Valery Gergiev and the London Symphony Orchestra's recording of Mahler's Sixth is incredible. Aside from the fact that they put the Andante second, it's flawless and even that can be easily fixed by just putting it third in iTunes or whatever. The percussion in the opening movement is syncopated in such a way that it truly does feel like a march and the pace never slackens. At just under twenty two minutes, it's neither rushed nor boring.
The scherzo doesn't really have a Viennese quality to it and I suppose that Mahler purists will find it's atypical of other conductor's interpretations. But whatever. It works. Gergiev's best quality as a conductor is his ability to underscore contrasts - which is why I don't understand why they put the Andante second, but I'll get to that in a moment. This knack for shifting tempos and emphasis is what makes him so good an interpreter of Prokofiev's music and what gives his Shostakovich's Ninth an acerbic wit that is rare in a work usually dismissed as "one big scherzo." As usual, the LSO's string section sounds great in the middle section and everything is balanced perfectly. I love this scherzo because it's so hysterical in the climaxes, with horns screeching, thunderous blasts from the timpani, etc. But it's also quite humorous and playful at times, most notably in the twinkling glockenspiels and the halting pseudo-waltz and minuet. Mahler seemed to have a lot of fun with the dances of his native country, transforming traditional drinking dances into satanic whirlwinds and aside from the middle movements of the Ninth nowhere is this more evident than in this part of what is otherwise definitely
not a lighthearted symphony.
I was expecting not to like the Andante, but the only qualm I have is that they kind of rush through the cowbells. I know, I know, but I really love the goddamn cowbells, who else has cowbells in a tragic symphony? Valery Abisalovich leads the orchestra through it at about fourteen minutes, which is three or four shorter than most recordings I've heard. The only one that was around this tempo was Boulez and I didn't like it at all because it seemed like he was embarrassed and tried to avoid it sounding too sorrowful or emotional. Gergiev, however, takes the opening at just the right slow pace underscoring its wistfulness, hinting at what's to come. The sighing violins are often criticized as being too kitschy, too cliche, but I think when played right the opening gives a cohesion to the emotion found in the rest of the movement. This music never really strikes me as depressing or pathetic in the way that, say, Tchaikovsky's Sixth does; this is more like a longing for some past peace, a memory which distance transforms into an idyllic calm. The real pathos is that these memories are distorted and whatever hero Mahler had in mind when he wrote the symphony knows this basic human fault of comparing rough times to some non-existent golden era. The quick tempo of the climaxes aids in this, making the first utterance of that lilting melody in the first half seem flippant and dismissive. When it returns, much more powerful, towards the end there is all the more impact, the whole thing effortlessly and powerfully flowing towards the end of my favorite piece of music by Mahler.
This movement is the heart of the symphony and when put third it gives a brief respite between the bite of the scherzo and the unrelenting finale. Also the emotional, uncontrolled end of the movement is a perfect contrast with the grotesque clashing in the beginning of the last movement. The reason given by people who put the Scherzo third is some misguided sense of historical correctness, namely that Mahler himself played the movement third. But he was unsure and when it was first being performed it was not definitive how Mahler wanted it to be played. He toyed with the work for two years. The other reason is that the opening of the scherzo sounds similar to the first movement. This is undoubtedly true, but there are some slight differences and again, I think it still stands as a kind of contrast, however paradoxically that might sound. The first movement is a march, the scherzo is a dance and both seem to share the same origin. This becomes more clear when heard back to back. Also, when played third the transition to the finale just sounds odd.
All in all, however, I think I'll always prefer Karajan and the Berliners for this Andante, probably because I heard that recording first. Then again, I'm a dilettante, not an actual critic so take the blathering above as an exercise in descriptive solipsism.
The best part is in the finale, by far. Everything that makes this movement what influenced Alban Berg to call it "the only Sixth, Beethoven's included" is here: the offstage celesta sounds perfectly eerie, the hammer blows aren't overwrought and they make it seem like the symphony is running into a brick wall, the fucking unhinged, ceaseless attack in the sustenuto is as exciting as any piece of Romantic music you could listen to and the final full orchestral clash perfectly closes the whole thing. This is just great playing, masterfully controlled by Gergiev. He hasn't been this dead on since his
Rite of Spring, and that's saying a lot.
So buy this disc, or download it - whatever. It's the perfect introduction into what is one of the greatest symphonies written in the 20th Century.