Mahler: Symphony No. 1 “Titan” (SACD review)

Markus Stenz, Gurzenich-Orchester Koln. Oehms Classics OC 646.

“Wouldn’t you just die without Mahler?”
--Educating Rita

Maestro Markus Stenz and his Cologne Gürzenich Orchestra were in the midst of a complete Mahler symphony cycle when they recorded this First Symphony, and by the look of things, they appear to have the hang of it.

Austrian composer and conductor Gustav Mahler (1860-1911) completed his Symphony No. 1 in D major in 1888, and it was a few years after the composer’s death that fellow Austrian composer Arnold Schonberg suggested that it encapsulated all that Mahler would elaborate upon in his later music. Mahler said he was trying to describe in the work a progression of his protagonist facing life from the lighter moments of youth to the darker years of maturity. Indeed, Mahler initially didn’t even want to call it a symphony but rather a tone poem, giving each movement a title it was so programmatic.

Anyway, the first movement, “Spring without End,” characterizes youth in the symbolic awakening of Nature from a long spring. Stenz evokes the mists of dawn quite well, never pushing too hard. Then as he is developing the whole youth vs. the vicissitudes of life business in properly dramatic fashion, we find Stenz handling things gently, too, with a nicely relaxed feeling, never pushing headlong into a rush.

In the second movement Scherzo, “With Full Sail,” Mahler is in one of his early mock-sentimental moods, displaying an exuberance that he may or may not have meant to be ironic. Stenz keeps it that way, although perhaps takes it a tad too dreamily, even if his pace is relatively quick.

The third movement, an intentionally awkward funeral march, depicts a hunter’s fairy-tale burial, and it comes off as a sort of typical Mahler parody. It may be the young man of the narrative’s first glimpse of death, possibly a recollection by Mahler of one of his own youthful encounters with the death of a loved one. Stenz’s way with it is maybe a touch too superficial, but it still carries weight after its own bizarre Mahlerian fashion.

In the finale, Mahler conveys the panic “of a deeply wounded heart,” as the central figure faces the suffering of life and fate. Nevertheless, Mahler, ever the spiritual optimist, wanted Man to triumph in the end, even though how Man will succeed is open to question. Here, in the final twenty minutes, Mahler pulls out all the stops and puts the orchestra into full swing. I have to admit that despite all the energy Stenz and his players invest in this last segment, I would have liked hearing more individual expressiveness from them. Instead, while their music-making is undoubtedly exciting, it never seems to catch fire the way the performances of Solti (Decca), Mackerras (EMI), Horenstein (Unicorn), Bernstein (DG), and others do.

So what we get from Stenz is a robust, well-ordered, well-structured First Symphony without quite the insight, introspection, or sheer emotional boldness of the very best interpretations. I have no reservations, however, about saying it’s worth a listen, particularly if you’ve heard and enjoyed Stenz’s previous Mahler symphony recordings.

Made in the Cologne Philharmonic Hall in 2011, the sound of this hybrid stereo/multichannel SACD does a good job capturing the warm, sweet resonance of the acoustic. At the same time, it also appears reasonably clear and natural, with a modest degree of orchestral depth even in the two-channel mode to which I listened through an SACD player. In addition, a fairly taut dynamic impact and modestly deep bass help provide the music a lifelike quality, especially in the SACD layer.


1 comment:

  1. ..... and theres ist a cutting error in the first movement, and there are missing at least one beat. Maybe 3 beats.
    Listen first movement at 7:15
    Embarrassing !


Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa