Conductors seem inclined to take one of two basic interpretive approaches to Mahler’s Fourth Symphony: the first emphasizes the work’s Viennese classical poise and balance; the other plays up the Middle Eastern-style music and elements of fantasy. Riccardo Chailly clearly falls into the first camp: tempos are relaxed and rubato is kept to a minimum. Not that this means a dull performance–the playing of the Concertgebouw is lively, alert, and colorful. The second movement is faster than usual, giving a sardonic edge to the dance, but it’s the finale that is the real prize of this recording. Barbara Bonney sings with an almost perfect mixture of childlike wonder and vocal sophistication. And this all seems ideal until you listen to Bernstein’s Deutsche Grammophon recording with the same orchestra. He is definitely in the “fantasy” camp, with tempos that are wonderfully elastic and orchestral playing that’s far more daring. With Bernstein you feel the anguish of the adagio, while Chailly keeps his emotions close to the breast. So it’s really a matter of preference, and for those who prefer a beautifully polished 18th century figurine of a performance without a lot of fuss and bother, this Chailly Mahler Fourth should satisfy.
The performance of Berg’s Seven Early Songs finds Bonney completely at one with this music, while Chailly presents a probing account of the orchestral score, finding, for example, in the whole-tone harmonies of “Nacht”, pre-echos of the composer’s later style. Gorgeous sound, too.
