Sheer perfection - except for Von Stade
Once again a disc that demonstrates that in Mahler, little more is needed than simply do what the score says. Yoel Levi is a modest conductor in the most complimentary sense of the word. He doesn't impose a "vision" on the music (mostly a euphemism for random distortions) but delves into the depths of the score to coax from his excellent band every last hairpin crescendo, sfz accent and glissando. None of the other recordings I know of the Fourth (Haitink's first on Philips, Maazel, Bernstein (DG), Welser-Möst, Litton, Tennstedt, Chailly, Bertini) has such a precise and refined textural balance, such transparency with everything in the right place. The result is absolutely breathtaking. The piece sounds newly minted, full of fresh wonder - a moving insight into the full riches of Mahler's inspiration. Every movement benefits: the gossamer textures of the first, with marvellous presence for the excellent horns; the strange dance of death in the second, the precise execution of Mahler's dynamics lending a jeering character to the scordatura violin solo; but most of all the heavenly adagio, which literally moved me to tears. Levi and his players not only understand its contemplative beauties, but also its dark undercurrents. The plunge at bar 88 has never sounded so menacing, with violas, cellos, and basses sliding very audibly downwards one after another over an ominous low trumpet chord. A surprising touch is the subito changeover to the Andante in bar 222, a surprise most conductors postpone until the allegretto 16 bars later, but Levi's choice makes perfect sense.

Indeed, everything he does in this recording makes perfect sense - except his choice of soloist. Who is the sole reason I detract a star from my rating. I rather got the feeling that the three page profile of the singer (a larger part of the CD-booklet than is spent on the symphony), which expounds her talents in extravagant terms, is meant to hammer it home that what we hear is greatness. But Frederica von Stade has a dark, vibrato-rich voice that seems to me utterly unsuited to convey the wide-eyed innocence of the concluding song. Worse, her ponderous contribution is too loud throughout, with more then a hint of stridency in top notes. She communicates no feeling at all for the pianissimo mystery of the recurring phrase at the end of each stanza ("Sanct Peter im Himmel sieht zu"). Her throaty vowels are unlovely to put it mildly. Which all together means that this otherwise sublime Mahler 4 ends with a comedown. Which is all the more of a pity because the orchestral contribution is as marvellous here as it was in the other movements. (What a delight, in bar 159, to hear the little tumbling effect that results from the cello pizzicato quavers against the harp's triplets - again a detail brought out by Levi's perfect sense of balance). Overall this disc lands in the same frustrating category as Bernstein's Concertgebouw take: phenomenal in the instrumental movements, but with a finale that misfires. Nonetheless, as with Bernstein, the rewards of the first three movements alone are ample enough to warrant an investment in this disc.

Telarc generously provides the Wayfarer songs as a fill-up, but while Von Stade's approach may perhaps be a little less damaging here, the shortcomings mentioned are as much in evidence as they are in the symphony. The vibrato is so pronounced that it's almost a trill. Uncharacteristically, the orchestra, too, seems a bit literal and lacking in poetry. In all, hardly a first choice for the cycle, but I don't suppose anyone would buy the disc for that alone anyway.

The recorded sound, as nearly always from this source, is extremely fine.

Mahler's kaleidoscopic vision
This is maybe the most beautifully played and recorded (at least in this stereo CD format) Mahler 4 I have ever heard. From the high to low strings, through all of the woodwinds and brass, every instrumental voice and timbre registers as clear as can be, and within a wonderfully natural, nicely blended sound picture. In this recording, Mahler's Fourth Symphony really comes out as the stunning kaleidoscopic vision that it is.
But besides beauty of playing (compare for example Symphony 2 in C Minor: Resurrection, but I think this Fourth is an even greater achievement), the playing is replete with character, and the music has real power when needed, and a real 'spring in its step' from beginning to end. Part II In gemachlicher Bewegung is full of wonderful spine-tingling moments, also (and especially) because the balances between the instruments are so wonderfully clear. The Part III Ruhevoll ('tranquil') is buoyantly and freshly played, full of peaceful anticipation - not as 'mysterious' as some other recordings - and the 'frolicking' parts looking forward to the final song are full of youthful energy, just like the final song of Part IV, sehr behaglich. In the final song, Frederica von stade is recorded rather forwardly, and one has to like this, but I personally do, so I don't mind, especially when one can fully revel in the beauty of her wonderful timbre and characterization. The Lieder eines fahrenden Gesellen are a wonderful 'bonus', and reason alone to buy this album, maybe, even if this performance does IMHO not surpass her excellent 1978 recording with Andrew Davis (Mahler: Symphony No.4; Lieder eines fahrenden Gesellen).
This Mahler 4 can stand with the very best, IMHO. Completely beguiling from beginning to end. Highly recommended.

Autumnal style Mahler beautifully played, superb recording
Most Mahler collectors and enthusiasts have at least a few recordings of each symphony and most likely several of their very favorite Mahler symphony. This recording, so beautiful, clear, so lacking in digital harshness, such detail and dynamic range emerge - that it can fit into any Mahler collection. The ASO give suave, well defined tone, that allows us to hear the full score. While Levi conducts without a neurotic Bernstein character, nor the frenetic "greased pig" style of Karajan, this is world class playing beautifully captured. Tempi are just right. Comparatively, I would opine that this is Levis' best Mahler effort. Von Stade sings beautifully and the Wayfarer songs are most welcome.

Just Right.
This is a great example of a Mahler symphony for those who don't like Mahler. It is brisk, bright and absolutely beautiful. This is a great fall/winter chill-in-the-air-type piece. The scope is scenic and sweeping rather like Sibelius but is given over to an intimate orchestration as deftly masterful as Strauss. If Eine Alpensinfonie describes the physical determination and deserved accomplishment of climbing a formidible mountain, then surely Mahler's fourth could be music for taking the ski-lift. The object is not conquering the majesty of nature, but just to relax and observe its innate beauty. The tunes are grand and escalate with such joy that it is easy to forget you are not listening to a tone poem. Frederica Von Stade lends her flawless voice to both the symphony and the similarly timbred companion piece, Songs of a Wayfarer. She is icing on an already well-frosted cake. The sound quality of this recording is terrific and the blend with Frederica is impeccable. This is a rare recording of great beauty guaranteed to lift your spirits.

Unforgettable Mahler!
The first Mahler that I ever heard was the Szell/Cleveland Orchestra 4th with Judith Raskin on Columbia back in the mid-60's. Though I have not heard that recording in more than 30 years, I've never forgotton the magical, lyrical sound that Szell produced on that LP. But Levi's recording of the 4th is equal to or greater that Szell's version. Levi's recording is almost flawless. I also liked the inclusion of the Wayfarer songs at the end. They are thematically connected with this symphony, and share the same youthful perspective. If you can buy only one recording of Mahler's 4th, let it be this one.