Yannick Nézet-Séguin's performances of the symphonies of Gustav Mahler have yielded fascinating results, though his progress in recording them has been sporadic, so this 2016 release of the Symphony No. 1 in D major with the Symphonieorchester des Bayerischen Rundfunks is a welcome addition to his discography. In this live performance of the published score, Nézet-Séguin makes no apologies for not including the rejected Blumine movement or, for that matter, not attempting to revert the symphony to its earlier state as the ...
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Yannick Nézet-Séguin's performances of the symphonies of Gustav Mahler have yielded fascinating results, though his progress in recording them has been sporadic, so this 2016 release of the Symphony No. 1 in D major with the Symphonieorchester des Bayerischen Rundfunks is a welcome addition to his discography. In this live performance of the published score, Nézet-Séguin makes no apologies for not including the rejected Blumine movement or, for that matter, not attempting to revert the symphony to its earlier state as the symphonic poem Der Titan, as several conductors have. To the contrary, Nézet-Séguin lets the four-movement version stand on its own without recourse to historical revisionism, and the trajectory of the work is almost ideally realized without the extraneous Blumine. Indeed, the energy generated in the first movement spills over into the Scherzo, and the slow third movement comes as a welcome relief before the volatile Finale. Beyond preserving the feeling of momentum and balanced...
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