2020 Gramophone Awards – And The Winners Are…

This is a follow-up to the two part article I’ve written discussing some of the albums that were nominated for the 2020 Gramophone awards, that you can find here and here.

You’ll find the latest edition of the Gramophone podcast (that is usually worth a listen in any case) here a very passionate discussion of the winning albums, check it out.

Chamber: Veress & Bartok

I didn’t have time to review any chamber works of the winning category, and I truly cannot relate to the winning album, by Sandor Veress, and Bartok. So sharing this winner truly just for your information. As mentioned previously, I’m typically lost with most of the music composed in the 20th century.

Choral: Suzuki’s St Matthew Passion

Bach: St Matthew Passion Bach Collegium Japan Masaaki Suzuki BIS 2020 24/96

While I’m still struggling a bit with the slow first movement, I gave this another complete listen the other day and must admit it is a spectacular performance.

Concerto: Chopin’s concertos by Benjamin Grosvenor

As written previously, I wholeheartedly agree with this choice. I’m a huge fan of Grosvenor, and this version is up there with the very top of Zimerman and Argerich.

Contemporary: Thomas Adès Piano Concerto & Totentanz

Again, mentioning this for completeness only, you can guess if I’m struggling with 20th century music how my brain is coping with contemporary stuff.

Early Music: Gesualdo Madrigali by Les Arts Florissants

Gesualdo Madrigali Libri Primo & Secondo Les Arts Florissants Paul Agnew Harmonia Mundi 2020 24/96

While I’m really lost in the 20th and 21st century, the 16th century music is something I really admire, just don’t get to listen to it that much.

But this is an album that I’ll definitely add to my collection, as I’m a big fan of Les Arts Florissants, and Gesualdo’s madrigals are truly beautiful. Recommended.

Instrumental: Igor Levit’s Beethoven Cycle

Igor Levit Beethoven Complete Piano Sonatas Sony Classical 24/96 2019

A worthy winner. This complete cycle is insightful from no. 1 all the way to no. 32, and every classical music lover should check this out. Levit’s tempi are sometimes somewhat extreme, but never for the sake of it, always with a very clear sense of purpose.

This is probably my favorite of the entire list.

Opera: Händel’s Aggrippina – Joyce DiDonato

I had completely missed this album. My bad, just look at this lineup of fantastic baroque singers. I’ll definitely have to add this to my collection. You can really count on Erato to still produce fantastic opera recordings.

Orchestral: Weinberg Symphonies 2 & 21 – Mirga Gražinytė-Tyla ​

Here comes my 20th century music dilemma again. I’m still barely getting my feet wet with Shostakovich (and again, only occasionally), so I’m not going to add any value with my opinion here. But if you’re into it, the same album also won the “Choc de l’année” by French magazine Classica, so Gražinytė-Tyla must have done something right.

Recital: Sandrine Piau – Si j’ai aimé

Another album I had missed. It is a collection of not that well known French songs with orchestra, mostly from the late 19th century.

Sandrine Piau is a fantastic singer, and this is definitely something I’ll add to my playlist. Not a must have, but a nice discovery off the beaten track.

Solo Vocal: Janacek: The Diary Of One Who Disappeared

Unfortunately, due to Hyperion’s strict no streaming policy I have no way of checking this out beyond the snippets I can check out on Hyperion’s website. So nothing to add from my side here, just mentioning it for completeness.

So, what do you think? Were the right winners selected?

And on an unrelated note, am I silly to ignore the 20th and 21st century music?

My Reflections on the 2020 Gramophone Awards – Part II – Choral, Instrumental & Orchestral

Usually, I try to do one blog post per section (Orchestral, Piano, etc.), at least for those that I do care about. This time unfortunately my day job is keeping me quite busy and I wasn’t able to listen to all albums shortlisted by Gramophone, so this will just be a “best of” of albums from some of the nominated albums from the different categories.

Note that this is the continuation from part I that I published last week, where I had a look at the “Concerto” category. Today I’ll cover “Choral”, “Instrumental”, and “Orchestral”.

I’m following the order that Gramophone uses in their Gramophone Awards shortlist special edition.

Let’s start with the Choral section, and two recent recordings of Bach’s masterpieces.

Bach: St John’s Passion – Philippe Herreweghe – Collegium Vocale Gent (Phi 2020)

Johann Sebastian Bach: Johannes Passion Philippe Herreweghe Collegium Vocale Ghent Phi 2020 24/96

I must admit I only learned about this release from the Gramophone awards issue, although it was already released in February. What a miss! I do have already a favourite recording of the St John passion, as performed by John Butt and the Dunedin Consort, I have praised Philippe Pierlot’s excellent reading here, I also have Herreweghe’s previous version from 2001, as well as versions from Suzuki, and Gardiner (the usual suspects for great baroque vocal works).

But this new release is truly outstanding, and could potentially become my favorite, a true 5 star recording.

Bach: St Matthew Passion – Masaaki Suzuki – Bach Collegium Japan (BIS 2020)

Bach: St Matthew Passion Bach Collegium Japan Masaaki Suzuki BIS 2020 24/96

So, after the “smaller” passion, there’s also a new release of the majestic St Matthew Passion. I’ve already written about some other fantastic versions (again by the usual bunch of John Butt, one of my 25 Essential Classical Music albums, and the recent recording of John Eliot Gardiner that I was able to attend live), so it wasn’t obvious that I needed yet another version on top of the 7 or 8 others I have in my local library. But I bought it anyhow, given the recommendations by Gramophone, unfortunately without listening to it beforehand.

Don’t get me wrong, this is brilliantly performed, with excellent soloists. So why am just a bit hesitant about it? A simple fact, Suzuki starts the opening chorus “Kommt, Ihr Töchter” is just significantly slower (8:20 compared to John Butt’s 6:38), and it startles me a bit every time. It makes it even more powerful, but it just loses a tiny bit of drive. Check it out before you buy, but it clearly is among the very top performances out there.

Buxtehude: Membra Jesu Nostri – Philippe Ricercar Cosort (Mirare 2019)

Buxtehude Membra Jesu Nostri Ricercar Consort Philippe Pierlot Mirare 2019 (24/96)

I don’t know why this ended up being reviewed by Gramophone only in 2020, you’ll find my 4 star review of March 2019 here.

I really liked the album, and while I still would pick Bach over Buxtehude anytime, Buxtehude’s early baroque is growing on me. It is very much worth discovering.

Beethoven: Complete Piano Sonatas – Igor Levit (Sony 2019)

Igor Levit Beethoven Complete Piano Sonatas Sony Classical 24/96 2019

Yes, absolutely!

The more I discover Levit’s Beethoven cycle, the more I’m impressed. You’ll find my 5 star review here, but in the meantime I’ve again had the pleasure seeing Levit perform a part of the cycle live at the 2020 Lucerne festival (he played the Pathétique and Tempest among others), and have tickets for a live performance of the Hammerklavier that I’m very much looking forward to.

By the way, if you speak German, Levit has done a fantastic podcast, produced by German public radio, where he discusses in-depth every single sonata. Highly recommended.

Brahms: The Final Piano Pieces -Stephen Hough (Hyperion 2020)

Stephen Hough Brahms The Final Piano Pieces Hyperion 2020 24 96

Another album that I fully agree with, as reviewed here (5 stars). This album is all the way up there for me with Volodos and Perahia. Very much worth having.

Tchaikovsky: Symphony No. 6 – Kiril Petrenko (BPO’s own label, 2020)

Berlin Philharmonic Kirill Petrenko Tchaikovsky Symphony No. 6 24/96

Again, an album I already reviewed in 2019 and loved it (5 stars).

In fact, it is the one recording that made me reconsider whether I actually like Tchaikovsky (I’m still on the fence, but getting there).

Very much recommended.

What do you think? I’d love to hear your thoughts on the selection this year.

If you want to buy any of these albums (which I highly recommend you do), you can find the albums here (Qobuz & Hyperion):

Bach St John Passion – Herreweghe

Bach St Matthew Passion – Suzuki

Buxtehude Membra Jesu Nostri – Pierlot

Beethoven Igor Levit

Brahms Stephen Hough

My Reflections On the Classica Magazine “Chocs de l’année 2019” – part II

This is the continuation of a blog post started last weekend.

Marc-Antoine Charpentier – Histoires sacrées – Christophe Daucé – Ensemble Correspondances – Harmonia Mundi 2019

Yet another French composer that I know very little about. If like me you’ve grown up in Central Europe and have been watching television, you typically know Charpentier as the composer of the Eurovision theme, the fanfare that was played when several European countries decided to do a joint production.

This theme is actually the prelude to his Te Deum.

Beyond this, again giving away my ignorance, I barely knew anything about him. He occasionally pops up on some French baroque compilation I own, but in my entire library which really isn’t that small, I have a total of 2 albums featuring this composer.

Marc-Antoine Charpentier Histoires Sacrées Ensemble Correspondances Sébastien Daucé Harmonia Mundi 2019 24 96

Listening to this album as part of writing this blog post made it clear to me that I really missed something here. I have zero benchmark to compare the version to obviously, but Sebastien Daucé’s Ensemble Correspondances plays truly engaging early baroque vocal music, beautifully sung and played. It immediately reminded me of Monteverdi, which turns out isn’t misleading. Monteverdi’s operas clearly influenced the Versailles court and Charpentier’s composing.

Really worth checking out. No formal rating given my ignorance of the composer, but informally this is 4 stars upwards.

Antonio Vivaldi: Il Giustino – Ottavio Dantone (Naïve 2019)

Vivaldi Il Giustino Ottavio Dantone Accademia Bizantina Naive 2019 24 96 Galou Barath Gang Cangemi

Only two things to say here from my side: Dantone’s Vivaldi playing is truly fantastic, but unfortunately I can stand Vivaldi’s operas in doses of 10 min max.

So don’t expect a formal review here. But if you like Vivaldi, this is a no brainer.

Bach: 6 Partitas – Robert Levin (2019

J.S. Bach: Six partitas BWV 825-830 Robert Levin 2019

I was already confused when I saw the original review of this in Classica some months ago. I tried it again, and I just don’t get it: the interpretation is so bland and boring to my ears, I really don’t understand what Classica likes about this.

I prefer Igor Levit or Perahia any time.

Camille Pépin – Chamber Music (NoMad 2019)

Camille Pépin Chamber Music Ensemble Polygones (Nomad 2019)

I had already checked this out when I read the original review. A contemporary composer (born 1990), and female, which unfortunately is still a rarity, I was intrigued.

No formal review here, I still struggle with contemporary music, but this is not atonal, and actually quite rhythmic, so I encourage you to check this out, especially if you like e.g. the ECM New Series style.

Weinberg: Symphony No. 2 and 21 – Mirga Grazinyte-Tyla – City of Birmingham Symphony – Gidon Kremer (DG 2019)

A 20th century composer, with a young female conductor (also here we have way to few), and Gidon Kremer to top it all off, again I was interested. This album actually got huge praise by both Gramophone and Classica, and these two magazines don’t often overlap.

Mirga Grazinyte Tyla Gidon Kremer Weinberg Symphonies No. 2 & 21 City of Birmingham Symphony Orchestra Kremerata Baltica Deutsche Grammophon 2019

I checked this out several times, initially liking the tonal passages, then the music drifts into chordal progressions that just leave me confused. Which typically makes me give up to quickly. Now that I’m getting more and more (with baby steps) into Shostakovich, I may start to appreciate it more. I’ll certainly come back to this and so should you.

And keep an eye on Mirga Grazinyte-Tyla. This young Lithuanian conductor is a great talent worth watching.

Classica also recommends another Weinberg album by Gidon Kremer, also on DG; focusing on his chamber music.

Saint-Saëns: Piano Concertos 3-5 – Kantorow (x2) – Tapiola Sinfonietta (BIS 2019)

Saint Saens: Piano Concertos 3 4 5 Alexandre Kantorow Tapiola Sinfonietta BIS 2019

Sure, Classica likes French composers. Fair enough for a French classical music magazine. But actually, for Camille Saint-Saëns I truly share their enthousiasm. I must again admit my ignorance, but 2019 has been my year of discovery of his piano concertos. After the fantastic recording with Bertrand Chamayou which won a well deserved Gramophone Award, comes another outstanding recording, by French pianist Alexandre Kantorow, playing here with his father, Jean-Jacques at the baton. Kantorow is a fantastic pianist (see my review of his recent Russian album here, which also made it into my top classical albums of 2017). In short, a five star album that you should really own!

Mozart: Libertà – Raphaël Pichon

Liberta Mozart Et L'opera Raphael Pichon Pygmalion 24 96 Harmonia Mundi 2019

I’ve already shared my passion for this fantastic album in my review here. A must have.

Brahms: Clarinet Sonatas & Trio – Moraguès – Braley – Poltera (Indésens 2018)

Brahms: Clarinet Sonatas & Trio Moraguès Braley Poltéra Indesens 2019

Brahms’ chamber music for clarinet is still a part of his oeuvre that I find among the least accessible. I’ve so far only reviewed the recording of the sonatas with Lorenzo Coppola and Andreas Staier, but have never written about the clarinet trio.

This excellent album is a good occasion to change the latter, you get very nuanced and delicate playing that really helps exploring these beautiful and intimate works. Give them a try!

So, any feedback from your side? What do you think about this selection?

You can find the albums I mention above here (or in the original review):

Daucé – Charpentier

Dantone – Vivaldi

Levin – Bach

Pepin – Chamber music

Grazinyte-Tyla – Weinberg

Kantorow – Saint Saëns

Moraguès – Brahms

My Reflections On the Classica Magazine “Chocs de l’année 2019” – part I

Classica Magazine

Regular readers of my blog know that I mainly follow two classical magazines as a reference. One is the UK’s Gramophone, the other France’s Classica Magazine.

Interestingly enough, Classica really is the magazine where I have the most overlap with their reviews, for Gramphone it is a bit more hit and miss.

I’ve commented nearly every year on the Gramophone Awards nominees and winners, but I’ve never written a lot about the equivalent of Classica Magazine, the “Chocs de l’année”.

Classica has a five star rating system for all albums (although I hardly ever see 1 stars appear), but on top of the 5 stars, they also select every months the albums “Choc”, similar to Gramophone’s Editor’s Choice.

And, once per year, Classica publishes their “Chocs de l’année”, i.e the overall best albums of the year.

Let’s have a look together.

Les Chocs de l’année 2019 – Classica Magazine – Artist of the Year

First category is “L’artiste de l’année”, winner is French pianist Michel Dalberto (I can’t help but notice that while Gramophone is a bit biased towards UK artists, Gramophone has the same for their local talent.)

Two albums get a particular mention, his recent 2019 Beethoven sonata album on La Dolce Volta, as well as César Franck solo piano and chamber album on Aparte.

Beethoven Michel Dalberto Pathetique Funebre Claire de Lune Appassionata op. 111 Erato 2019
Michel Dalberto & Novus Quartet César Franck Piano works quintet Aparte 2018

I must admit I really don’t share their excitement for the Beethoven album. Sure, it’s not bad, but I’d clearly prefer others here (among recent choices, Levit, Perahia, Lewis).

The Franck album I haven’t really listened to a lot, he is one of those lesser known French composers that I just have much less experience with. But I’ll check it out more systematically in the future, and so should you.

Label of the Year

Label of the year is the French label Alpha, and here I fully agree. In 2019, the smaller dedicated labels like Alpha, Hyperion, BIS, Chandos, have just become so much more important that the old majors like DG, Sony, Decca, etc.

Among other albums they specifically mention Celine’s Frisch Well Tempered Clavier recording (my 5 star review here), and Rouvali’s Sibelius 1 (also featured in the Gramophone Award nominees).

Sibelius Symphony No. 1 En Saga Gothenburg Symphony Santtu-Matias Rouvali Alpha 2019

Brahms: Piano Quintet & Klavierstücke op. 76 – Quatuor Hermes & Geoffroy Cocteau – LaDolce Volta 2019

Brahms Geoffrey Couteau & Quatuor Hermes Piano Quintet F minor op. 34 Klavierstücke op. 76 La Dolce Volta 2019 24 96

I had already noticed this album earlier this year when I saw it got a Choc from Classica and a 5 star review from Diapason.

I have yet to fully review this album, but overall I like it quite a bit. Not sure if it is a full 5 star to me, but I promise I come back to this more formally. In any case, it is worth discovering.

François Xavier Roth

Roth gets even two mentions, with his Berlioz Harold en Italie, as well as the recent Debussy album.

Hector Berlioz Harold en Italie Les Nuits d'été Les Siècles François-Xavier Roth Tabea Zimmermann Stéphane Degout Harmonia Mundi 2019 24 96

I can’t really comment on the Berlioz, again I’m only slowly getting to know the broader French repertoire better.

But I fully agree that Roth is a great talent, and also like his Debussy album very much, which also was nominated for a Gramophone Award.

Debussy Jeux Nocturnes Francois Xavier Roth Les Siècles Harmonia Mundi 2019

David Kadouch – Révolutions

David Kadouch Révolution 24 96 2019 Mirare

Here I really can’t comment, I’ve never heard of this album nor of this pianist before. Turns out he’s French as well (did I mention there seems to be some geographical bias somewhere).

In any case, the program of this concept album (obviously around the Revolution) is quite intriguing, from Dussek (yes, I also had to google him), via Beethoven, Chopin, Liszt, Janacek, Debussy, to Rzewski. I only quickly sampled works I know well, like the Chopin Revolutionary Etude, or the Scherzo no. 1, in both cases I wasn’t blown away. But don’t take this as a proper review, and have a look.

Rachmaninov – The Piano Concertos – Trifonov – Nézét-Séguin (DG 2019)

Daniil Trifonov Yannick Nézet-Séguin The Philadelphia Orchestra Destination Rachmaninov - Departure Deutsche Grammophon 2018 24/96
Destination Rachmaninov - Arrival - Piano Concertos 1 & 3 Daniil Trifonov Yannick Nézéz-Séguin The Philadelphia Orchestra Deutsche Grammophon 2019 24 96

While I absolutely loved Trifonov’s recording of Rach 2, and was right at predicting that this would be a very controversial version, I still haven’t been able to properly review his approach to Rach 3 (sorry I typically disregard Rach 1 and 4) which was released quite recently.

Classica praises both of them, but I honestly would caution you before you buy the Rach 3 blindly. I can’t put my finger on it, but something is there that I just don’t like as much. I’d be very curious to hear your opinions. Personally, I rather stick to other versions like Leif Ove Andsnes with the LSO.

Two Gounod Operas

Gounod, yet another composer I barely know. A good friend of mine loves his Faust, but to this day, I really haven’t found my way around this composers’ work.

Let me nevertheless mention the two operas here that Classica likes, they clearly know more about French composers than I do. Both come from conductors I personally like very much, Hervé Niquet and Christophe Rousset, you probably won’t go wrong with any of these recordings.

Le Tribut de Zamora Charles Gounod Hervé Niquet Chor des Bayerischen Rundfunks Münchener Rundfunkorchester
Gounod Faust version 1859 Les Talens Lyriques Flemish Radio Choir Christophe Rousset Faust

Look out for part II of this blog post in the next days. You’ll find it here.

You can find the new albums of this blog post here (Qobuz), or in the link to the original review.

Michel Dalberto – Franck

Quatuor Hermes – Brahms

Roth – Berlioz

Kadouch – Révolution

Trifonov – Rach 3

Niquet – Gounod

Rousset – Gounod

2019 Gramophone Awards – And The Winners Are…

Gramophone has just revealed the 2019 award winners here. Let’s have a look at how my predictions turned out.

Concerto

Saint Saens Concertos 2& 5 solo piano works Bertrand Chamayou Orchestre National de France Emmanuel Krivine Erato 2019 24 96

Chamayou’s recording deserves the price. (As I predicted in my post, though my personal favourite would have been Isabelle Faust Bach album which I love).

Orchestral

Rued Langgaard Symphonies 2 & 6 Vienna Philharmonic Sakari Oramo Anu Komst Dacapo 2019

Gramophone went with the Langgaard recording, while my personal preference would have been for the Sibelius, I predicted again that this album would win (sorry for all the bragging). And it is a really interesting discovery. Not sure it will make my personal top 5 for 2019 though.

Chamber

Debussy Les trois sonates The Late Works - Isabelle Faust Alexander Melnikov, Jean-Guihen Queyras, Javier Perianes, Xavier de Maistre, Antoine Tamestit, Magali Mosnier, Tanguy de Williencourt Harmonia Mundi

So Isabelle Faust did win another award after all, just in a different category. I agree this album is very good. Here my prediction was completely off (can’t win all the time…)

Instrumental

Yuya Wang The Berlin Recital Encores Deutsche Grammophon 2019 24 96

And yes, 3/4 predictions correct! (last time bragging, promised!). In any case, Gramophone was spot on when they said (much better than I could ever have, there’s clearly an advantage to being a native speaker…) “Anyone hitherto more put off than drawn in by Yuja Wang’s glamorous image may have to do some rethinking in the light of this recital.”

So, with such a success rate, Grammophone, do you have a job for me? (Just kidding, I’m happily employed in a completely unrelated industry).

Take home for you as a reader: get the Wang & get the Chamayou. And sure, also get the Debussy while you’re at it. You won’t regret any of these purchases, I promise.

And if you disagree, just let me know in the comments (I don’t offer any money back guarantee though, that’s why we have streaming in 2019…).

My reflections on the 2019 Gramophone Awards Part II – Orchestral

This is part II of my mini-series on the 2019 Gramophone awards. I need to hurry up with my posts, as the winners will be revealed early October. You’ll find part I (concerto) here.

Orchestral

This is another section where I normally feel very much at home with.

That said, this year this comment will be quite a bit shorter as there is only one selected album that I can actually comment on.

Let me quickly start by skimming over the recordings that Gramophone selected that I won’t be writing about, as I don’t feel qualified enough or don’t know them:

The recommendations start with a box of Bernstein orchestral works played by Antonio Pappano with his Accademia Nazionale di Santa Cecilia. As much as I appreciate this conductor, I really can’t comment here as Bernstein really isn’t my cup of tea (both as a composer and conductor with few exceptions).

Bernstein the 3 symphonies Antonio Pappano

The next one is an album I should be going back to more in-depth for a review, orchestral works by Debussy played by François-Xavier Roth with his Les Siècles. As I mentioned here, I like the conductor quite a bit, and I had a very good impression when I briefly checked this album out when it was released, but then left it for quite a while given that Debussy isn’t my core repertoire (I mentioned before that the 20th century isn’t my favourite).

Debussy Jeux Nocturnes Francois Xavier Roth Les Siècles Harmonia Mundi 2019

Talking about the 20th century, the next album is also from this era, as it is Langgaard’s 2nd and 6th symphony by Sakari Oramo and the Vienna Philharmonic. I must admit I had skipped this so far, but I’m streaming it right now as I write this and will have to have a closer look, as I like what I hear. So I recommend checking it out as well.

Rued Langgaard Symphonies 2 & 6 Vienna Philharmonic Sakari Oramo Anu Komst Dacapo 2019

The next one is Ivan Fischer’s Mahler 7. Fischer’s Mahler recordings are often love it or hate it affairs (see my article here on his 9th). Personally, I like his 1st and 4th symphony recordings, even if they are a bit “middle of the road”, but his approach to the 7th doesn’t blow me away. I’d rather stick with Klemperer on this one, but don’t consider this a formal review, as I’m really no expert on the later Mahler symphonies.

Mahler symphony no. 7 Budapest Festival Orchestra Ivan Fischer Channel Classics 2019

The final album of the list is Stenhammar’s 2nd symphony with Herbert Blomstedt and the Gothenburg Symphony Orchestra. I have a huge respect for Herbert Blomstedt, but Stenhammar’s work is again really not my cup of tea. Another 20th century composition (there seems to be a pattern in this years Concerto awards category), so don’t expect me to comment here.

Stenhammar Symphony no. 2 serenade Gothenburg Symphony Orchestra Herbert Blomstedt BIS 2019

OK, so after this long rambling section talking about stuff I really don’t know much about, let me write about the only album from this list that I actually have listened to several times.

Given the pattern of the other nominated recordings it had to be either late 19th century or 20th century. This selection fits, as we’re talking about Sibelius 1st symphony, composed in 1899.

Sibelius Symphony No. 1 En Saga Gothenburg Symphony Santtu-Matias Rouvali Alpha 2019

I’ve mentioned in my review of Sibelius’ violin concerto, I still struggle really getting into Sibelius symphonic works. So this album, by young Finnish conductor Santtu-Matias Rouvali, was an eye-opener for me. Similar to Petrenko’s recording of Tchaikovsky’s Pathétique, this recording really made me more interested in Sibelius. I hope he’ll record more.

Congrats to the Gothenburg Symphony for being featured twice in this selection.

As usual, I’d love to hear what you think. Any feedback, any different opinions on the presented works?

Update Sep 19: I just noticed that in the October issue of Gramophone only 3 albums remain shortlisted: the Bernstein, the Langgaard, and the Stenhammar. My personal preference among these three would go to the Langgaard.

Update Sep 26: As I mentioned above, Mahler reviews are even more inconsistent than others. The French magazine Classica, who when in doubt I often agree with more than with Gramophone, gives the latest Fischer Mahler 7 only 3 stars, which is much closer to my opinion.

A Review of Two Recent Recordings of Mahler 1 by Vänskä and Roth

Gustav Mahler

You can easily tell that I’m still struggling a bit with Gustav Mahler by the number of posts I have done on him, so far a grand total of 1 (one!), commenting about very divergent reviews of Mahler’s 9th.

I find many of his symphonies hard to approach, too big, to complex, getting lost in the weeds. The one symphony that I semi-regularly go back to is no. 1. It is to me by far the most approachable, taking many of the beautiful melodies in the symphony directly from his own earlier the song cycle Lieder eines fahrenden Gesellen (and if you read this blog regularly you know I’m a sucker for melodies).

My first recording of Mahler 1 with retrospect is not a reference, but at least a quite decent performance, with Eliahu Inbal and the HR Radio Symphony orchestra (I mainly bought the album initially because it was a so-called audiophile recording by Denon).

SInce then, on Mahler, I’ve been through all the great classics (Klemperer, Walter, Bernstein, Kubelik), but also many new releases of this work (Fischer, Zinman, Janssons), and these days most often go back to Ivan Fischer on Channel Classics, a very nice, if a bit middle-of-the-road performance (again, VERY audiophile, it’s a fantastic test for your speakers, but you may not make friends with your neighboring appartments if you explore the full dynamic range).

So I was very curious when in the space of a couple of months two new recordings of Mahler 1 came out, both by conductors I respect a lot.

Mahler: Symphony No. 1 – François Xavier Roth – Les Siècles (Harmonia Mundi 2019)

The first one is François-Xavier Roth with his relatively recent ensemble Les Siècles, which I now very much see on track to become one of the most important French orchestras, particularly for French composers (have a look at their recent Debussy and Ravel recordings).

Gustav Mahler Titan Symphony No. 1 Hamburg Weimar 1893-1894 version Les Siècles François Xavier Roth 24/96

So I was particularly curious how they’d do with German composers like Mahler .

What’s interesting about this recording is that they use a different version, “Hamburg/Weimar 1893-1894”, turning the symphony into a “tone poem”. Well, overall, you’ll still very much recognize most of the symphony, but you’ll notice an less familiar 2nd movement sneaking in, Blumine, making the symphony 5 movements long.

Mahler: Symphony No. 1 – Osmo Vänskä – Minnesota Orchestra (BIS 2019)

Gustav Mahler Symphony No. 1 Osmo Vänskä Minnesota Orchestra BIS 2019 24/96

The even more recent new release is a conductor I’ve loved for a long time, Osmo Vänskä, who has done fantastic work with the Minnesota Orchestra. Take for example his outstanding recording of the Beethoven piano concertos 2 & 4 with Yevgeny Sudbin.

Vänskä takes the “traditional” version of the symphony with 4 movements.

Now, are any of these worth getting, you’ll ask?

Well, let me start with the Vänskä. Given how much energy and passion Vänskä typically puts into his recordings, this was a major disappointment. The entire symphony just feels very slow and uninspired. I try to stay away from too drastic words especially when we’re talking about such fantastic artists like Vänskä. But I can’t help it, this recording really isn’t for me.

Roth is already a different story. The Blumine addition already gives you something to look out for, and overall, the tone is much more energetic and joyful in the first three movements, and has the appropriate amount of drama in the fourth movement. Overall, a very satisfying performance, maybe not a new reference, but you won’t regret buying it.

Now I’m curious what you think? Am I completely off? Do you love Vänskä’s approach, and I’m just deaf? Which other versions of Mahler 1 should I check out?

My rating: 4 stars (Roth), 2 stars (Vänska)

You can find them here (Roth, Qobuz) and here (Vänskä, Qobuz)

Update Aug 16: Classicstoday seems to agree with my assessment of the Vänskä, calling it a “CD from Hell” in their recent review.

Update Sep 11: Classics is a bit less positive on Roth, giving it 3 stars.