Symphony No. 4

Mahler, Gustav

A Child's View of Heaven

When this recording of a 1939 performance was first issued, in 1960, some scholars derided conductor Willem Mengelberg's elastic, shapeshifting interpretation. They charged that even though Mengelberg knew Mahler (and had been present at rehearsals for the piece, which was completed in 1901), the conductor let the tempos slide around, and took other liberties with the work that closes Mahler's Wunderkind phase. Later, as musicians revisited the score, it became clear that Mengelberg was not sensationalizing, but instead following Mahler's instructions. To the letter.

This was easy to do, because the Austrian composer didn't take anything for granted—he was a micromanager, notating slight changes (of tempo and emphasis) to ensure that every desired effect happened as he intended. Throughout this piece, which explores the unique insights and perceptions of children, Mahler (1860–1911) creates animated lines defined by sudden impulses—a lyrical theme will dart ahead, only to freeze momentarily before the chase begins anew.

By following Mahler's intentions, Dutchborn Mengelberg uncovers nuances lost in the "straight tempo" readings of conductors like Herbert von Karajan. Consider the astounding third movement. Where others render the theme with militaristic precision, Mengelberg concentrates on Mahler's curiosity about the "paranormal"—he works the strings into a celestial body that hovers above the ground, floating from one transcendent state to another without bothering with questions of tempo or meter. The Fourth is sometimes dismissed as "Mahler lite," and to be sure, it's more approachable than the stormier symphonies that followed. Partly inspired by a book of folk poems entitled Das Knaben Wunderhorn, it's also among Mahler's most beautiful creations. To zoom in on that aspect, locate the unconventional final movement, which features a solo soprano voice (on this recording, Jo Vincent) singing about a child's vision of heaven. It's a fairy-tale place—with abundant food and unlimited time for play—and yet, Mahler being Mahler, the fantasy is wrought with exquisite details. And, naturally, it comes with less-sugary undercurrents, hints of the tragic, the gloomy, and the bittersweet.

Genre: Classical
Released: 1960, Philips
Key Tracks: Third movement.
Another Interpretation: Berlin Philharmonic (Herbert von Karajan, cond.)
Catalog Choice: Symphony No. 8, Chicago Symphony Orchestra (Georg Solti, cond.); Symphony No. 2, New York Philharmonic (Bruno Walter, cond.)
Next Stop: Dimitri Shostakovich: Symphonies 1 and 7, Chicago Symphony Orchestra (Leonard Bernstein, cond.)
After That: Maurice Ravel: Daphnes et Chloë, Montreal Symphony Orchestra (Charles Dutoit, cond.)
Book Pages: 468–469

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About 1,000 Recordings

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