This is a nice, well-behaved Mahler 8th, which benefits from conductor Markus Stenz’s energized pacing, along with alert orchestral playing and lively and refreshing choral work. Of particular note is how Stenz launches the “development” (Accende lumen sensibus) at full throttle, then keeps going this way until the first cymbal crash (at the end of the fugue) where he drops the tempo by a third. Of course, Bernstein does the same (it’s not called for in the score), but he also masterfully handles the big buildup to the recapitulation (the return of Veni, creator spiritus) by keeping this new slow pace throughout the climactic passage. Stenz’s clumsy lurching back to the original tempo at this point makes his slowing-for-dramatic-effect sound more like an unscheduled pit stop. The good news is that he maintains the performance’s high spirits through the end of Part One.
Part Two is a tougher nut. Although the Gürzenich-Orchester Köln’s playing reveals much inner detail in the extended orchestral introduction, it doesn’t have the chops to effectively render Mahler’s virtuosic, pre-expressionist writing–something quite obvious when you listen to such world-class bands as Chicago, London, Amsterdam, or Vienna. Thus, the remainder of the symphony comes across in rather muted tonal colors and “safe” attacks. The soloists and chorus make up for this somewhat by providing mostly fine singing (the tenor’s weak high notes notwithstanding). The recording is suitably spacious, though with only moderate dynamic range, which renders the symphony’s great final peroration less than breathtaking. If a “comfy” Mahler 8 appeals, then this release will suit you. To be captivated, go for Bernstein, Tennstedt, Wit, Gielen.
