Mahler Symphony No 4

Fischer and his brilliant Budapest band give us Mahler with the personal touch

Author: 
David Gutman
Mahler Symphony No 4

MAHLER Symphony No 4 – Fischer

  • Symphony No. 4

What no one will deny is the amazing unanimity and precision of the playing here and the superlative quality of the sound engineering. But how to read a work that can feel brittle as well as heart-warming and graceful? Despite Iván Fischer’s eminently sane and central pacing overall, he courts controversy with inconsistencies of tone between (and individualised inflexions within) the four movements.

Some maestros choose between neo-classical modernity and old-world Gemütlichkeit. Fischer gives us both and more: he gives us instability. Rather than taking his cue from the opening bars in which the jingling sleigh bells might be construed to lose their way, Fischer mixes them down, introducing his own eccentric nuance a fraction later. He permits an oasis of exquisite repose just before the movement’s final flourish yet much of the rest is unsettling. While details unearthed are revelatory – often linear, maybe functional, certainly more than merely illustrative – the quest can seem obsessive, at odds with the sense of ease indicated by the composer. Make no mistake however, the playing has character and conviction, the divided violins enhancing transparency albeit at some expense of weight and blend. Less self-regarding or at least less wilful since the idiosyncrasies are intrinsic, the Scherzo goes wonderfully well, with solo violin and clarinets in particular excelling themselves. The slow movement is just a little pale, as if Fischer were deliberately avoiding the calculated sublimity and cushioned string tone associated with big-band performances of late Beethoven. The gates of Heaven are flung open with a great blare, possibly a bit much for home listening but replicating the immediacy of the concert hall. In the finale, Fischer achieves novelty chiefly through understatement, mindful of the need to avoid coyness at all costs. Miah Persson is ideally cast and as she invokes Saint Martha at 3'56" it’s as if we’re transported to a small village church, the organ made tangible in the exquisite treatment of the accompanying instrumental texture.

This is just one of countless imaginative touches on an exceptional hybrid SACD which must surely be an Awards candidate in 2009. That said, I’m still in two minds about it. Is Mahler’s emotive force blunted by Fischer’s careful manicure? Over to you!

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