Mahler Symphony No. 2 - “Resurrection”
Sydney Symphony Orchestra conducted by Simone Young
Deutche Gramophone 487 7484 and 7485
Reviewed by Tony Magee
Released in 2025, from live recordings at the Sydney Opera House in 2022, this 2LP gatefold issue is the first time an Australian orchestra has been recorded by the great yellow label in its 115 year history.
Presentation is very, very stylish. One is expecting great things.
And so the tonearm and stylus drop down onto the vinyl with that satisfying plop through the speakers.
Mahler based the first movement of the symphony (Andante moderato) on his symphonic poem Todtenfeier, composed in 1888.
He also had drafted a third and fourth movement during 1891 to 1894. Then followed a period of stagnation.
But inspiration comes from strange places.
Later in 1894, Hans von Bülow died and Mahler attended the funeral in Hamburg. The choir sang a setting of the ode The Resurrection by the religious poet Friedrich Klopstock.
Mahler recalled, “Everything was revealed plain and clear to my soul in a flash”. Klopstock’s poem provided the basis for the choral finale he was considering, which would fulfil the work musically.
The first movement opens with a dramatic gesture, somewhat reminiscent of the storm sequence in Wagner’s Die Walküre, continuing with more and more themes, all centred around C minor. One such theme is recalled in the Finale, depicting the resurrection of the dead. It is long and complex, containing an enormous range of tonal colours, made possible by the huge orchestra required, including a vastly expanded brass section.
Simone Young’s realisation of this first movement is reserved at first. Rather than a dramatic gesture, there is a sense of understated intrigue. A valid interpretation, although one that I have heard done so much more convincingly on another recording. More on that later.
Splashes of crescendo chords increase the intensity, before a short cantabile melody takes them over.
The main entrance motif returns.
Young and the orchestra bring a sense of drama and urgency as the piece continues, before dissolving into sustained pianissimo passages. The woodwind section shines forth at times, before the brass and strings fire back with more drama and intrigue.
More storm sequences follow and are very well executed by Young and the orchestra. It’s quite scary.
Again the opening motifs are repeated, this time in a different key. The brass section bursts forth with triumphant fanfares.
The SSO then deliver another well executed sequence of storm passages with fury.
Once again the opening motifs are stated, this time with playing much more aligned with what are stated as Mahler’s intention - a dramatic gesture.
As the first movement progresses, Young’s interpretation builds considerably.
How to follow this massive opening movement presented a problem for Mahler, one he eventually solved by insisting on a long and sustained pause before beginning the second movement which is short and rather light weight by contrast, and a remembrance of happy times in the life of the deceased.
On this recording, the listener can make this happen, as the second Andante moderato movement begins on side two.
Beginning gently and reflectively, Young urges the orchestra to continue with passages of happiness, as Mahler intended.
The third Scherzo movement begins ominously with tympani before the orchestra joins with dramatic passages. It is also short, representing a view of life as meaningless activity.
The fourth movement, Ulrich, is a wish for release from life without meaning. Wagnerian passages abound.
The 17 section Finale, at first recalling the questions of the first movement and the doubts of the third, ends with a fervent hope for everlasting, transcendent renewal.
Mahler introduces the soprano and alto soloists here - Nicole Car and Deborah Humble on this recording - joined by the Sydney Philharmonia Choirs. Young builds and builds the intensity with massive fortes and sensational triumphant passages. It’s really wonderful stuff and brings forth the sense of hope and renewal. A choral finale like no other.
Otto Klemperer’s recording on EMI from 1963 is perhaps the most definitive version of this great work and one that I keep coming back to as my benchmark.
Right from the opening motifs, his is is a bold and majestic performance of great drama and intrigue. In addition, the EMI Engineers have captured the orchestra with incredible clarity, something that this new recording on Deutche Gramophone lacks in places.
Both recordings share a convincing stereo sound stage.
The Resurrection Symphony was first performed in its entirety in 1895, with Mahler himself conducting. It established him as a major European composer.