#235 The Smell of Inner Peace

This is Nachtmusik, so there's no surprise it's peaceful and hushed. Apart from that, it also shines the inner light: Combining childhood memories and fatalism, with a few creaks, it's getting you into the mood.

The fanfare for introduction (and its repetitions during the movement) are so beautifully shaped! I haven't been a big fan of Mahler 7 but this one speaks to me.



Composer: Gustav Mahler
Work: Symphony No 7, II. Nachtmusik I – Allegro moderato
Recording: BBC Philharmonic Orchestra, Gianandrea Noseda

#159 The Smell of Klezmer

One may need to hear Uri Caine first to recognize how Jewish this symphony is. It's marvelous how this is pushed a little bit, that is being pulled against it timing... And then, at 5'23'', all the small nets are torn apart with one grand shift. The real trauermarsch starts at 7'46'', when nothing is left and nothing–despite all the attempts–can be built.

Dudamel is very soft and flexible in this recording. Listen to the wheel at 1'09'' and again at 3'01'', how it starts turning. Fresh, subtle account, and very sad. The sorrow of the last minute is unbearable.

Composer: Gustav Mahler
Work: Symphony No 5, I. Trauermarsch
Recording: Simón Bolívar Youth Orchestra of Venezuela, Gustavo Dudamel

#138 The Smell of Obligation

Emotions do not count. You have to go on. Death, victory–you are obliged to listen to the drum. The wheel is turning no matter what. Feind, Feind, Feind!

I've heard Hampson singing Des Knaben Wunderhorn several years ago. He was great and he's still great. Believable, flexible, with intrinsic authority. Here with a chamber orchestra, he's even more convincing. And when the orchestra is rattling bones (4'55''), it forces you to stand up and follow the drum. Trallali, Mr Mahler!

Composer: Gustav Mahler
Work: Des Knaben Wunderhorn, Revelge
Recording: Thomas Hampson, Wiener Virtuosen

#98 The Smell of Deceit

The soprano part in this symphony is normally sung by a woman. However, it tries to cover the deceit, the falsehood of the finale: These are heavenly lies, only children can believe them. If you listen to the symphony from the beginning, if you succumb to it, you realize the irony here.

This text from Des Knaben Wunderhorn should be sung by ein Knabe, a boy. It hits the chord of
naïveté: it's a childish ditty, nothing more. The adults are smiling knowingly and whispering to each other: lovely, lovely.

Composer: Gustav Mahler
Work: Symphony No 4, IV. Sehr behaglich
Recording: Helmut Wittek, Royal Concertgebouw Orchestra, Leonard Bernstein

#90 The Smell of Thirst

Wait for the strings: there's something in the air–slow strain, infinite waiting, determined pulsation. Combine it with the voice: trembling, soft, thirsty, sad.

Ludwig is so convincing you need to yield to her. Her voice is captivating–this song should never end.

Composer: Gustav Mahler
Work: Rückert-Lieder, II. Ich atmet’ einen linden Duft
Recording: Christa Ludwig, Philharmonia Orchestra, Otto Klemperer

#45 The Smell of Determination

Some people say how dark this symphony is. How darksome and obscure the themes are. It's not a melody to whistle, Benjamin Zandler argues.

I smell determination but no darkness. And I like to whistle the march–actually a lot. For me, this is likable music, trying to drag me to its inner world. Gergiev's reading is fast yet non troppo, contrasting. Not happy but definitely exciting.

Composer: Gustav Mahler
Work: Symphony No 6, I. Allegro energico, ma non troppo
Recording: London Symphony Orchestra, Valery Gergiev

#30 The Smell of Naked Calf

Here we have a game, filmed in black and white. Licentious girl is exposing her calf and then she's running away, smiling, to a meadow. There's no lust. For us, it's a comical situation–the film is speeded up a little bit.

In the serious middle section, we expect fun again and we're not disappointed. The music goes fast forward, slows down; it tries to astonish us but it's never enough. We want our heroine back.

Composer: Gustav Mahler
Work: Symphony No 1, II. Kräftig bewegt, doch nichz zu schnell
Recording: London Symphony Orchestra, Georg Solti