussion strike (this is what all editions of the score direct but many have tacked on the second blow). More noticeably in this movement than in any other, the strings and brass are ultra-respectful of their dynamic markings which makes the final chorale more restrained (and puts one in mind of the third symphony - what a great shame the comparable account was RBCD only) yet have more emotional impact. The Chicago forces under Haitink release a terrifying onslaught of orchestral force that has relentless energy until the marked holding back for the second subject which is treated here like a very tender love song. As the movement progresses, the blending of the solo violins with the oboe is simply gorgeous and throughout the point-making is subtle not blatant making the closing combination of the Jewish music and "Frère Jacques" ominous in way that few conductors manage.ĭue to being taken attacca, the sense of shock at the beginning of the Finale is unlike any other account this listener has heard to date. His decision is vindicated by the conjuring of one of the most eerie sounds in all of Mahler - no mean achievement! Better contrasts within the movement are also possible due to the straighter treatment (except where Mahler specifically indicates for a parody) of the "Jewish" music. The third movement is perhaps most controversial for Haitink chooses to direct the whole of the double-bass section to play the famous "Frère Jacques" theme, apparently Mahler's original intention until he found many sections couldn't cope with the demands. A particular highlight of the closing pages of this movement is the heft that the double-basses lavish on their notes - wonderful! The mock-innocence of the Trio section is a delight to the ear and Haitink judges this just right. The tempo is deliberately not allowed to run away so we hear the slightly staid effect that Mahler surely wished to evoke. For example, the combination of quavers and semi-quavers is rarely so well heard in the central section of the Ländler-like outer sections. In the second movement, the musicians audibly "smile" without ever relaxing their control of their instruments and responding with fond respect to the score. Although such tenderness and careful playing is not reserved to one section, for the whole corporate body of the Chicago Symphony Orchestra respond to Haitink's inspired direction, the percussion section deserve special mention for their sensitive response. ![]() Nor has this listener heard any orchestra afford such a rich sound to the music whilst allowing every line of melody, counter-melody and accompaniment to be so clearly delineated. Such subtleties are rarely, if ever, captured on disc in this work and a sinister aspect to the trombone and tuba lines develops that relates the work forward to later works most convincingly. Throughout the opening, indeed the whole work, there is such careful terracing and observation of dynamics that reveals so much more of the score than is normally audible (even in concert). ![]() Opening with a magic and off-stage trumpets that sound more distant than usual, it is immediately apparent that this concert derived performance will be something special. Quite possibly the best account of the symphony ever committed to disc. ![]()
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