Great Conductors of the 20th Century: Dimitri Mitropoulos
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Canadian Music Store CD DetailsComposer: Gustav MahlerComposer: Hector Berlioz Composer: Claude Debussy Composer: Richard [1] Strauss Conductor: Dimitri Mitropoulos Orchestra: New York Philharmonic Orchestra: WDR Sinfonieorchester Köln Orchestra: WDR Sinfonie Orchester Köln Edition: Music CD Format: Original recording remastered CD Release Date: 2003-08-05 Music Label: EMI Classics Soundtracks: Music CD 1
Music reviews of Great Conductors of the 20th Century: Dimitri MitropoulosMusic Review: Dramatic Music-Making by Dimitri
The great thing that Mitropoulos brought to the table as a conductor was his innate sense of the drama of music. As noted by other reviewers, Mitropoulos' approached every score afresh without reference to how anybody else did it, achieving remarkable results which were never stale. Nowhere is this more evident than in the remarkable recording of the Mahler Sixth included here. This performance is also available on a more expensive imported collection, but to have it available in this price range makes this a recording no Mahler fan should be without! I reviewed this performance in that collection, but to recap: The clarity of line and detail in this performance, even though it is in mono, is unsurpassed by any recording of this music I have heard. That's not always a virtue, as the first horn of the Cologne Radio Symphony is noticeably off-key in the opening, but Mitropoulos gets right by that and roars through a first movement that's truly astounding. His tempi are flexible, heightening the musical drama. Instead of the prophecy of Nazi jackboots we hear all too frequently in the opening march, Mitropoulos gives of the groans of 19th Century Europe being dragged kicking and screaming into the full horrors of the industrial age. It's a brilliant conceptualization, and probably a lot closer to what Mahler intended. There is more humor to the scherzo here, as well, that what we're used to hearing, but it is all dark, cynical gallows humor. Mitropoulos uses the offstage horns in the adagio not to evoke the calls of pastoral herdsmen, but rather the haunting of the spirits of a way of life already lost forever. Mitropoulos correctly conveys this music's sense of Europe at the crossroads, but it is the crossroads of an older man returning to his home after a long absence, only to find no one he recognizes and nothing to take solace in. In the Sixth, Mahler mourns a world which accomplishes so much materially and technologically at the expense of spiritualty, and that is exactly what Mitropoulos finds in the score and converys better than any other conducter I have heard.
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