Tennstedt, a life for Mahler

An interpretation should be judged on its merits alone audible. Yet it is hard not to put this together in a professional and personal context: Klaus Tennstedt had to abandon in 1987 its director of the orchestra functions London Philharmonic because of cancer that should prevail in 1998. At this concert of 20 February 1989 given to the Royal Festival Hall, he found the orchestra he loved, and who loved him, in the music of the composer who was dear to him of all people, Gustav Mahler. It was for his public, his musicians, a real event, not an evening more. The work program, the Resurrection Symphony, speaks of death, of life, of human destiny, hope in what it has unreasonable. I think it is not necessary to say more about the circumstances, if only listening the emotional charge of this execution is palpable.

On paper, nearly 25 generous minutes to the first movement, with gaps between tempi really pushed very far, it is not very reasonable. Yet listening, the result is not histrionic, it is never "you heard it slowed as it was expressive? "It's just the way the leader understands the score, how he wants to serve, taking his time to the moments of contemplation and lyricism. Klemperer in concert (with the orchestra of the Bavarian Radio, Emi) and also Steinberg in concert (the other big recent reissue) are more lightning and energetic, but Tennstedt, this also holds.

The second movement, too moderate, is completely disarming in its Viennese nostalgia. A will is often directed in such a delightfully sentimental way for decades, until a form of gentle provocation?

The start of the scherzo is not especially memorable, and then the movie comes gradually, it starts to undulate, twirl, fizz ... and the listener jubilant.

If Urlicht does not disappoint, as it says in the instructions critic Richard Morrison is probably (the second movement) which completes the finale to the concert very, very above all comers: the listener is taken by the hand, surrounded from the start of a mysterious and fascinating world of sound. There is no tunnel. Listen to 7'09 brass chorale. Listen also how Tennstedt is able to direct the moments when the orchestra plays at full power keeping them all their nobility, without ever this sounds like a riot of free sound effects. End of the journey, the choir section really touches the sublime, from the beginning, a few whispered with seriousness and conviction. In the gradation of the last pages, the head gets everything he wants, everyone gives everything he has: the soprano Yvonne Kenny and Jard van Nes mezzo ideally combine their voice, completely swept away by them and by the occasion.

Once again, glory to the London Philharmonic, the colors are perfectly suitable for this music, a band much more interested in what he plays, too often, the most famous formations. The sound is very satisfactory overall, with a few minor less audible (for the effect of backstage brass in the finale, there are better).

This concert confirmed that Tennstedt was able to do as things heard a thousand times sounding like the first day. With its small momentary drops regime, and its bias which can be more or less sensitive and that Beckmesser can discuss at leisure, it unquestionably brand. Like other Chief of Mahler concerts (especially those of the Sixth and Eighth, on the same label) it invites to remember it with much affection as admiration.