Mahler: 4 Movements

Even though Gustav Mahler's symphonic works are well-established, there are still a few loose ends that occasionally cause confusion for fans who haven't yet learned every hermetic detail of this vast oeuvre. To the extent that any CD can shine a light on problems of scholarship, Mahler: 4 Movements at least makes clear where some of the difficulties lie. Paavo Järvi's 2009 release on Virgin features the tone poem Totenfeier, the complete Adagio of the unfinished Symphony No. 10, the discarded Blumine movement that was originally intended for the Symphony No. 1, and what feels like a bonus selection, Benjamin Britten's arrangement of the second movement of the Symphony No. 3, "What the Wild Flowers Tell Me." Essentially, Totenfeier is the first version of what eventually became the opening movement of the Symphony No. 2 in C minor, "Resurrection," and aside from numerous changes of orchestration, altered contrapuntal details, and shifts of emphasis among the melodic lines, this is quite recognizable and close to the finished product. Indeed, no beginner will find it particularly different from the symphony's final version, so it holds interest chiefly for Mahler buffs, most of whom already know of Totenfeier's history. The Adagio from the Symphony No. 10 is frequently included as filler on Mahler sets, though many conductors have argued that it is the only authorized and complete part of that symphony and therefore must be regarded as the only valid version of that work we'll ever know. Yet in light of the fascinating five-movement completions of the Tenth by Deryck Cooke, Clinton Carpenter, Joe Wheeler, and Remo Mazzetti, Jr., which all have their merits and make compelling cases for performance, few Mahler fans are content to settle for the Adagio by itself anymore. In terms of controversy, Blumine has certainly had its share, though it has become a popular option for conductors to insert between the first and second movements of the Symphony No. 1, as the composer originally planned, and many recordings from the 1990s onward have included it. Yet this idyllic nocturne breaks the symphony's momentum and seems such a bad fit for its energetic mood that Mahler's decision to excise it surely was sound. The last selection, Britten's arrangement for reduced orchestra of "What the Wild Flowers Tell Me," is not a dramatic departure from the original version, so its inclusion here is perhaps only for the sake of rounding out an otherwise short and incongruous program.
As far as the performances go, Järvi and the Frankfurt Radio Symphony Orchestra turn in lively readings that sound as good as many others on the market, but the average listener may be a little put off by hearing these movements taken out of context and feel emotionally distanced. How is one to engage with this CD when it goes from the monumental impact of Totenfeier directly into the searing tragedy of the Adagio, only to be followed by the light sentimentality of Blumine and the charming Britten arrangement? One may well feel a degree of detachment from the program, and certainly none of the involvement one might experience when hearing these works on some other intelligently ordered program, perhaps alongside related pieces. Ultimately, Mahler: 4 Movements offers less than it appears to and will be of interest mostly to Mahler completists who, curiously enough, may most relish the Britten for being a rarity.