Gustav Mahler: Symphony No. 8 in E Flat Major “Symphony of a Thousand”—LA Philharmonic/Gustavo Dudamel/Dolby Atmos—Spatial Audio

Gustav Mahler (1860-1911) wrote two masterpiece symphonies. One of them wasn’t even called a ‘symphony’ and he never lived to hear either of them. Symphony No. 8 in E Flat Major (1910), also known as ‘Symphony of a Thousand’, wasn’t one of them, but contains enough magnificent material to enjoy during its often rambling style. The ‘Thousand’ description (not by the composer; in fact he was concerned the promotor was planning ‘a catastrophic Barnum and Bailey show’) derives from the perceived forces needed to mount the work. Yet, much like the essence of the Symphony, the numbers are a trifle over blown. Musicians needed—a large orchestra, offstage brass, two large choirs, a children’s choir, 8 vocal soloists and organ. On this DG? 346 performers on stage. So, reality is one third of the myth.

The Symphony is a tale of two imbalanced parts, a fairly short Part I: Veni Creator Spiritus (Come, Creator Spirit) followed by a lengthy Part II: Closing scene from Goethe's Faust.

Many Mahler scholars find the work problematic. Theodor Adorno described the 8th as ‘a giant symbolic shell’, inferior to his other symphonies. The English symphonist and Mahler expert, Robert Simpson, described Part II as ‘an ocean of shameless kitsch.’

So, hour-long Part II may or may not be up your alley, but I defy anybody not to be thrilled by the glorious Part 1: Veni Creator Spiritus. Mahler said of the massive forces unleashed in the opening bars to sound ‘as if the universe is cracking’.

As such, Veni is sublime and contains a beautifully constructed 20 minute movement based on the text of a 9th Century Latin hymn where the magnificent musical sunbursts are mixed and matched to perfection, with the universe cracking one more time to incredible effect at the recapitulation and coda (bar 59). I would count this movement as one of Mahler’s greatest inspirations, composed from his little lake side hut in Maiernigg. And, unlike the very slowly-paced Part II, rarely receives a bad performance on record. Dudamel and his musicians do not disappoint. Other than the magnificent opening bars, and above mentioned bar 59 and coda, listen at bar 37, certainly one of the greatest orchestral transitions in music. Executed to perfection by Dudamel’s bassoons, horns, violins and trumpets. In fact, the trumpet playing on this recording (principal trumpet and ex Marine Tom Hooten) is the best I’ve heard since Bud Herseth’s 1971 Solti/Decca.

Both Parts of the Symphony receive an outstanding performance with the LA team. No matter the instrumental or vocal demands, they are more than up to the task. So, the listener can sit back, not worry about live imperfections (recorded live at Walt Disney Concert Hall 30/31 May & 2 June 2019) and the limitations of real-time musicianship, and enjoy the wonderful interpretation and glorious music.

This is the first of several Dudamel DG releases that may be enjoyed in Apple’s ‘Spatial Audio’, basically Dolby Atmos. Meaning, the engineers mixed an Atmos version to be enjoyed if you have the correct setup. Some consider this technology ‘fancy surround sound’, with music reflecting off ceilings as well as front and behind (not forgetting a sub). I’m not sure if the technology will take hold in the classical music world (it certainly is effective in jazz and pop), but in this Dudamel recording the ’spatial’ aspect is used to good effect as heard on my full SONOS system with Atmos support (the Arc soundbar has a good enough DAC to decode CD quality sound with two Atmos drivers in addition to the 9 other standard drivers). Yet, from stereo in the late ‘50s, ‘Quadraphonic’ in the ‘70s, followed by CD, SACD, HiRes, DCC, MQA, streaming, lossless, now Atmos, who knows if it’ll last? I get to listen to the latest and greatest and I continue to return to my reference, two channel vinyl and tube system for complete musical immersion. So, your guess is as good as mine.

Typical of many star driven DG releases, the cover image/script of this July 2021 release leaves little room for ‘accompanying’ musicians. Or, charitably, space considerations. Anyway, here are the other ‘stars’ that enable this recording to take its place in the front rank of 8ths. The Los Angeles Philharmonic is joined by the Los Angeles Master Chorale, Pacific Chorale, Los Angeles Children’s Chorus, National Children’s Chorus and soloists Tamara Wilson, Leah Crocetto, Erin Morley, Mihoko Fujimura, Tamara Mumford, Simon O’Neill, Ryan McKinny and Morris Robinson.

Considering the complexity and sheer cost of mounting this work, I’m surprised it has received so many recordings. It helps the cost overheads that many of the recordings are from live performances.

DG released Yannick Nézet-Séguin’s Philly version in 2016. It is marvellous and if you already have it, there is no need for Dudamel's, unless you want to try Apple’s computational wizardry. Through my SONOS system, the Spatial Audio does add some wonderful effects to the Dudamel that enhance the listening and musical experience. When I listen to both DGs on my two channel, reference system (both in HiRes), spoils were divided pretty evenly. Only when I played my personal favourite (up ‘till now), the 1991 Tennstedt EMI with his London gang, did the benefit of the more modern and refined DG recordings tip the balance. That said, and remembering the famous recording (EMI, now Warner) was sourced from the dreadful Royal Festival Hall (it’s on YouTube), Tennstedt does some marvellous things (horns, especially) and also features fantastic playing and singing. In fact, a good friend was leading the 2nds that day and told me of the magnificence of the occasion and of Tennstedt’s abilities with Mahler.

I’m challenged regularly by Audiophilia colleague Charles Brown on the equilibrium of inspiration between both parts of the symphony. I haven’t discussed it with my other Audiophilia colleague and Mahler disciple, Jesús González-Monreal, for fear of musical reprisals! They’re both passionate Mahlerites.

My concern, and a slight one, is with the quality of Part II compared to what I consider the absolute genius of Part I. Let’s hope YMMV.

In the mean time, all lovers of Mahler and great orchestral and choral works can buy this recording with confidence. Highly recommended. And, nice job Apple.

GUSTAV MAHLER

Symphony No. 8 in E Flat Major
“Symphony of a Thousand”

Los Angeles Philharmonic
Gustavo Dudamel

Also available in Dolby Atmos

June 8, 2021

UPC

00028948612710