Double Double.

It seems fitting that for our milestone 100th issue, our Double Double should feature a musical work that is so close to our hearts. For this special occasion, Tom and I thought it would be appropriate to compare two recordings of one of our most beloved symphonies, the Symphony No. 2 ("Resurrection") of Gustav Mahler. In a previous issue, Tom and I had done a comparison that included the best-selling recording of Mahler ever, featuring Gilbert Kaplan conducting. Now Kaplan has a new recording of the work on the market, featuring Latonia Moore, soprano; Nadja Michael, mezzo-soprano; the Wiener Singverein; and the Vienna Philharmonic (Deutsche Grammophon B0000989-02). Tom and I thought I would be interesting to compare this new version to the highly acclaimed recording conducted by Seiji Ozawa, which features Emiko Suga, soprano; Nathalie Stutzmann, contralto; the Shinyukai Choir; and the Saito Kinen Orchestra (Sony Classical S2K 89374).

As always, Tom and I have refrained from discussing these two recordings with each other and have done our listening and written our remarks entirely independently. Because this is an even-numbered issue, Tom will lead off with his observations and then I will present things from my perspective.

TL: If I were to take an extremely broad view of all the recordings I've heard of Mahler's Second Symphony, there are two ways that this work can end up sounding if it is conducted and played well. The first is a more traditional and broad account, my favorite being Otto Klemperer's excellent, almost Wagnerian version on his 1960s EMI recording with the London Philharmonia. The second is a more detail-oriented, robust rendition as exemplified by the Gilbert Kaplan/ Vienna Philharmonic Orchestra recording under consideration. Neither way of conducting the piece should be considered as more "correct," but with my more limited time to listen to such a lengthy piece of music I've gotten rather picky--and I usually lean toward the latter. The best on LP is Sir Georg Solti's muscular recording with the London Symphony Orchestra on Decca, which I listen to quite often (I can't get enough of those closely mic'ed bass fiddles and timpani!). When listening to CD I choose Gilbert Kaplan's. I used to turn to his excellent 1987 version with the LSO quite a bit, and now I spin his newest version with the VPO more than quite a bit. This Deutsche Grammophon CD is probably one of the best-sounding CDs in my collection, that's for sure--and that so well this Second Symphony "expert" reads this reference recording of such an outstanding piece of music tops it off.

Gilbert Kaplan must be on cloud nine, as he has finally realized his ultimate goal in recording this work with none other than the VPO. As a Mahler Second fan I also feel as if this is one of the best versions of this symphony ever recorded. Yet Kaplan's is the epitome of the second general category I spoke of. His attention to detail is unprecedented, and it without doubt reflects his unparalleled devotion to the score. Sometimes it sounds a little disjointed, as if he has studied the score measure-by-measure, so it ends up sounding a little episodic. Each sub-movement of each sub-movement sounds as it is a bit disconnected from the others. Or perhaps it is my own familiarity with the score that leads me to perceive it this way, and it is merely a very detailed reading combined with a very detailed recording. But like I said, it is also one of the most listened to Second I own because I consider it one of the best--and I rather enjoy the aural dissection of the score that I've heard so many times before. Every time I listen to it I become aware of details I haven't noticed before.

Seiji Ozawa's version with Saito Kinen Orchestra resides in the first grouping, closer to lush and "organic" than anything else. I wasn't immediately impressed, but after a few listens I came to appreciate the cohesiveness that he lends to the score. It is as if Ozawa and his ...