Mahler: Symphony No. 9 (Bernstein Century)

Mahler: Symphony No. 9 (Bernstein Century)

Mahler: Symphony No. 9 (Bernstein Century)
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CD Details

Composer: Gustav Mahler
Conductor: Leonard Bernstein
Orchestra: New York Philharmonic Orchestra
Edition: Music CD
CD Release Date: 1998-09-29
Music Label: Sony
Soundtracks:
  1. Symphony No. 9 In D Major: First Movement: I. Andante comodo
  2. Symphony No. 9 In D Major: First Movement: I. Etwas frischer
  3. Symphony No. 9 In D Major: First Movement: I. Tempo I subito
  4. Symphony No. 9 In D Major: First Movement: I. Mit Wut. Allegro risoluto
  5. Symphony No. 9 In D Major: First Movement: I. Schattenhaft
  6. Symphony No. 9 In D Major: First Movement: I. Wie von Anfang
  7. Symphony No. 9 In D Major: First Movement: I. Plotzlich bedeutend langsamer (Lento) und leise
  8. Symphony No. 9 In D Major: First Movement: I. Schon ganz langsam
  9. Symphony No. 9 In D Major: Second Movement: II. Im Tempo eines gemachlichen Landlers, etwas tappisch und sehr derb
  10. Symphony No. 9 In D Major: Second Movement: II. Poco piu mosso subito (Tempo II)
  11. Symphony No. 9 In D Major: Second Movement: II. Tempo III
  12. Symphony No. 9 In D Major: Second Movement: II. A Tempo II
  13. Symphony No. 9 In D Major: Second Movement: II. Tempo I
  14. Symphony No. 9 In D Major: Second Movement: II. Tempo II
  15. Symphony No. 9 In D Major: Second Movement: II. Tempo I Subito
  16. Symphony No. 9 In D Major: Third Movement: III. Rondo. Burleske. Allegro assai und sehr trotzig
  17. Symphony No. 9 In D Major: Third Movement: III. L'istesso tempo
  18. Symphony No. 9 In D Major: Third Movement: III. Sempre l'istesso tempo
  19. Symphony No. 9 In D Major: Third Movement: III. Nicht eilen
  20. Symphony No. 9 In D Major: Third Movement: III. Piu stretto
  21. Symphony No. 9 In D Major: Fourth Movement: IV. Adagio. Sehr langsam und noch zuruckhaltend
  22. Symphony No. 9 In D Major: Fourth Movement: IV. Plotzlich wieder langsam (wie zu Anfang) und etwas zogernd
  23. Symphony No. 9 In D Major: Fourth Movement: IV. Molto adagio subito
  24. Symphony No. 9 In D Major: Fourth Movement: IV. A Tempo (Molto adagio)
  25. Symphony No. 9 In D Major: Fourth Movement: IV. Stets sehr gehalten
  26. Symphony No. 9 In D Major: Fourth Movement: IV. Fliessender, doch durchaus nicht eilend
  27. Symphony No. 9 In D Major: Fourth Movement: IV. Tempo I. Molto adagio
  28. Symphony No. 9 In D Major: Fourth Movement: IV. Adagissimo

Music reviews of Mahler: Symphony No. 9 (Bernstein Century)

Music Review: Comparing Bernstein's three Mahler Ninths
Rating: 5 Stars

Since all three of Bernstein's Mahler Ninths have been reviewed on Amazon as the "best," I thought I'd sit down and compare them side by side. The two commercially recorded versions are with the New York Phil. from 1965 (Sony) and a live Concertgebouw concert from 1985 (DG). the third account is a live concert with the Berlin Phil. on DG from 1979. As other reviewers have detailed, this version was released posthumously; it commemorates Bernstein's only appeaarance with the Berlin Philharmonic--I think he had stayed off Karajan's turf by mutual agreement, although no doubt there were anti-Nazi feelings as well.

Timings: Although Bernstein's tempos grew slower with age, his Mahler Ninth was never one of the faster ones. The first movement takes 28 min. in NY, speeds up to 27 min. in Berlin, then reaches 29 min. in Amsterdam. (By comparison, Abbado takes 25 min. in his recent Berlin Phil. reading on DG.) In the second movement Scherzo NY and Berlin are around 15 min. (the same as Abbado), and again the Concertgebouw performance is notably slower, 17 min. All these vresions, along with Abbado, take roughly 12 min. for the third movement Rondo-Bulreske. The biggest change in tempo occurs in the fourth movement Adagio, where NY is 23 min., Berlin 26 min., and Amsterdam a very prolonged 29+ min., compared to Abbado's 25 min. or Boulez's brisk 21 min. Bernstein always permitted himself expressive freedom, and a case can be made for all three tempos, including the agonized farewell from Amsterdam.

Sound: The NY recording never sounded all that clear or detailed on LP, but the Sony remastering is very good. It is warm in the string tone, and there is a good orchestral blend. One doesn't feel that individual mikes are highlighting various solos. The Berlin recording is bright, somewhat thin, and considerably more aggressive. The balance keeps strings and winds a bit far back, while at times the brass and percusison leap out. Through earphones one can detect a low-level buzz, but overall this is good sound if you can accept Bernstein's podium noises and some intrusive coughing in exposed soft passages. With the Amsterdam recording we are back to higher standards, but not as good as in New York; the orchestra sounds thinner and consierably more distant. The Sony remastering is a clear winner here.

Orchestras: The New York Phil. plays very well but without any particular Mahler sound, and there isn't a great deal of personality in the phrasing. The Berlin Phil. is more distinctive, alert, and quite diverse in phrasing; the string section is sweeter as well. (The Amazon reviewer who says that the orchestra learned the Mahler Ninth under Bernstein has forgotten the excellent Barbirolli recording they made for EMI in 1964, admittedly 15 years earlier. The further claim that Karajan piggy-backed on Bernstein's tutelage is silly.) The Concertgebouw sounds very fine but not distinctive; the overall feeling is mellow and not extremely detailed, but they are certainly premier in their own right. All three orchestras are, and only the sonics let down Berlin.

Interpretation: Considering that Bernstein was considered a Mahlerian firebrand, his NY Ninth struck me as a bit bland on its initial release, but now it sounds very musical and balanced. For anyone who wants Bernstein without excessive personality, emoitonal underlining, and over-dramatizing, this is the version for you. In Berlin the interpretation is more intense but still controlled; the sense of a great orchestra giving its all is palpable. There are many new insights not heard in NY, and Bernstein has found a sense of mystery and dramatic suspense that must have kept hte audience on the edge of their seats. In Amsterdam this special ambience isn't present. Despite the long drawn-out finale, Bernstein is not at an expressive extreme here. He doesn't have a hysterical approach to this work in any of his three readings, but I'd say the Concertgebouw performance comes in third, with Berlin first and NY second.

Overall, I feel drawn into Mahler's world with all three readings, yet that feeling is most intense in Berlin. In Amsterdam Bernstein sounds autumnal, a bit weary and resisgned, and in the last movement he holds on to every note of farewell for dear life. But one msut remember always that this is Bernstein--these three readings rise to a very high level of artistic expression, and if the NY and Amsterdam readings were the only two that existed, they would be in the front rank of Mahler Ninth recordings.
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