Sym, 3, : Stenz / Gurzenich O Schuster(S)

Unlike his Mahler Fourth, Stenz’s newest Mahler recording is a rather straightforward performance that emphasizes the architecture and formality of this most gigantic, ambitious of all works by the composer. I liked the first two middle movements and Finale very much, but had a mild reservation about I. and IV. In the opening of the symphony much of Stenz’s interpretation is unaffected and didn’t seem to hold much of my breath. Likewise, alto Schuster’s contribution is somewhat undistinguished and earthbound compared to say, Marilyn Horne in James Levine’s RCA rendition. On the other hand, the 2nd movt is terrific as are the Scherzo and the Finale. Here, not only the playing is of the highest order, Stenz’s focus on articulating many rhythmic and dynamic contrasts pays off very nicely. Clocking under 22 min. Stenz’s Adagio is one of the shortest on record and yet not a single bar sounds rushed under his baton. The symphony culminates in a stunningly grandiose fashion as it should. Well done! Going back to Part I., I suspected the problem is partly due to the engineering which puts the orchestra in steely, hard sounding acoustics without much warmth and ambiance： the mid to high frequency range is excellent but the bass is wanting, although there is plenty of dynamic range whenever it is called for, e.g., the coda. Having said this, there no hint of digital glare or shrillness we often encountered in the early digital era. More importantly, when I increased the volume the sound came into a tighter focus and provided much ambiance. So, turn the volume up, way up! How to sum up? Overall, I admire Stenz’s firm grasp of this gigantic symphony and I can understand his decision to scale down the first movt. a bit so that it fits better with Part II. Perhaps this recording will wear better upon repeated hearings. By all accounts then, this is an excellent Mahler Third. We’re spoiled with many good versions including Bernstein (Sony ＆ DG), Levine, Haitink (Amsterdam), Ozawa, Honeck, and now Stenz. I am sure I will certainly revisit the disc again and again.

２番が先に出たが、録音はこちらの方が早く、2010年7月に収録されたもの。やや速めのテンポで、普段は｢埋もれ｣気味の声部もガンガン自己主張する攻撃的で、表出力の強い演奏。第1楽章の末尾、終楽章のクライマックスなど、ここぞという所ではかなり思い切ったテンポの伸縮もある。｢田園｣交響曲的なイメージを持っている人には違和感があるかもしれないが、実は３番は書法としてはマーラー屈指の前衛的な作品なので(特に第1楽章)、こういう行き方も悪くない(個人的にはティルソン・トーマスやホーネックのような、より精緻で構えの大きい演奏の方が好みだけど)。動的な熱いタイプの演奏ではあるが、インバル/都響やフェルツのような粗さがないのはいいし、オケもなかなか精度が高い。シュースターもまるでオルトルートかヴェーヌスのような性格的、オペラティックな歌いぶりで｢地母神的｣なイメージとは違う。