Levine provides very musical library style Mahler with no real disappointments yet without the greatest individual stamp. For most general listeners this is more than adequate, yet one doesn't reach the cosmic heights of Horenstein, rugged power of Klemperer or daring humanism of Walter.
Levine's Mahler is very well played and recorded; the finest performances were probably Nos 1, 4 and 7, followed by 3 and 5. I would put his seventh probably as the ideal modern sounding studio production. Only 6th and 9th disappoint somewhat as they would gain from greater intensity, but this is only relatively speaking as they are enjoyable in their own rights. His 6th is certainly the most beautiful version I have yet heard of this austere and even cruel work.
Levine's style underlines the melody and underplays the conflicts and struggle, but so stunning is the playing that it reveals occasionally completely new details in instrumentation, which is no mean feat. This applies especially to Third, but for me, when compared with a recording with comparable style, Bertini succeeds better in Ninth if a slow and somewhat detached style is premium.
If second and eighth symphony were included, this would be one of the most consistent cycles. Quite free from any idiosyncracies in good and worse, Levine's set pays repeated listening and wears well.
My review of James Levine's incomplete Mahler cycle can also be read at Amazon.co.uk by clicking the headline of this blog.
Ei kommentteja:
Lähetä kommentti