Теги: Раскин, селл, Малер

Gustav MAHLER
Symphony No.4 G-dur
Cleveland Orch. / George SZELL
Judith RASKIN  soprano
Rec. 1965

Эта запись у меня лет 25, если не больше. Выпущена каким-то захудалым лэйблом, без буклета и без указания года записи. Переслушивая ее после долгого перерыва, зашел на Погружение - хотел узнать год записи. К моему удивлению оказалось, что этой записи тут нет. Год узнал в другом месте, заодно прочел рецензию на это исполнение, с которой в целом согласен, а в особенности с тем, что медленная часть здесь - шедевр.

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The Szell recording with the Cleveland Orchestra (Sony SBK 46535) has never been out of the catalogue since its release in the 1960s and such is its reputation it's traditional for Mahlerians to genuflect (преклонить колени)  every time discussion of the Fourth comes up. One almost has the feeling that criticism of it is not to be countenanced under any circumstances. The first movement presents a nicely median tempo with some magical playing from an orchestra that was, at the time, arguably the finest in the world. There is great poise and refinement too, but maybe a degree of polish that means we cannot penetrate quite as deep beneath the surface as we would like. Szell's concentration on refinement has always rather blunted the first movement climax for me and always seems to confirm that, great though this recording certainly is, it's an example of what might best be described as "controlled risk" conducting. The feeling that Szell is prepared to go so far with character and expression but not too far that perfection of playing are compromised even the cost of the music's deeper meaning. Consider the recording alone and this is not a problem. I know many who swear by this recording. But I have to report that in close comparison with those already dealt with I find myself yearning for more depth. In the second movement there is again a wonderful attention to tonal beauty but I wonder whether Szell is really aware of what the music really means, or whether he is just giving a very good impression that he does. No praise can be too high for that playing, though. Myron Bloom's horn is magnificent. But the sourness and grotesques written into the woodwind, which Kubelik and Horenstein and others bring out to a greater degree, don't make as great a point. Certainly Szell's account of the slow movement is deeply moving. I am aware many will find my slightly negative feelings towards the Szell recording disappointing, shocking even, but I would not be honest if I didn't report them. The recording should have, and fully deserves, its place among the greatest and that is why I mention it here and by doing so recommend it to you. It's just that I think others penetrate the piece more than Szell does. One authority once went on record as saying he believed Szell to be "no Mahlerian". I have heard "live" recordings of Szell in Mahler's Sixth, Ninth and Das Lied Von der Erde, and count them among the best I have ever heard. His Mahler repertoire was small but so was Klemperer's.               Автор - Tony Duggan

Источник:  http://www.musicweb-international.com/Mahler/Mahler4.htm