Mahler: Symphony No. 2 [Box set]

For the specialist this disc is probably indispensable. It incorporates (apparently) the most up-to-date research into Mahler's final intentions for the symphony. Mahler was, to put it a little plainly, a right old fusspot. He larded his scores with minute directions for their expression in performance, something he did not trust other conductors with. On top of that, he kept changing his mind anyway, and the objective of this particular account is expressly to present the score as he last amended it. Taking Kaplan's claims on faith, as I am very happy to do, numerous outright errors have been corrected, and that must be an unqualified good thing from any point of view at all, although not even Kaplan claims that the differences will be very noticeable. I'm not sure whether he goes so far as to imply that the final version is necessarily the best version, (something that does not follow by any means although it may actually be the case), but whether he does or not it seems right and logical to me to reproduce as coherent a view of the composer's intentions at some particular time as can be established. As an aid to the scholar and the student, the two discs are divided into a very large number of different tracks (the third movement, not even 11 minutes long, is chopped into no fewer than 9 of them) with bar-# references, an admirable device as it gives no problems to the general listener who has no interest in so much detail.

For the general record-collector the choice is obviously determined by what other versions are available. Good as this disc is, it does not come up to my ancient (1951) version by Klemperer and the Concertgebouw with Ferrier and Jo Vincent as soloists, which still sounds very good for its age. Kaplan undoubtedly has the measure of the huge piece and there is never any danger even in the very long first and last movements that they will lose coherency, but Klemperer is simply a lot cleverer in finessing the changes of tempo so as to provide light and shade. The orchestral tone and individual playing of the Vienna Philharmonic is as accomplished as you would expect, but there is a lean, spare quality about Mahler's orchestration that sets him apart from his great contemporaries Strauss, Elgar and Ravel as well as his predecessors Tchaikovsky and Rimsky in that respect, and if this issue has a besetting fault it is a certain blandness in that matter as well as in respect of the tempo variations. In addition Nadja Michael is too low-key in Urlicht. Comparison with Ferrier is probably a bit unreasonable, but Nadja Michael could have made things easier for herself just by giving a simpler and more outgoing account of the movement, as Ferrier does. And nicely as Kaplan handles the rhythm in the second movement, he doesn't hold a candle to Klemperer there. If I had been looking for a new version, I think I would still be looking. I am grateful for the Christmas gift of this one, but at least as much for its scholarly as for its musical virtues.

Kaplan supplies a lengthy and moderately helpful liner note in a rather conventional liner-note idiom. The issue is generously spread over two cd's (85 minutes' playing time) for the price of one.

Much is made of the 'corrected' score but I doubt many could tell the difference (I couldn't). Of course the Vienna Philharmonic plays this music with evident authority, the recorded sound rich and sonorous (so important in this symphony).

If one were to use the analogy of mountain climbing Kaplan negotiates the foothills with ease, gets waylaid in a gulley or two halfway up but when he reaches the summit the view is simply magnificent. Even if you have this symphony (or half a dozen recordings of it) I would urge you to go and buy it. Very special.

The Orchestra here, the Wiener Philharmoniker, is on stunning form and every detail is present and clear. This recording is blessed with a rich and detailed bass, particularly noticeable with the bass trombone and tuba. The high trumpets and horns are clear, but not harsh; woodwind and strings are warm in tone. The whole orchestra is balanced to perfection; one could almost be sitting next to Kaplan. The offstage brass is more precisely controlled here (than 1998) and also balanced very successfully with the rest of the orchestra. The organ at the end of the symphony is also more present here; not only do the 32' pedals thunder, but the manuals are audible as well. The orchestra, choir and soloists were recorded in the Wiener Musikverein, and the organ separately in the Philharmonie, Berlin.

The chorus here is the Wiener Singverein and they sing magnificently; particularly in their first entry, where the lower notes from the basses are sung with great control. 'Urlicht' is sung by the mezzo Nadja Michael, and one cannot help but be moved by it. Soprano Latonia Moore's performance here is strong, but not spectacular (but don’t be put off).

There are numerous changes in the Critical Edition, used for the first time in this recording. Perhaps the most noticeable is a corrected chord in the Molto Pesante section of the first movement. Other changes are subtler, but overall give this reading of the symphony a different, more spiritual atmosphere. Kaplan's control of the orchestra has grown considerably over the years, and parts which felt insecure in 1998 are skilfully crafted here. His understanding of this symphony has undoubtedly grown and his direction, together with magical performances, makes this recording utterly compelling.