Mahler: Des Knaben Wunderhorn - Christa Ludwig; Walter Berry; New York Philharmonic; Leonard Bernstein

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Mahler: Des Knaben Wunderhorn - Christa Ludwig; Walter Berry; New York Philharmonic; Leonard Bernstein

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Gustav Mahler: Des Knaben Wunderhorn - Christa Ludwig (mezzo); Walter Berry (bar); New York Philharmonic; Leonard Bernstein
Classical | 1 CD | EAC Rip | 315 MB, 3% recovery | FLAC+LOG+Cue | Complete scans
Publisher: Sony Classical | Recorded: 1969 | Published: 1993

In his Quarterly Review last April DS-T mentioned that this second Ludwig-Berry-Bernstein version was on the way though "there is no news of its imminent release. When it comes it may prove to be a serious competitor to the HMV version, because there is something very direct and genuine about Berry's singing, and because Ludwig commands a solidity of tone and line that Schwarzkopf has to simulate". I had reviewed these two versions (Bernstein as pianist, by the way) in January 1969 and, like DS-T, was inclined to regard the HMV/Angel as highly desirable (he said "best buy", I chose it as one of my 1969 Critics' Choices) while still highly recommending the merits of the Morris version.
Where does this latest version leave us ? DS-T's prediction has, to some extent, come true. Bernstein as conductor realizes some of these songs brilliantly, with true understanding, many more than in the version he accompanied as pianist. And his orchestra is more forwardly and clearly balanced than Szell's, which is important in these quasi-symphonic songs. Going down the list: lovely hazy string tone for the vision in "Schildwache Nachtlied", captivating switch to G major (but pauses clipped disadvantageously); heavy accompaniment (the orchestral part is integral, not a mere support, which is why I write first about the orchestra) in "Wer hat dies Liedlein", but the ending now unhurried; superb bass clarinet and tam-tam and cors anglais in "Tambourg'sell", livelier and more telling pace than Szell; "Rheinlegendchen" still tiresomely affected (Szell much more natural and atmospheric) though lovely violin solo; "Urlicht", a gorgeous performance by all; "Revelge" too fast but thrilling with marvellous soft wind and spectral col legno violins after bar 133 (the orchestral passage in which the ghostly battalion marches through the streets at dead of night), and a curious, tense effect at fig. 13 as if Bernstein had put violins on to Mahler's flute line— all the same I disapprove and prefer Szell here; "Fischpredigt", splendid orchestra, but extraordinary switch of stereo balance, after "Die Hechte bleiben Liebe", so that Ludwig dances across the studio and back by bar 185 (why ?); "Schoenen Trompeten" superb, rivalling Szell (I agree with DS-T that this works best as a solo, as Janet Baker and Ludwig do it); "Hohen verstandes", magnificent clarinet at start—and, all round, more brilliant even than Schwarzkopf/Szell (Berry sings it here); "Irdische Leben" good orchestra, less dapper than the Angel, and clumsy in the retard for the last verse.
My notes on some songs are only about the singing. For, although the orchestral part is of highest importance, these are songs by a great song-writer—though I did discuss the Ludwig-Berry interpretation a year ago. In this orchestral version Ludwig does many memorable feats of musicianship and sheer vocalism—e.g. in "Verlorene Muh", even more the best version of this song though she sounds so charming, and Berry so grumpy, that Mahler's intentions are reversed (the girl is supposed to be a clinging, tearful bore, the boy a cheerful extravert—as in the Angel); twice in "Schoenen Trompeten" Ludwig disappoints me but this is a lovely performance, especially if you disapprove of the duetting in the Angel. Berry's comic, highly detailed Viennese characterizing in "Hohen Verstandes" matches, almost surpasses Schwarzkopf's (I am the world's most enthusiastic Schwarzkopf, and Fischer-Dieskau, admirer, so do not praise Ludwig and Berry lightly). Berry is specially convincing in "Trost im Unghick" with his virile masculinity. Sometimes Ludwig confounds expectation by wobbling or spreading at the top of her mezzo register (around the soprano gear-change), snatching at high notes, cooing half-inaudibly instead of singing clearly, and refusing to attempt the legato we so admire her for. Sometimes Berry's low notes are indistinct. These failings always occur when the singers attempt original keys, never when they transpose down.
DS-T asked how authentic was the modern practice of singing some of these songs as duets. He got no answer in these pages, and so I ask the same question. I can't understand the ascription of the last verse in "Schildwache" to female voice even though (Schwarzkopf and Ludwig sing it divinely; I doubt the wisdom of sharing the vocal line in "Schoenen Trompeten"—it is all a dream—though I am convinced by the Angel performance; and I disbelieve the last verse of "Trost im Ungluck", when it is sung as a duet in unison because it sounds entirely wrong. I'm sure "Rheinlegendchen" should be sung by a man—he mows the meadows, she waits at court. Some duets work well, some songs suit either singer; to prefer a male St Anthony is a subjective point. It would be helpful to know who sang these songs with Mahler.
Meanwhile, to sum up, you will enjoy whichever of these three partnerships you choose (forget the piano version, unless you are a specialist). None is perfect; all have inspired moments. Pistol-point choice is the Angel, but unwillingly. Like DS-T I would prefer, on a desert island, an anthology from all existing versions (e.g. Elisabeth Schumann for "Dies Liedlein"); and I would need both Schwarzkopf and Berry in "Lob des hohen Verstandes". Sorry to be so indecisive, but just you try listening to these three versions. That, indeed, is my ultimate recommendation. W.S.M.; Gramophone