Gustav Mahler (1860-1911) wrote the Fifth Symphony at his lakeside studio in Maiernigg largely during the summers of 1902 and 1903, starting very shortly after he had married Alma Schindler. The work went through much revision during the remaining eight years of Mahler’s life, writing in 1911 shortly before his death “I have finished the Fifth; in fact it had to be completely re-orchestrated.”
Karl Weigl has said the work is about “the joyful love of life” and this seems odd to square with the Trauermarsch first movement, a movement which hovers between the sadness of the funeral, much lighter feeling episodes, and whirling passion. David Zinman plays all this with a clear eye, clear to treat the movement as a whole and with a clear view of the whole piece and its long lines. The second movement moves stormily and with greatest vehemence, and towards the end the chorale – which figures more prominently later – makes its first appearance. The Zurich Tonhalle Orchestra play with plenty of weight where needed, and with energy; they may not have as clear cut a personality as the VPO, BPO or LSO to name but three other European orchestras, but the playing is for the most part immaculate, and certainly committed.
The middle section of the symphony is a sizeable scherzo, with dancing rhythms lightly pointed by Zinman, hunting horns and exuberant love of life all part of the picture. The third section of the symphony consists of the last two movements. The Adagietto, Mahler’s Siegfried Idyll in that it expresses the love for a wife, is taken not too slowly at well under 11 minutes, illuminating the freshness of Zinman’s conception for the work.
The rondo-finale is Mahler at his most optimistic, like an evening at a fairground with its mixture of sounds competing with one another for our attention. After some energizing fugal writing the glorious chorale returns, surely one of the most uplifting moments in music. Again, Zinman and the orchestra play with freshness and power. Those who prefer Mahler not be to overdone and covered with a rich sauce will find plenty to enjoy in Zinman’s clarity of vision. I must say this performance has moments where time stood still for me; as Karajan said: “You forget that time has passed. A great performance of the Fifth is a transforming experience. The fantastic finale almost forces you to hold your breath.” This one comes close!
The booklet has an excellent essay and analysis by Thomas Meyer, a model of information with clarity. Simon Eadon’s recording on SACD is superb, with a wonderful sense of space and depth, yet with great clarity. This latest issue in Zinman’s cycle is especially recommended for those who relish the clear air he brings to the performance; the next instalment has been announced for issue soon and is greatly anticipated. [And it’s great to have a rare SACD release from RCA/BMG, since it appears there may be no more of the 3-channel Living Stereo series… Ed.]
— Peter Joelson
