Bruno
Walter occupied a uniquely authoritative place in the performance
history of Das Lied von der Erde. He conducted
the première in 1911 and a quarter of a century later,
in 1936, he made its first recording.
This
reissue becomes the fourth recording of Walter’s interpretation
in my collection. I already have the 1936 performance, recorded
live in concert, in which he’s joined by Kerstin Thorborg,
Charles Kullman and the Vienna Philharmonic (Dutton CDBP
0722). In 1952 Walter returned to Vienna to set down the
legendary studio recording, again with the VPO, with Kathleen
Ferrier and Julius Patzak (Decca 414 194-2). In between came
a 1948 live recording with the New York Philharmonic in which
Ferrier was once again his female soloist – making her New
York debut, I believe – and the tenor was Set Svanholm. This
account is contained in the NYPO’s own-label boxed set, The
Mahler Broadcasts, though a single-disc issue of
the same performance is available from Naxos (8.110029).
There’s
also a 1953 performance, again featuring Svanholm, on Music
and Arts (CD950), but I haven’t heard this.
Whilst
timings don’t tell the full story, a comparison of these
four versions is revealing.
Movement |
1936 |
1948 |
1952 |
1960 |
I |
8:21 |
8:07 |
8:39 |
9:30 |
II |
8:29 |
8:35 |
9:13 |
9:48 |
III |
3:02 |
2:53 |
3:00 |
3:08 |
IV |
6:18 |
6:06 |
6:44 |
6:44 |
V |
4:11 |
3:59 |
4:23 |
4:23 |
VI |
26:41 |
27:33 |
28:20 |
29:04 |
TOTAL |
57:02 |
58:05 |
60:19 |
62:57 |
These timings show, I think,
quite a degree of consistency over the years on Walter’s
part. It should be noted that the timing for ‘Der Abschied’ in
the 1948 traversal includes some 13 seconds of applause.
However, it will also be seen that Walter became slightly
more expansive over the years, especially when it came to
the wider canvasses of the first and last songs.
This present performance, his only
stereo account of the work, was set
down less than two years before his
death. It coincided with his last
NYPO performance of the work, on 15
April 1960. Oddly, however, in the
live performance it was Richard Lewis
who took the tenor role. I can only
imagine that the switch of soloists
for the recording came about for contractual
reasons.
What
we have here is a fine performance of Das Lied von der
Erde though I must say that it lacks just a little of
the tautness and urgency of Walter’s earlier accounts. It’s
also not as shattering as some readings that one has heard.
Haefliger is a sensitive tenor, though not as heroic in timbre
as some I’ve heard, especially in the first song, ‘Das Trinklied
vom Jammer der Erde’. In particular the phantasmagorical
passage near the end of that song where the ghastly ape is
spied isn’t quite as terrifying as it might be. There were
occasions when I wondered if his performance as a whole would
have come over so well in the concert hall rather than close
up to the microphone. But he brings lightness and grace to
the third song, ‘Von der Jungend’ and in ‘Der Trunkene im
Frühling’ his delicacy and lyrical style give pleasure.
I
may as well be honest and say I can’t make my mind up about
Mildred Miller. In many respects she sings very well but
I can’t escape a feeling that her performance is somewhat
cool or detached. She’s poised and touching in her first
song, ‘Der Einsame im Herbst’ and there’s much delicacy to
admire in the orchestral accompaniment too. She does much
of ‘Von der Schönheit’ well but I do wonder if she could
not have been a touch more abandoned in the wild central
section of this song.
Of
course it’s the huge final song, ‘Der Abschied’ that is the
touchstone for any performance of Das Lied von der Erde and
there’s much to admire in Miss Miller’s rendition. But, of
course, as well as the aforementioned Ferrier and Thorborg
accounts one has also heard such great readings as those
by Christa Ludwig and Dame Janet Baker. In the last analysis
I don’t feel Mildred Miller matches such singers for intensity.
Moments such as ‘Es wehet kühl’ and, at the other end of
the emotive scale ‘Die liebe Erde’ are very well done here
but the emotional achievement has been bettered by others.
That said, other listeners may very well welcome the comparative
restraint in Miss Miller’s singing and may enjoy, as I did,
the lovely tone that she brings to the passage beginning ‘Ich
sehne mich, o Freund’. She and Walter build this section
up beautifully to the great outpouring at ‘O Schönheit! O
ewigen Leben.’ If that lacks quite the refulgence
of a Baker it’s still impressive.
Walter
conducts the NYPO with all the deep understanding that you
would expect and he’s rewarded with some committed playing.
In particular there’s a great deal of fine woodwind playing
in ‘Der Abschied’ and, indeed, it’s in this song that the
orchestra is heard to best advantage. I don’t think this
can be a top recommendation for Das Lied von der Erde but
it’s a version that all Mahler enthusiasts will want to hear.
The sound has come up very well and the booklet contains
the notes written for the original LP issue, which are good
but, sadly, no texts. Of the other Walter recordings, the
1936 and 1948 versions are probably more for specialist collectors.
The 1952 version, on the other hand, still merits its iconic
status, showing Walter’s interpretation in marginally better
light and featuring much more characterful soloists than
is the case with this present release. That would remain
my first recommendation for Walter in this work but this
1960 version preserves his interpretation in better sound
and, despite some reservations, this welcome reissue is very
well worth hearing.
John Quinn
BUY NOW
Mildred
Miller (mezzo) 
