Mahler: Symphony No. 3 in D Minor

Christa Ludwig - Mahler: Symphony No. 3 in D Minor

Mahler: Symphony No. 3 in D Minor
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CD Details

Artist: Christa Ludwig
Composer: Gustav Mahler
Conductor: Leonard Bernstein
Orchestra: New York Philharmonic
Performer: Joseph Alessi
Performer: Glenn Dicterow
Performer: New York Choral Artists
Performer: Brooklyn Boys Chorus
Edition: Music CD
CD Release Date: 1989-07-20
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
  1. Symphonie No. 3: Part I, 1st Movement - Kraftig. Entschieden
  2. Symphonie No. 3: Part I, 1st Movement - Immer das gleiche Tempo
  3. Symphonie No. 3: Part I, 1st Movement - Tempo I
  4. Symphonie No. 3: Part I, 1st Movement - Zeit lassen
  5. Symphonie No. 3: Part I, 1st Movement - Zeit lassen
  6. Symphonie No. 3: Part I, 1st Movement - Immer dasselbe Tempo. (Marsch). Nicht eilen
  7. Symphonie No. 3: Part I, 1st Movement - Im alten Marschtempo (Allegro Moderato)
  8. Symphonie No. 3: Part I, 1st Movement - Tempo I
  9. Symphonie No. 3: Part II, 2nd movement - Tempo di Menuetto. Sehr massig
  10. Symphonie No. 3: Part II, 2nd movement - L'istesso tempo
  11. Symphonie No. 3: Part II, 2nd movement - A tempo (Wie im Anfang)
  12. Symphonie No. 3: Part II, 2nd movement - Ganz plotzlich gemachlich. Tempo di Menuetto
  13. Symphonie No. 3: Part II, 3rd movement - Comodo. Scherzando. Ohne Hast
  14. Symphonie No. 3: Part II, 3rd movement - Wieder sehr gemachlich, wir zu Anfang
  15. Symphonie No. 3: Part II, 3rd movement - Etwas zuruckhaltend
  16. Symphonie No. 3: Part II, 3rd movement - Schnell und schmetternd wie eine Fanfare-Tempo 1. Mit geheimnisvoller Hast
  17. Symphonie No. 3: Part II, 3rd movement - Wieder sehr gemachlich, beinahe langsam
Music CD 2
  1. Symphonie No. 3: Part II, 4th Movement - Sehr langsam. Misterioso. Durchaus
  2. Symphonie No. 3: Part II, 4th Movement - Piu mosso subito
  3. Symphonie No. 3: Part II, 5th Movement - Lustig im Tempo und keck im Ausdruck
  4. Symphonie No. 3: Part II, 6th Movement - Langsam. Ruhevoll. Empfunden
  5. Symphonie No. 3: Part II, 6th Movement - Nicht mehr so breit
  6. Symphonie No. 3: Part II, 6th Movement - Tempo I. Ruhevoll
  7. Symphonie No. 3: Part II, 6th Movement - Nicht mehr so breit
  8. Symphonie No. 3: Part II, 6th Movement - Tempo I
  9. Symphonie No. 3: Part II, 6th Movement - Langsam. Tempo I

Music reviews of Mahler: Symphony No. 3 in D Minor

Music Review: Mahler creates a massive world...
Rating: 4 Stars

What a huge symphony. It's enormous. Both discs of this recording together run approximately an hour and forty-five minutes (64'12 + 41'40). Throughout this seemingly impossible span the melodic themes intertwine like celtic knots, the dynamics range from a whisper to a SCREAM, and along the way we meet Friedrich Nietzsche, a solo vocalist, and a boys choir. Leonard Bernstein and the New York Philharmonic pelt this one out with gusto, but some listeners have complained that Berstein meddles too much with the production (the symphony does balance on the fence of melodrama in places, and a steady guide needs to keep it from tipping into the mushy goo on the wrong side). The recording overflows with full lush strings and horns throughout giving it a very dramatic texture. It's not a piece or a recording suited for background music. It demands attention.

Six movements (in two parts) spontaneously and linearly create Mahler's symphonic world. Mahler originally drew up program notes to go along with the work's multifarious parts (with titles such as "Pan Awakes", "What the Animals in the Forest Tell me", "What the Angels Tell me", and "What Love Tells me"), but he later abandoned them as too stringent. He didn't want to shove his interpretation down the throats of his audience and stifle the carte blanche experience of listening.

The first movement (composed in 1896, a year after the following five movements) opens with a triumphal imposing horn blasting melody. Allusions to Brahms and Wagner lurk beneath the melodies and harmonies. The movement itself is as dynamic as the entire structure of the symphony. From loud and garrulous to near silence, the movement marches and trunches forth while throwing some diversions here and there along with some lovely solo violin speckles. This movement alone makes up Part I of the symphony. The remaining movements make up Part II.

The second movement opens in great contrast to the first. A lonely but danceable horn melody leads us into a beautiful minuet which later transforms into downright danceable and bouncy music. It eventually flutters out with strings.

Next, in the third movement, some shades of the "nature sounds" of Mahler's first return. A "cuckoo" whistles and the orchestra performs some dramatic loopty-loops before breaking out into full song. Musical hints of birds flitter everywhere in this movement. It ends with a clenching creshendo buildup and finally with an unmistakable, almost shocking, bang.

Over an hour of music passes between the beginning of the work and the first vocal movement (the fourth). Here Mahler puts to music the "Midnight Song" from Nietzsche's "Thus Spake Zarathustra". Following the bang of the previous movement, Mahler treats us to a tense painfully beautiful song. Nietzsche was still alive while Mahler composed this symphony, though he had fallen into his "famous" madness (he died in 1900). Mahler also apparently had some regard for Nietzsche -at one point he was going to name the entire symphony after Nietzsche's 1882 work "The Gay Science".

Once again, in great contrast, the next song (and the work's shortest movement at only slightly over 4 minutes) gives off a joyous feeling. The boy choir even chants happy bell sounds.

And then the big finale. The sixth and final movement. A painfully beautiful buildup of some twenty minutes brimming with juicy strings and a few explosions precedes the final thumping drums and majestic climax. It contrasts greatly with the symphony's first mostly raucous movement. And here's another of Mahler's big endings. The sixth movement as a whole provides a stunning conclusion to the piece.

Mahler's Third Symphony is simply overwhelming. It's as difficult to get one's mind around as it is to get one's arms around an aircraft carrier. It's a hulk, a behemoth. But it's also amazing and more than worth the numerous listens required for the symphony to begin to reveal its nuances and hidden gems. Did Mahler attempt to reflect life itself in this gargantuan work? Does that explain its complexity and size? Possibly, but regardless of how one interprets it, the work is full of great Mahlerian music that doesn't require picky granular analysis to enjoy.
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