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When Riccardo Chailly was appointed music director of the Royal Concertgebouw Orchestra in 1986 (still only in his 30s), he became head of one of the world's greatest Mahler orchestras. Just about all the right elements would seem to be in place for yet another outstanding Mahler cycle, given the conductor's interpretive acumen and masterful molding of orchestral detail. Though the results of Chailly's traversal thus far (for example, the Fifth and Seventh Symphonies) have been uneven, his spectacular Mahler First holds its own and spotlights the unique qualities Chailly brings to the composer.
In the late '90s, roughly speaking, we witnessed a paradigm shift from an intensely subjective Mahler (epitomized by Leonard Bernstein, who recorded a magnificent Mahler First with this very orchestra) to a cooler, more "objective" image (check out Christoph von Dohnányi's recent Mahler Ninth). Here Chailly seems to find a convincing middle ground, with an architecturally coherent sense of tempo and symphonic design (especially in the large but often seemingly disconnected blocks of the finale) that keeps self-indulgence in check. At the same time--and with the orchestra in glorious form--Chailly brings a fresh eye to Mahler's painstakingly detailed dynamics, so that colors and relations between instrumental choirs seem refurbished, like a newly cleaned painting. This is above all noticeable in the preliminary "spring awakening" and generates a deeply moving effect when the birdcalls return in the finale. However saturated with Mahler recordings we've become, this performance makes you eager to hear Chailly's interpretations of the remaining symphonies. A fascinatingly thoughtful bonus is Theo Verbey's orchestration of Alban Berg's densely compact Piano Sonata Op. 1. --Thomas May
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