MAHLER: SYMPHONY NO. 7, Budapest Festival Orchestra, Iván Fischer/Channel Classics CCSA 38019 SACD  This magnificent recording of Mahler’s 7th Symphony from Channel Classics is announced as the final release in the survey of the composer’s symphonies undertaken by Iván Fischer and his superb Budapest Festival Orchestra that began almost 14 years ago. As co-founder of the Budapest Festival Orchestra and founder of the Hungarian Mahler Society, Fischer’s Mahlerian credentials are impeccable, and it was clear with the first release of the 6th Symphony in 2005 that this was going to be a thrilling series of recordings. Each subsequent issue has conclusively proved that to be the case. While other conductors have begun and completed Mahler cycles – usually under live conditions – the long gestation period adopted by Fischer has had the inestimable benefit of allowing, through meticulous preparation, conductor and orchestra to hone their interpretation of each symphony before committing it to disc. During the recording of the Symphony the Dutch TV company VPRO made a film entitled:
‘Iván Fischer and the eclectic Mahler (recording the 7th symphony)’ that is available on You Tube. https://www.youtube.com/watch?v=uQs5mlTs4Vw. Those contemplating adding this recording to their libraries should make this film obligatory viewing; not just for the valuable insights Fischer provides in documenting his conception and approach to this piece, but also for allowing one the opportunity to observe the heart-warming close collaborative relationship and genuine respect shown by the musicians to their Music Director. From the opening bars of the 1st movement it is clear that we are to be guided though this ‘darkness to light’ symphony by capable hands. The initial tempo is perfectly judged with a tenor horn solo that is firm and forthright. The march that follows is trenchant while Fischer’s transition into Mahler’s wonderful lyrical second subject allows the BFO strings to swoon and soar rhapsodically.
The movement’s striking central section (from 8.50) with its soft trumpet fanfares and woodwind cries is performed with all the fantasy and imagination one could wish for and delineated by orchestral playing of the utmost sensitivity.
The same is true of both Nachtmusik movements where one can relish the contribution of individual soloists within the orchestra – the horns and woodwind in Nachtmusik I and the violin, mandolin and guitar solos in Nachtmusik II. Once again Fischer’s tempi seem ideal for these eloquent and, in the case of II, seductive accounts of these subtle interludes. The central Scherzo, placed between the two Nachtmusiks, is marked Schattenhaft (shadowy) and with Fischer and his players making the most of the composer’s often grotesque orchestral effects its sinister and eerie quality is chillingly conveyed. In the liner notes (referring to the film mentioned above) Fischer writes: “It documents my efforts in proving that the last movement of Mahler’s seventh symphony – despite some doubts of Mahler experts – is a masterpiece”. Few will disagree, having listened to this performance, that he has achieved his aim. From the opening pounding timpani and brass fanfares, the joyous exuberance of this vigorously contrapuntal finale is captured with playing of breathtaking virtuosity and elan. Fischer and his marvellous musicians chart their course through this multifaceted movement with complete assurance in a manner that would surely convince any sceptic of its worth.
One need hardly mention that the experienced engineering team of Jared Sacks and Hein Dekker have worked their usual magic in the Palace of Arts, Budapest and achieved an outstandingly realistic recording. The sound is miraculously detailed yet possesses a remarkable tonal warmth and coherence that places it above most of the considerable competition available in high resolution versions of this work.
So what about a recording Mahler’s 8th Symphony from these artists? It is unlikely that this will be undertaken, and not just because of both the cost and logistics involved. When Channel records with the Budapest Festival Orchestra the ‘studio’ sessions are planned for a period following one of the orchestra’s 4-6 weeks tours. It is of course possible that a one-off concert performance will eventually appear but that is not what Maestro Fischer is trying to achieve with making recordings. The good news is that these artists have recorded ‘Das Lied von der Erde’ for release next year.
In the meantime, the present issue deserves the highest recommendation for both performance and sound quality. There can be little doubt that, for many, it will be the top choice for a recording of this symphony.

MAHLER: SONG CYCLES, Alice Coote, Netherlands Philharmonic Orchestra,Marc Albrecht/PENTATONE PTC 5186 576 SACD  Alice Coote is well established as one of the finest mezzo-sopranos of her generation and her performances in both opera and in the concert hall have garnered considerable acclaim over a number of years. On this beautifully recorded SACD she follows up her ineffably moving performance of Mahler’s ‘Das Lied von der Erde’ with equally compelling accounts of the composer’s three other major song collections – the Lieder eines fahrenden Gesellen, Kindertotenlieder and the five Rückert-Lieder. Coote’s singing in all three of these collections displays a depth of emotional intensity combined with an understanding of the texts that is matched by very few singers around today and just a handful of distinguished artists from the past who have committed these works to disc. The latter, amongst female interpreters, naturally include Christa Ludwig, Janet Baker and Brigitte Fassbaender. What though makes these performances so special is the way in which Coote inhabits every verse of these poems and unfailingly communicates her complete empathy with them. In vocal terms her ability to pare her voice down to a whisper without losing any lack of control or steadiness and the sheer beauty of tone of which she is capable is something to be marvelled at. In the Rückert-Lieder she has chosen to reverse the usual order of the first two songs – an unusual but perfectly valid decision – and in each of the five her nuanced vocal colouring is remarkable, whether using her rich and powerful chest register as in ‘Um Mitternacht’ or delivering one of the most beautiful and intimate accounts of ‘Ich bin der Welt abhanden gekommen’ that I have ever heard. The same expressive qualities permeate the ‘Kindertotenlieder’ in which her deep response to the heart-rending sadness of these song is imparted most movingly. Given singing and interpretations as individual as these, opinions are bound to be divided, but for Mahler aficionados Coote’s enthralling readings of the composer’s deeply personal song-cycles should on no account be missed. In the face of such poignant and occasional rawness in her vocalisation some might prefer the immaculately sung but less emotionally searing performances by Katarina Karnéus on BIS while to others the latter might seem almost bland in comparison with Coote.

In Marc Albrecht and the Netherlands Philharmonic Orchestra she has found ideally sympathetic partners, and they accompany Coote with the utmost sensitivity. In all three cycles, in terms of both tempi and control of dynamics, the singer and orchestra are in complete accord whilst Albrecht has elicited playing of great refinement, delicacy and where appropriate – as in the third of the Wayfarer songs – considerable dynamism from his orchestra. The recording team have achieved a most lovely luminous orchestral sound in the sympathetic acoustic of the NedPhO-Koepel, Amsterdam where the recordings took place (Lieder eines fahrenden Gesellen in November 2015 the remainder in June 2016). The beautifully turned wind solos, harp and timpani are a delight to the ear and are captured with breathtaking fidelity typical of the excellent Polyhymnia recording team in their finest DSD productions. Rather than a double page photograph of the orchestra and a list of its personnel in the liner notes I would have preferred to have the text and translations of the songs; fortunately though these are available on-line from many sources, so this regrettable omission should not deter anyone from investigating this superb release. Highly recommended.