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Does Boulez’s DG Mahler cycle represent the real Boulez? The answer to this question is a resounding No.
  1. Unreconstructed Modernist. Many of Boulez's later scores are set up as games of tag-you're-it, in which the conductor shapes the piece within the act of performance. Bring the best.
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I’m anything but a Boulez basher. My interest in Boulez verges on the obsessive. I love Boulez’s music, and I’m wildly enthusiastic about much of his conducting. I’ve heard him conduct in person many times, and I’ve heard virtually every studio recording he’s ever made, most of which, his late DG recordings aside, I have on CD. I also have countless live recordings of Boulez the conductor including the world premières of half a dozen Boulez pieces, and I have plenty of live Mahler performances with Boulez conducting, including four of the 3rd, three of the 2nd, and three of the 8th. More important, I think Boulez’s strengths as a conductor are perfectly suited to fundamental aspects of Mahler’s style. For example, Boulez is a consummate master of the subtle ongoing adjustments of tempo and monomaniacal focus necessary for the projection of the long line of such gradually unfolding works in a sostenuto style as the last movement of Mahler’s 3rd, a movement that Boulez inevitably does to perfection. That being said, I can’t imagine duller or more imperturbable performances of the Mahler symphonies than Boulez’s DG recordings. As far as I’m concerned, they’re ghastly misrepresentations of what his Mahler is really like. Not only are the DG performances excessively smooth and serene: they’ve been artificially lit and glassily recorded by DG’s heavy handed engineers. The sounds produced by Boulez’s orchestras sound as if they were produced by a really good synthesizer instead of real instruments, and the results are downright creepy.
Boulez isn’t the only conductor whose studio recordings are tamer than his live performances: Abbado and Dohnányi are only two of the countless conductors who should never be allowed into a recording studio, conductors who are far more interesting live than in their tamest and most excessively polished studio recordings. (Just compare Abbado’s thrilling DG recording of Mussorgsky’s Khovanschina, recorded live during a run of performance at the Vienna Staatsoper, to his comparatively dull studio recording of Boris on Sony.) Performers are much more apt to be swept up in the heat of the moment in a live performance than in a recording studio, and -- well aware that a recording will preserve every imperfection -- performers inevitably focus more on sheer polish and accuracy in the studio, where the adrenalin is also in shorter supply. But the comparative deficiencies of Boulez’s DG recordings go well beyond what can be attributed to these inevitable problems of studio recording.
A majority of the Boulez performances DG has released over the last couple of decades are quite unlike his other performances, live or studio. Boulez has certainly changed over the years, and the serene Boulez of today is a less explosive and volcanic figure than he was in the 1960’s, but Boulez’s DG recordings not only sound markedly unlike his live performances from the 1960’s and 70’s, they sound markedly unlike his CBS recordings. Most damningly of all, they sound markedly unlike the live performances that immediately preceded the DG recordings. Inert, excessively homogenized, polished to death, and overly pretty, the DG recordings are the monstrous and misleading exceptions in Boulez’s recorded legacy.

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The differences between Boulez live and in the studio can be neatly demonstrated by comparing the live performances of Mahler’s 2nd, 3rd, and 8th symphonies that were broadcast immediately before Boulez recorded them for DG to the DG recordings themselves, recordings made with the same forces used in the broadcasts. Far livelier and more distinctively shaped, the live performances leave the DG recordings in the shade. Most surprisingly of all, the broadcast performances were captured in far superior, more natural seeming sound than the performances processed by DG’s engineers.

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If you have access to both recordings, just compare the opening of the live broadcast of Mahler’s 2nd to the opening of the DG recording. The two performances come across very differently, and the differences cannot be attributed solely to the inevitable relaxation of tension characteristic of studio recordings. While the live performance is recorded fairly closely and lacks the exaggerated resonance of the DG effort, the DG recording is rather distant and excessively reverberant, and these different perspectives have a real impact on Boulez’s performances. The kind of articulation that Boulez draws from his double basses in the opening of the first movement is more or less the same in both performances, but the double basses are more muted on DG, lacking in urgency. The playing that Boulez elicits from the double basses in the opening of the first movement is anything but “the notes and nothing but the notes” -- the opening is very beautifully shaped -- but, on DG, the menace and pent-up aggression palpable in the live performance is replaced by something far tamer.
I can do no better than quote what an acquaintance of mine wrote to me after he’d heard the live broadcast of Mahler’s 3rd that directly preceded the DG recording: “I wouldn’t bother getting the DG release, whose sole advantages are a wider dynamic range (if that’s an advantage) and more accurate playing by the orchestra. Perhaps surprisingly, aside from dynamic range, the live performance sounds far superior to these ears qua sheer sound -- more immediate and detailed, tonally more vibrant and colorful. By comparison, the studio recording (which has to be played back at a much higher volume setting than normal to make any sort of impact) sounds cool and almost monochrome -- e.g., where the bassoon during the murmurings at the start of [the first movement] conveys a range of rich, woody sounds in the live performance, on DG it sounds smoother and monochromatic, rather like a low clarinet. I doubt that any of these differences are attributable to Boulez but are rather attributable to microphone placement etc. -- could he or even would he change the tonal qualities of the entire orchestra in such a way? -- but either way they have the effect of making the live performance sound more, well, alive, even though interpretively they’re probably really quite similar. I won’t be playing the studio recording again...”
In short, in addition to the inevitable loss of intensity all too often characteristic of studio recordings, Boulez has been ill served by his engineers. The real Boulez is to be found, not on DG, but in some of the live recordings, in the great soaring and sweeping live performances of the 8th symphony that are floating around out there, for example, including particularly the 1974 performance with The New York Philharmonic. Even more spectacular than the live broadcast of Mahler’s 2nd that preceded the DG recording is a performance with the BBC SO from the 1974 Proms that is one of the most spectacular performances of the 2nd Symphony you’re apt to hear: no conductor has ever conveyed the manic urgency of the run through varying terrain up to the choral finale of the last movement as urgently as the Boulez of this performance, and no other conductor has ever projected the gradual crescendo of the choral finale’s overall shape any more effectively: the sheer control is breath taking.
Here’s a list of the performances of the 2nd, 3rd, and 8th I have in mind. All of them were broadcast, and the performances with the BBC SO have been released on various fly-by-night labels specializing in live material. Posted at such places as Opera Share, the three broadcast performances that directly preceded the DG recordings have had a certain currency on the internet. I can’t tell you how to get your hands on them, but -- if you really want to get a glimpse of Boulez’s way with Mahler -- throw away your DG recordings and look for these. Listeners familiar only with the DG recordings are also apt to be surprised by Boulez’s savage and haunting CBS recording of Das Klagende Lied (1970), which was reissued on CD by Sony.
Mahler: Symphony No. 2 in C minor, “Auferstehung”
Felicity Palmer, soprano; Tatania Troyanos, mezzo-soprano
BBC Chorus, London Philharmonic Choir, BBC Symphony Orchestra, Pierre Boulez
Royal Albert Hall, London, August 27, 1974
Mahler: Symphony no. 2 in C minor, “Auferstehung”
Christine Schäfer, soprano
Michelle de Young, mezzo-soprano
Singverein der Gesselschaft der Musikfreunde in Wien
Vienna Philharmonic Orchestra; Pierre Boulez
Vienna Festival, 2005; Grossen Konzerthaussaal, Vienna, May 31, 2005
Broadcast on Ö1, June 12, 2005
Mahler: Symphony no. 3
Yvonne Minton
BBC Choral Society, Women’s Voices; BBC Singers; Hartfordshire County
Youth Choir; West London Youth Choir; BBC SO; Pierre Boulez
London, 1974 Best
Mahler: Symphony No. 3
New York Philharmonic
Yvonne Minton, mezzo-soprano
Camerata Singers, Boys’ Choir of The Little Church Around the Corner & Trinity School, Brooklyn Boys’ Chorus

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New York Philharmonic, Pierre Boulez
Avery Fisher Hall, New York, October 23, 1976
(Issued by the New York Philharmonic within a complete Mahler cycle featuring the orchestra in live performances under various conductors.)
Mahler: Symphony no. 3
Anne Sophie von Otter
Women’s Chorus of the Vienna Singverein
Wiener Sängerknaben
Vienna Philharmonic Orchestra, Pierre Boulez
Vienna, February 25, 2001
Mahler: Symphony no. 8
Edda Moser, soprano; Felicity Palmer, soprano; Betty Allen, mezzo-soprano; Jan de Gaetani, mezzo-soprano; Werner Hollweg, tenor; Siegmund Nimsgern, baritone; Raymond Michalski, baritone; Westminster Choir; Boys Choir of the Little Church Around the Corner; Boys Choir of St. Paul’s Episcopal Church; Newark Boys Choir
New York Philharmonic Orchestra, Pierre Boulez
Avery Fisher Hall, New York, February, 1974
Mahler: Symphony no. 8
Edda Moser, Linda Esther Gray, Wendi Eathorne; sopranos

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Elizabeth Connell, mezzo
Bernadette Greevy, alto
Alberto Remedios, tenor
Siegmund Nimsgern, baritone
Marius Rintzler, bass
BBC Singers, BBC Choral Society, Scottish National Orchestra Chorus,
Wandsworth School Choir
BBC Symphony Orchestra; Pierre Boulez
London, 25 July 1975
Mahler: Symphony no. 8
Twyla Robinson, Soile Isokoski, Adrienne Queiroz, sopranos;
Michelle DeYoung, Simone Schröder; contraltos;
Johan Botha, tenor; Hanno Müller-Brachmann, baritone; Robert Holl, bass
Staatsopernchor Berlin
Prague Philharmonic Chorus
Aurelius Sängerknaben, Calw
Staatskapelle Berlin, Pierre Boulez
Berlin, 9 April 2007
-david gable

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