Gustav Mahler (1860–1911)
Symphony No. 2 Resurrection (1894)
Benita Valente (soprano), Maureen Forrester (contralto)
The Ardwyn Singers, BBC Welsh Chorus, Cardiff Polyphonic Choir, The Dyfed Choir
London Symphony Orchestra & Chorus/Gilbert Kaplan
rec. July 1987, St David’s Hall, Cardiff, Wales (bells rec. Harkness Tower & organ rec. Woolsey Hall, Yale University, New Haven, USA)
German text & English translation
Conifer Classics 75605 51337 2 [2 CDs: 83]

Rich publishing entrepreneur and amateur conductor Gilbert Kaplan’s monomania led him to perform this symphony uniquely – in both senses of the word – over a hundred times, from memory, without accepting a fee. He made two studio recordings of it, of which this is the earlier (although there was also a third recording with, weirdly, a chamber orchestra, tepidly received here by my colleague David R Dunsmore). It is the only work he ever conducted, with the exception of a studio recording of the Adagietto from Maher’s Fifth.

Responses from critics, audiences and the musicians themselves involved were very mixed, mostly agreeing on the unobjectionable, matter-of-fact and generally uninspiring nature of his accounts; apart from a brief and qualified but generally approving reference in Tony Duggan’s survey, this has not been reviewed on this site, so I approached it – as ever, I hope – with an open mind and a fair degree of curiosity, never having heard either recording.

First impressions are very good: we may note the delicacy and sensitivity of Kaplan’s use of dynamics and pauses but there is no lack of power or impact in the opening tremolo statement and its reprises. Details which might have escaped previous conductors or listeners such as the haunting, underlying col legno figure towards the end of the “Sehr getragen” section of the massive first movement (track 10) are scrupulously brought out. Is it all rather too calculated and careful? Maybe, but it is faithful to the score and permits the music to deliver. I imagine Kaplan’s beat and cueing were aided by the professionalism of the LSO but that is no criticism. Despite the drama of its narrative, the prevailing mood of the movement comes across to me as more serene and less frantic than many a reading I know and it is none the worse for that – just different – and the coda is still majestic and monitory – but the final descending figure is decidedly too limp.

With regard to Mahler’s instruction for a five minute pause between the first two movements, the CD break permits listeners to decide the gap for themselves. The second movement dances elegantly then scampers through the quasi-fugue before relapsing and relaxing back into the waltz; Kaplan judges the tempi and transitions adroitly; it all sounds right.

Kaplan and the LSO handle the twisting, sinuous lines of the third movement fluidly, building the hysteria towards the famous “death shriek” – the precursor, perhaps, to the overlaid nine-tone chords of screaming despair in the Ninth? – and the concluding tam-tam is nicely prominent.

Veteran Canadian contralto Maureen Forrester intones “O Röschen” very slowly and feelingly, with lovely brass, woodwind and solo violin accompaniments, making a reposeful, otherworldly interlude before the violent return of the scream opening the finale. The “Caller in the desert” horn call is ideally distanced in the aural landscape and the delicacy of the pizzicati are seductive. Again, the trombone and brass playing in the Resurrection theme is wonderfully soft and round-toned – no blare, no blip no blatt. The percussion crescendo leading to the yawning of the graves is deftly handled and the march is infused with real energy. The sonic placement and perspective of “Great Call” is again perfect and the way the choirs’ ppp “Aufersteh’n” creeps in is magical. Soprano Benita Valente is effortlessly creamy-voiced, soaring over the chorus. The peroration is magnificent and the dubbed over bells and organ are cherries on the cake.

The booklet provides an anonymous guide to the music – by Kaplan himself, perhaps? – linked to Mahler’s own programme commentary, each movement broken down into tracks according to the composer’s markings, which is useful for following its development, plus the German texts with English translations .

Ralph Moore

Buying this recording via a link below generates revenue for MWI, which helps the site remain free