Recorded 9 November 1959 on 3-track tape at Orchestra Hall, Chicago and issued originally as RCA LSC 2438, this vivid inscription is only the third Mahler rendition we have from the baton of Fritz Reiner (1888-1963), noted for his peerless control of orchestra and chorus, and for his implacable perfectionism. Reiner has only his Mahler Fourth Symphony (RCA 67901-2) and a Pittsburgh Symphony rendering of Songs of a Wayfarer (with Carol Brice) to supplement his catalogue in this passionate repertory, while Bruckner holds no place in the Reiner canon. The work itself is Mahler’s un-numbered Ninth Symphony (1907-8), a song-symphony that traces stages of encounters with and loss of a world of beauty and pain. The poetry, The Chinese Flute by Li-Tai-Po, in a German translation by Hans Bethge, possesses a detachment and irony for the ephemeral world to which Mahler’s music reacts with something near hysteria. The tenor’s “dark is life, dark is death” from the opening song, The Drinking Song of Earth’s Woe, is no mere objective aphorism, but the stimulus to a paroxysm of horror and color, the horns ablaze, the flute flutter-tonguing an electric current of revulsion and weeping nostalgia for life. The image of an ape’s dancing on the grave might have inspired the films of Edgar Ulmer.
Besides the resplendent sound of the Chicago Symphony Orchestra in this recording, Reiner benefits from two experienced soloists, both of whom had sung Mahler together for Bruno Walter and performed independently under various conductors like Sir John Barbirolli. Maureen Forrester’s light-smoky voice may not quite equal the chthonian depths we have from Kathleen Ferrier, but she articulates an Autumn loneliness cleanly and with sincere pathos. Lewis’ contribution never disappoints; and again, while Wunderlich may be the ultimate singer of Von der Jugend, Lewis delivers a series of figures lightly, with a smiling irony behind his eyes. The orchestra sings of Nature, and a gentle breeze undergirds the pentatonic scales that dissipate into the water, as is youth’s wont. The lure of Beauty compels Forrester’s dialogue with the flute and pizzicato strings, as delicate as anything in Puccini. Trumpets, strings, tympani, and cymbals in march rhythm urge the carpe diem sentiments. Lewis makes his last impressions in another drinking-song Wine in Spring, an anguished intoxication by Dionysos and Pan. The first violin (Sidney Harth?) intones with the flute and harp to accompany Lewis’ brief attempt at the obliteration of mortal thoughts. The half-hour Farewell (Der Abschied) alternates flute, oboe, harp and contralto voice in the wistful, ineluctable leave-taking, wherein deep pools of reverie and nostalgia resonate. A spectacular, poignant reissue. [While any Mahler symphonies benefit greatly from hi-res surround – as demonstrated by the many competing SACD & DVD-A versions of his music now available – having the third center channel does produce a much wider and deeper orchestral sound stage and gives more palpable presence to the vocal soloists, even though the surround channels are silent…Ed.]
— Gary Lemco
