Mahler: Symphony No. 8

Rattle always maintained that his Mahler cycle wouldn't necessarily be complete. And the Eighth was the problem-child that he couldn't quite get to grips with. Now the cycle is complete and maybe those problems still show through despite, I'm sure, a lot of homework on his part. Certainly he applies all his skill and knowledge of Mahler to good effect here - but not to great effect! The pacing is good throughout, the orchestral balance allows woodwinds, harmonium, mandolin, etc. a chance to be heard, the various elements of Part 2 are held together admirably, the final pages grow impressively from extreme piano to extreme fortissimo with fine, largely well-tuned choral singing. It's a very sound performance. But I want something more than 'sound' in the Symphony of a Thousand. I want thrills, spills, excitement, ravishment and knockout punches. Take the very opening: Rattle's allegro is a good sensible speed. But it lacks the sheer energy of a Bernstein or a Solti or the grandeur of Stokowski. Veni Creator spiritus - Come, spirit of creation. The huge build-up and release as we get to the restatement of that theme at the start of the recapitulation knocks you for six under Bernstein or Horenstein - here it just feels like the beginning of the recapitulation.

Part 2 fares better, particularly the slow introduction (where, as I've said, the engineers don't get in the way). The scherzo-like sections, too, show Rattle's familiar light, rhythmic hand. The soloists, as in all Mahler Eights, are a mixed bunch from the good (Isokoski & Wilson-Johnson, for example) to the somewhat strained and trying Villars - a shame since Doctor Marianus is such an important part towards the end of the Goethe.

No, for a great performance, go historical to Stokowski or Horenstein (the latter in the vastnesses of the Albert Hall, whose tricky acoustics always seem to me to add to this work). If you need modern sound (and the Eighth does undeniably benefit), probably Tennstedt or Chailly. And, for a mixture of both, don't ignore Solti (one of the best in his series) or the irrepressible Bernstein.

Rattle's association with Mahler is a long one. At age 17 at the Royal College of Music he put together (with no help from the school) on his own a performance of Mahler's 2nd Symphony. Over nearly 20 years he has been recording the symphonies but had always said he was not sure if he would do all of them which of course has had the bean counters at EMI on edge. The recordings up to now have , like most, been a mixed bag. Like several other conductors such as Barbirolli, Rattle has avoided the 8th being quite honest in saying he could not quite figure it out as a whole. He first conducted it in 2002 and in June, 2004 returned to his old stomping grounds in Birmingham for 3 concerts of this work which EMI recorded. It is quite obvious that Rattle has over come any qualms about the work and there is no mixed bag here.

Veni, creator spiritus does not open the work but must lift it up and launch it. The hard part is keeping it aloft for the rest of the movement, something that has defeated many performances. Rattle takes it up and keeps it there through out. Like the Horenstein performance the choirs here are not a wall of sound but have detail and depth. You feel as if you could dive into it for a swim. Quite wonderful is how the children's choir at the end nicely soars out in a most heavenly manner. They are not struggling like most but are an equal part of the whole. One thing that has evolved in Rattle's Mahler is his attention to the woodwinds which are often swamped in many Mahler performances. He has also learned from several old times about the different style of woodwind playing during Mahler's time. The result is that the woodwinds are not only in their proper perspective but also have a slight pungency to the that often gives a different texture to the sound.

The orchestral opening of Part II is not merely treated as an interlude to give the choir a rest but turns into a mini tone poem. The playing is so fine here that after listening to the whole work I went back and listened to it again.
In this movement we really get to hear what a fine group of soloists Rattle has assembled. They work, as they should, as an ensemble and not against each other. By the time we get to the Chorus Mysticus you are already aware that this is a really special performance. The quiet choral build up to the finale is simply magical but Rattle saves the final trump for the orchestral ending. Too often it comes off as a wind down but here it is a soaring conclusion. The trick is that when the choir stops they sould sort send the orchestra aloft. Too often they stop and the orchestra seems to suddenly jump in to catch up. Not so here, the choir sends them off and they take the work to its grand and massive conclusion. The organ, the one often troubled child in this work, is nicely blended in neither overwhelming or being barely heard. All the forces involved are really in top form especially the children's choirs. At 74 minutes the performance is not one that meanders but keeps a fine pace without feeling rushed.Unlike many who go in to tackle this work because they feel they have to Rattle has waited until he felt he really had a grasp on it. He does and the winner is the listener who gets a splendid performance of this work

The reading is stunningly dramatic but never hurried and the soloists and choral contributions are superbly caught by EMI's engineers. I can't recall a more beautiful collection of solo contributions. Every detail is presented to us, newly minted.

Now for the niggles that mean this cannot be called the perfect Mahler Eight. For this loving, live coming-together, we are at the last denied applause with a non-live 'take' for the final two minutes. Why? More than any piece, Mahler's Eight challenges the sense in our listening at home. It demands applause, especially in a live recording. Furthermore, the join isn't quite perfect and there is an audible change in the acoustic and pulse.

Next, Rattle's kids are mainly girls here, when the piece surely demands a boys choir and the inherent naive quality that has been identified in boys' singing. In this, Rattle's EMI predecessor, Tennstedt, scores over the newcomer. Rattle's choice seems by comparison insipid. Finally, one may miss the awesome quality usually to be found in this symphony, so for that you should look, in addition to Rattle's CD, to Tennstedt (EMI) and to Horenstein (BBC Legends).

This new recording must, all-in-all, be taken as top dog.