GRAMOPHONE Review: Mahler Symphony No.5 – Tonhaller-Orchester Zürich/Järvi

Should the opening trumpet solo be more ‘Last Post’ than ‘Reveille’? I am never entirely sure – it is decidedly low-key here. But what I am sure about is that the ensuing funeral march should feel more street procession (displaying a certain modesty and restraint) than glossy hearse-carrying limousine – which is the impression I get from so many contemporary recordings of the piece, including this one. Paavo Järvi and the Tonhalle-Orchester Zurich make a handsome impression from the off but even that wild departure in the middle of the first movement comes as less of a shock than it should. Expressive, yes. Searing, no.

With the angry flip side of the first moment, the second movement (or part two of the first) you don’t need a translation of Mahler’s direction Stürmisch bewegt. Mit grösster Vehemenz to understand how unhinged this music needs to feel. Extreme discomfort. There must at very least be an underlying threat of imminent derailment. Under Järvi there is no such threat – the effect is impressively streamlined. And again that extraordinary ‘eye of the storm’ passage for solo cellos is undeniably beautiful here but listen to the inwardness that Leonard Bernstein and the Vienna Philharmonic bring to it. Other-worldly. Järvi does however go super-panavision in the big climax prophesying the close of the symphony and that really made me sit up.

There is much to enjoy in the remainder of the performance – not least the amazing scherzo where Järvi gives it all the breadth (and cut and thrust) it sometimes lacks. I love the sour oboes at 54” emphasising the cheesiness of the dance music and schmaltzy waltz to come and there is a real thrill when the first horn Ivo Gass spectacularly summons all of nature to stop and listen. The horn playing is indeed rollocking throughout.

No complaints either about the tenderly unwrapped Adagietto which should and does still convey an improvisatory feel and builds to a sonorous climax with throbbing bass line. The finale takes that material and romps playfully with it – the effect is rhythmically incisive and as ever uplifting in the fizzing coda.

The problem is that in the matter of Mahler 5 there is Bernstein and then there is the rest.