Track Listing

Disc 1:

1. 1. Allegro energico, ma non troppo. Heftig, aber markig
2. 2. Scherzo (Wuchtig)
3. 3. Andante moderato

Disc 2:

1. 4. Finale (Allegro moderato)

Product Details

• Amazon Sales Rank: #80335 in Music
• Released on: 2006-10-03
• Number of discs: 1
• Format: Hybrid SACD

Amazon.com
Mahler himself called his Sixth Symphony the "Tragic," and described it as posing "riddles" accessible only to those who had "digested" his earlier symphonies. As always, he made extensive alterations not only during rehearsals but also after the publication of the score and the 1906 premiere, producing two authentic versions; the existence of a third is in dispute. He revised the orchestration, including the number of the famous hammer strokes, and changed the sequence of the two middle movements, causing still unresolved confusion and dissention. This recording opts for the sequence of the first version and the instrumentation of the second.

Cast in four movements, the Symphony is purely orchestral and relatively traditional; however, its initial vehemence and ultimate bleak despair contrast starkly with Mahler's successful personal and professional life at the time. His wife later explained this with dubious autobiographical and symbolic interpretations involving herself, their children, even premonitions about Mahler's own health and the still undreamed of future European catastrophes. She also described it as his most personal, deeply felt work, recalling that they both wept when he first played it for her. Indeed, its emotional immediacy, its extreme mood swings--from driving violence to melting lyricism, from playfulness to bitter parody, from triumph to hopelessness--seem to mirror Mahler's mercurial, tormented personality.

The performance is austere, intense, and expansive, but never sentimental, lush, or really warm, even in the profoundly moving Andante. The climaxes soar ecstatically, the Scherzo is diabolical, the opening menacing, the trills and hammer blows terrifying. The single-movement Piano Quartet, a student work, is mostly of historical interest, thematically, harmonically and texturally so primitive that the metamorphosis to Mahler's "real" style appears quite miraculous. The orchestra's fine principals with Eschenbach as pianist do their imaginative best, adding dynamics, rubatos, drama, and excitement. --Edith Eisler

Customer Reviews

A Thrilling Ride Through the Intricacies of Mahler's 6th
Christoph Eschenbach is a master at clarifying lines some conductors find confusing in the big complex symphonies, so it is no wonder that he is able to present us with a performance of Mahler's very personal Symphony No. 6 that stands with the most solid and yet transparent. And despite recent grumblings about the Philadelphia Orchestra's regard under his direction, this recording is one of the very finest of this symphony. Eschenbach's decisions about the order of the movements (staying with the original Mahler idea of placing the Scherzo as the second movement instead of the alternative - Mahler induced - placement of the Andante as the second movement, the latter being a preference by this listener) are sound when the entire symphony is heard.

The amazing aspect of this recording is the return of the lush strings sound so long associated with the 'Philadelphia sound' and Eschenbach makes fine use of this mellow burnished tone to set off the many introductions of extraneous instruments such as the cowbells etc. The overall approach to the symphony sounds more in favor of the raw climaxes than the contemplative moments, but in the grand sweep of the work this just makes sense.

As an added bonus on this 2 CD set is the Piano Quartet Movement In A Minor which though a student work of Mahler's it none the less displays his penchant for folk lines and extended development of themes that were to mark his work in coming years. Eschenbach and members of the Orchestra give a fine performance of the work. The only problem with its inclusion is the placement after the last movement of the symphony, a time when the emotions are big, making the Quartet seem less powerful. But that is a personal view and for this listener it is, in the end, a welcome addition to the Mahler library. Grady Harp, January 07

Wow!
I would never conduct Mahler six the way Eschenbach does here. Yet, I too am totally won over by this recording. Perhaps the lion's share of the credit has to go to Philly. When Eschenbach deviates from the score - or my ideas of how the piece should go - he does so in a most unarming and convincing manner. Let me put this another way: Michael Tilson Thomas also finds new and unusual places to suddenly slow down, or do a big piece of rubato (the Alma theme). Yet, MTT's decisions strike me as being mostly thoughtless and annoying. With Eschenbach, I find myself saying, "oh, that's different, but it works". I also think that Philly is darn near ideal for this piece; more "Slavic" sounding than "Austro-Germanic". That means hefty low strings; strong low brass; solid percussion; piercing trumpets; uniformly dark sounding horns; piercing clarinets; loud bassoons, etc. And then there's that incredible violin section, which - to my ears, anyway - seems to have lost little since with their salad days with Eugene Ormandy.

As far as I'm concerned, Gramophone magazine can keep the Abbado/Berlin Mahler 6. Berlin is like an overgrown chamber orchestra with a great violin section. Philly is like a big, fat symphony orchestra with a great violin section. Choose your weapon wisely - consider the piece. Also, to be fair, the sonics are simply better here.

Great Mahler from a surprise orchestra
This is an absolutely stunning Mahler 6. Quite simply: great sound, great playing and a winning interpretation by a conductor who understands Mahler. This certainly beats recent accounts by Thomas and Abaddo. All four movements have ideal tempos, though Eschenbach is very flexible and knows where to let it breath. Although the andante is liesurely in tempo it is incredibly moving and never drags. The hammer blows in IV are like a bomb blast. Too often we have to settle for poor sound or a dull interpretation, but here we have a great American orchestra and a top recording team. Don't miss it!