For those of you who may not be aware, this new recording of the Symphony No. 5 in C-sharp Minor by Gustav Mahler (1860-1911), is part of a projected complete cycle of Mahler's symphonies, recently launched on the Pentatone label, performed by the Czech Philharmonic under the direction of Semyon Bychkov. Its inaugural debut only six months ago in April of this year, featured this impressive account of the Symphony No. 4, marked by many expressive dynamic touches.

Taking into consideration the fact that Mahler's Fifth is a completely different beast, this is an even more eloquent performance. When conducting the Fifth, you're not herding sheep anymore, you're taming lions. Written at the onset of the 20th century, this visionary work is about the oppressive pressures on world order, and the struggles to oppose them. The oppressor, that commanding trumpet call which sets the symphony in motion, is very well paced here. And notice how inauspicious and foreboding the Czech Philharmonic cellos and double basses sound on the descending notes starting at the 48 second mark. Following this, the great Trauermarsch (funeral march) begins. It's not for the demise of a single soul, but rather a great lament on the death of a way of life. Gone is the childlike innocence of the 4th Symphony, and the otherworldly concepts at the root of the previous symphonies. It's time to wake up and see the world for what it really is. I believe Gustav Mahler presaged the conflicts to come, and couldn't help but manifest them within his music. If the opening movement of the following 6th Symphony doesn't represent boots on the ground then call me a fool.

If the first movement of the Symphony No. 5 foresees the terrors to come, then the second movement (Stormy, with utmost vehemence) portrays the ensuing conflicts and warfare. Semyon Bychkov lacks some bite here, although he does capture the sadness of it all extremely well. The brighter tone of the following Scherzo movement recalls memories of a better life, where again Bychkov very well captures its more contemplative passages. And starting around the 10:00 mark he well projects the forced "Dance and you shall be happy" sentiment that leads to a frenzied waltz, and closes the movement in spectacular fashion. Both the conductor and orchestra shine in the famous Adagietto movement, with plenty of expressive shaping and dynamic shading, avoiding the trap of its overtly emotional morass. In my opinion this is the movement of the symphony that says: "Only with all-encompassing love will we ever regain the life we had." Its last note gives the cue for the solo horn to launch the final movement, whence instrument by instrument, every member of the orchestra joins into a spirit of brotherhood, which from dissolution to overwhelming joy, completely turns the symphony on its head. During the final two minutes of this performance, it sounds like each and every musician of the orchestra is trying their best to "outjoy" the other ones, which makes for an exhilarating coda to a well-rounded account.