Gustav Mahler (1860-1911)
Symphony No. 10 (1911) (second version by Deryck Cooke)
Orchestre Métropolitain/Yannick Nézet-Séguin
rec. live, 4 October 2014, La Maison symphonique in Montréal, Québec, Canada
ATMA Classique ACD22711 [79]
Recorded in excellent sound with few or no extraneous noises despite being live, this is one of the few non-studio recordings of this symphony I have reviewed – but that should be no barrier, given that one of the top recommendations is the live-composite recording by Rattle with the BPO and modern engineering so often serves live performances so well.
The opening pace here is grand and broad, yet the playing is lean and spectral, without too much vibrato, then when the orchestra starts to lean into the Big Tune at 4:40 we hear a new warmth and Romantic indulgence, the brass really opening out. The problem is that Nézet-Séguin’s relaxed, easy-going manner is insufficiently varied and we never experience the kind of contrasting fire and anguish which distinguishes the best versions. The clarity of exposition and translucence of instrumental sounds emphasise the intimacy of the score but we may seek in vain for visceral excitement; hence, the nine-note-chord outburst is relatively tame and there is no goose-bump factor – it’s just suddenly loud and muddy – and what should be the glowing coda is something of a non-event, owing to a lack of poise, delicacy and even unanimity further compromises what should be one of the most arresting passages – especially as despite my observation above about few intrusive sounds there is a distracting squeak and a plunk at 23:39.
The first scherzo is taken briskly, even breathlessly; I would like a little more deliberate pounding to bring out its peasant crudity but I like the naïve, ostensibly straightforward delivery of the Purgatorio movement which features some deep, dark, menacing bass sonority. The second scherzo is fine without being especially striking.
The drum-strokes closing that scherzo and opening the finale are too loud and close for my taste but the manner of their execution is invariably debatable so not a sticking point. I do not find the flute solo to be as haunting or affecting as others; it is very restrained of tone and I like something a little more voluptuous and redolent of the pain of lost love and past regret.
You will have gathered that I do not think this is a front-runner unless you favour a tamer, calmer Mahler Tenth. It is by no means “bad” but for me it does not feel as if Nézet-Séguin is under the skin of this music and this performance weaves little magic.
Ralph Moore
Other review: Dominy Clements
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