Gabriel Feltz and the Stuttgart Philharmonic have previously recorded six of Gustav Mahler's
symphonies for Dreyer-Gaido, suggesting the eventual issue of a
complete cycle. This 2019 release of the Symphony No. 2 in C minor
("Resurrection"), is likely to be a highlight of such a set, because Feltz
and his musicians have taken great pains to bring the score to life
while also observing its finest details, particularly in articulation
and dynamics, which is no mean feat. Feltz
favors brisk tempos, particularly in the violent first movement and the
sardonic Scherzo, creating moments of apocalyptic terror that perfectly
balance with the quietly elegant Andante moderato, the sublime
Wunderhorn song for mezzo-soprano, "Urlicht," and the expansive finale
with its choral setting of lines from Friedrich Gottlieb Klopstock's
ode, Die Auferstehung. To call this symphony a long stretch is perhaps
the simplest way to describe it, and only the most dedicated conductors
can make it hold together over the course of its 90-plus minutes. Feltz
takes into account the underlying unity of the work and lets it tell
its story of a hero's death and funeral rites, memories of his life, and
his ultimate resurrection on Judgment Day. On its face, the symphony is
musically quite eclectic and varied in styles, yet this performance
brings it together as a whole, so the trajectory is clear and
concentrated, unlike some older traditional performances that draw the
mystical second half out too long and deprive it of its drama.
Dreyer-Gaido has split the symphony evenly over two discs, so Mahler's
intended break between the first and second movements is a casualty,
though sticklers for historical accuracy can still hit the pause button.
Highly recommended. (Blair Sanderson)
