Gustav Mahler (1860-1911)
Symphony No. 3 (1896)
Catriona Morison (mezzo soprano)
Prague Phiharmonic Choir, Pueri Gaudentes
Czech Philharmonic/Semyon Bychkov
rec. 2024, Dvořák Hall of the Rudolfinum, Prague, Czechia
Text and translations provided
Pentatone PTC5187363 [2 CDs: 101]
After a hiatus during 2024 when the focus was on ‘The Year of Czech Music’, Pentatone has resumed releases in the ongoing Mahler cycle from the Czech Philharmonic and Semyon Bychkov. This is the fifth instalment in the cycle. I’ve already heard and admired the previous recordings, as have others among my colleagues, especially David McDade. In order of composition – though not in order of release in this cycle – the preceding releases have been as follows: the First Symphony (review); ‘Resurrection’ Symphony (review); the Fourth Symphony (review); and the Fifth Symphony (review). Based on what I’ve experienced to date, I’ve been looking forward keenly to hearing Bychkov and the orchestra in the Third.
A number of characteristics which I’ve identified in previous releases in this cycle are once again in evidence here. One is the wonderful playing of the Czech Philharmonic, who, both collectively and individually, seem so attuned to Mahler’s music. Another is the excellence of the Pentatone engineering, which allows us to appreciate the tonal qualities of the orchestra to the full. Last, but emphatically not least, is the conducting of Semyon Bychkov. He has a thoroughly musical approach to Mahler and although some other conductors may offer more obviously intense readings of these symphonies, a Bychkov performance always seems very satisfying to me.
There’s a great deal to admire in his traversal of the huge first movement of the Third. The opening pages are strongly projected; in contrast, the lighter, more pastoral passage (from 5:51) is nicely sprung, as is the case whenever this material reappears. It’s good to see that the CPO’s principal trombonist, so crucial in this movement, is credited: Jan Perný’s first big solo (7:14) is a darkly commanding incantation. Much later, at 27:14, he’s just as impressive when the solo material is revisited in a more pensive vein. When the big Summer march gets going, Bychkov adopts a good, purposeful speed, not rushing yet imparting a touch of jauntiness to the music. He may not be as flamboyant as Leonard Bernstein is in his 1961 New York recording, and perhaps he’s a fraction more measured than Bernstein, but I greatly enjoyed Bychkov’s way with the music. Midway through the movement there’s a dreamy little episode (17:00 – 18:40); here, Bychkov gives the music a lot of space but the passage oozes atmosphere, especially during the poignant cor anglais solo. Just before the opening horn fanfare is reprised, the little side drum tattoo is delivered offstage (it seems) and the effect is excellent. From 32:56 the last three minutes or so are delivered as a joyful last statement of the big march, though I do feel Bychkov rather milks a couple of rallentandi. This is a highly impressive account of the movement.
In the following Tempo di minuetto, I noticed how sharply defined the dotted rhythms are from the strings and woodwind during the opening pages. This is typical of the fine attention to detail during the movement and, in fact, throughout the symphony. The somewhat schmaltzy string swoops sound really idiomatic. The delicacy with which the final bars are delivered is exceptional. The Scherzando third movement is taken at quite a fleet tempo; some might argue that Bychkov doesn’t quite obey Mahler’s injunction of Ohne hast but I love the life that he brings to the music. The highlight of this movement should be the extended nostalgic episodes involving the post horn. They’re certainly highlights on this occasion. The player is Walter Hofbauer; he’s excellent and his solos are ideally distanced. Just as excellent, though, is the finesse with which his colleagues support his solos. Hereabouts, Bychkov obtains playing of great distinction; note also the lovely way in which the conductor prepared the way for the first appearance of the post horn (leading up to 5:37). Sensibly, Bychkov keeps the music moving forward during the post horn episodes; yes, there’s nostalgia but there’s no sentimental wallowing. In short, the nostalgia in Mahler’s music is well achieved but without being excessively misty-eyed in the process.
The opening to the fourth movement is as hushed as I can recall hearing on disc before. This superbly controlled quiet playing is a feature of the whole movement and means that Bychkov and the musicians distil a very special, nocturnal atmosphere. Catriona Morison is an excellent soloist. She sings with fine expression and the sound of her voice is perfect for this music. The music is punctuated at times by what Gavin Plumley terms in his booklet essay “the painful cry of a nightbird”. The bird’s cry is voiced at various times by either the oboe or cor anglais and Mahler marks these plaintive two-note interjections hinaufziehen. (Wie ein Naturlaut), which might be translated as ‘pull up; like a sound of nature’. Many conductors interpret the first part of this instruction as denoting an upward glissando, an effect which, with all due respect to Mahler and to the musicians concerned, I’ve always found a bit ugly. Bychkov and his players have a different solution which sounds like an upward grace note on the second, higher note. I don’t remember hearing it done this way before but I think it’s much more satisfactory. Before leaving this movement I should also mention the CPO’s concertmaster, Jan Mráček, who contributes several very expressive violin solos, just as he did in the first movement. I think Bychkov leads a highly successful account of this evocative movement. The very brief fifth movement involves the ladies’ voices of the Prague Philharmonic Choir and the boys’ choir, Pueri gaudentes. The singing is good – once again Catriona Morison sings very well indeed; my only reservation is that the boys don’t have the cutting edge to their tone that I’ve heard on several other recordings.
Throughout this performance the playing of the Czech Philharmonic has been marvellous. However, if it were possible, I think they raise their game even more in the long, hymn-like finale. In the opening pages, the strings deliver beautiful, rapt playing; the control is outstanding. This level of accomplishment is maintained when the rest of the orchestra join in. Bychkov’s conducting brings out the solemnity in the music, but never at the expense of momentum. He controls the music expertly and his orchestra respond to his direction with playing of great refinement; in fact, I’d go so far as to describe the quality of the playing as sovereign. Eventually, the trumpet-led chorale (from 18:21) sounds like a homecoming, the principal trumpet’s tone is gently gleaming. The symphony’s conclusion is majestic, as it should be, the CPO delivering a blaze of D major in all the glory one associates with that key. It’s a memorable conclusion to a very fine performance of the Third symphony.
I don’t know for certain if the recording was made live; we’re not told that in the documentation but the inclusion in the booklet of a photo, clearly taken during the fifth movement, suggests this may be the case. If it is a live recording then the Prague audience was commendably silent throughout. The quality of the Pentatone engineering has been exemplary throughout this Mahler cycle to date and that’s definitely the case for this performance. An abundance of detail can be heard and the wide dynamic range makes the most of the CPO’s quiet playing while allowing the many loud passages to make their full impact. As before in this series, Gavin Plumley contributes a most interesting essay on the music.
This is a fine addition to Semyon Bychkov’s Mahler cycle. Anyone who is following it should certainly invest in this latest instalment. I look forward to further releases with no little anticiaption.
John Quinn
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Previous review: Simon Thompson (May 2025)
