In may of this year, the David Zinman cycle of Mahler symphonies was released. The 15-CD set includes recordings of all ten symphonies, including the discarded Blumine movement of the First Symphony, and Clinton A. Carpenter's performance version of the Tenth Symphony. Also included in the set is an 80-minute documentary on the rehearsal and recording of the Sixth Symphony.Zinamn has held successful stewardships with the Baltimore Symphony Orchestra and the Tonhalle-Orchester Zurich, his current position. With the latter orchestra, Zinman recorded all of the Beethoven symphonies using Jonathan Del Mar's critical edition, and this cycle garnered critical acclaim and raised the visibility of Zinman and the Tonhalle-Orchester Zurich. The use of Del Mar's critical edition and Zinman's direction present a refreshing take on Beethoven's symphonies, including the use of early-19th century performance practices that are absent even in most period instrument recordings.
Having heard Zinman's Beethoven cycle, I was intrigued to hear his approach to Mahler. Zinman began his Mahler cycle in 2007, and four years later all the symphonies have been released. So far I have listened to the first three symphonies, and I can describe Zinman's interpretation using two words, balance and clarity. Every motive, whether combined with other motives or intertwined with other motives, comes to the fore, demonstrating a remarkable command of the score and the different groups of the orchestra. I intend to present a symphony by symphony review of the set. Stay tuned!
