Mahler: Symphony No 4. Amanda Roocroft (soprano), CBSO/Simon Rattle (EMI). Mahler: Symphony No 9. Chicago SO/Pierre Boulez (DG)
Bypassing recorded documents by men close to Mahler, it's through composer Berthold Goldschmidt (19031997) that Simon Rattle traces authority for his approach to the Fourth Symphony. From the unusual tempo relationships of the opening bars, it's clear that Rattle may provoke, even upset, lovers of tradition. Though not always totally convinced, I found myself constantly drawn in, and curious to return and re-sample the more daring twists of Rattle's idiosyncratic reading. By contrast, in Mahler's Ninth, Pierre Boulez strikes a course shy of emotional subtext, scrupulously exact in intention and detailed to match in realisation. There's some breathtaking conductorial engineering, but the open, world-in-a-symphony aspect of Mahler's vision is contained, islanded.
Michael Dervan
Shostakovich Plays Shostakovich, Vols 4 & 5 (Russia Revelation)
What exactly is it that makes Shostakovich's performances here so uniquely compelling? In these 1950s Russian recordings of his two piano concertos (Vol 5), the speeds are consistently faster, the tone more violent than in the commercial recordings he made later in Paris. The fast movements, snatchy and breathless, fly with a blackly demon-driven non-legato touch it's hard to imagine another performer daring to emulate; also included is the light Concertino, with son, Maxim, (1956) and the Piano Trio, with David Oistrakh and Milos Sadlo (1947). Vol 4 has two chamber works: a dark, rough-hewn Piano Quintet, recorded with the Beethoven Quartet in 1950; ere together; and the Cello Sonata with Rostropovich (1957), a more controlled and controlling presence. Perfectionists however, beware, these discs are not without transcription flaws.
Michael Dervan
Various: Lutoslawski: Orchestral Works Vol 4. Andrzej Bauer (cello), Polish National RSO/Antoni Wit (Naxos, £4.99)
The fourth volume of Naxos's enterprising series covering the work of Poland's major composer of the post-War years offers four clearly contrasted works in chronological order. Common to all is the delight in orchestral sonority and texture of one of the finest craftsmen of the field, from the sliding strings at the opening of Livre pour orchestra (1968) to the linear interlacings of Chain III (1986). The best-known piece is the Cello Concerto premiered by Rostropovich in 1970, built, not without wit, on a finely-gauged theatricality of conflict. Equally engaging, is the punchily-framed Novelette (1979), again written for Rostropovich, this time as conductor. Great value at the price.
Michael Dervan
