Cheap Mahler: Symphony No.5 (Music) (Gustav Mahler, Riccardo Chailly) Price

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Customer Reviews of Mahler: Symphony No.5

One of the greatest Mahler Fifths ever
In recent years, it seems that every conductor wants to prove his mettle by tackling one or more Mahler symphonies, and the Fifth is definitely in the "Needs Expert Guidance" category. If nothing else, the piece (like much of Mahler) is just too difficult for some ensembles to tackle. Riccardo Chailly has been chalking up a complete Mahler cycle over the past decade, with impressive results, and this recording, from the mid-1990's, is one of the finest in the whole series. If Chailly's interpretation is sunnier than most, this symphony lends itself to a more optimistic outlook. It begins with one of the most famous trumpet calls in symphonic literature, a sober but glorious solo that catches a listener's ear immediately when done well -- and here it is done *very* well.

The rest of the recording is just sensational, with this terrific orchestra negotiating Mahler's extreme demands with a casual virtuosity that I find irresistible. If interpretively speaking, some find Chailly on the "non-neurotic" side, I can't disagree, but then, there are many ways to play this symphony (as well as all the others). Chailly might be faulted for erring on the side of presenting the Fifth as an orchestral showpiece, but to be fair, it *is* one! The famous "Adagietto" is done in an admirably straightforward way, letting the sentiment speak for itself without too much embellishment. If, for example, you like Bernstein's over-emotional reading of this (and I like his, too), you may not warm up to Chailly's somewhat cooler, more flowing version. But again, the emotion is in the score, and it's not necessary to "add" or "find" more -- it's all in there.

The last movement is just a knockout, in terms of the playing and sound quality. From the gorgeous strings, to the ringing brasses, to the liquid woodwinds, to the Concertgebouw's fabulous percussion section -- everyone appears to be having a great time with this piece. In sheer sonic terms, this recording is easily one of the most spectacular you could ask for. Decca has captured every nuance of this performance, and the clarity and sheen of tone are just astonishing. Certainly those with high-end sound systems will surely replay the final few minutes again and again.

Again, Chailly's somewhat "neutral" reading of this may not satisfy those looking for the heights of angst, but nevertheless, this disc satisfies in a way that few do.

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Overrated
There are some good things about this recording, such as the unique sound of the orchestra and Chailly's fairly direct approach to the piece. Unfortunately, there is a great deal of 'loose' playing in this performance. You would think it was recorded live, considering the number of late entrances and overall lack of togetherness. The trombones drag noticeably at times, particularly in the second movement. To my ear, the recording quality itself is not the best, either -- too bright in the upper registers and muddy in lower frequency response.

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Pretty stunning
Funny how people can disagree -- I thought the Adagietto was the only "disappointment" with this recording (so "only" 4 stars). A little lacking in tension, a little too relaxed and easygoing.

Still, it's the most beautifully played, paced and recorded fifth movement I've heard. Incredible detail; if you've got a high-end stereo you'll probably reach for this recording to show off your stuff. The imaging, spaciousness, presence and dynamic range leave little to be desired. It's worth buying to hear the arrival of the chorale after a perfect buildup. The nobly descending trombone line and yelping horns, the timpani resonating ten feet beneath the floor, and the melting, devotional way the brass players sing the chorale -- goosebump material. The *huge* burst of the chorale tune's second phrase, the most effective I've ever heard on CD. It wants to take the roof off my house each time I play it. The breakneck final bars will take your breath away, again with a one-two punch of splendid detail and overwhelming power.

BTW, mvts. 1-3 are equally satisfying...A memorable scherzo, just right in the soft moments, with the wonderful acoustic atmosphere of the Concertgebouw clearly captured. You can sense Chailly really working to sustain tension in mvt. 2, where the accents and dynamic contrasts are played to the hilt. The funeral march is at exactly the right tempo, and rightly sounds here like the single most "Mahlerian" movement of all.

The Amsterdam Concertgebouw is one of the few orchestras (Vienna also) still to enjoy a sound all their own. In a world becoming increasingly homogeneous, this is something to treasure.