Symphony No. 7: Rondo - Finale: Tempo I - Allegro ordinario
The Seventh remains the least well-known of all Mahler's symphonies. Precisely because its material is so enormously wide-ranging, its colors so thrillingly kaleidoscopic, this work is also perhaps the one from all the com... more »poser's canon most reliant on a knowing, strong-willed interpretive presence. This Michael Tilson Thomas provides in spades in one of his finest performances on disc. The Seventh has been given the picturesque epithet "Song of the Night" because of its preoccupation with a nocturnal sound world, by turns creepily unsettling and sweetly charming in the three middle movements. But MTT clearly understands what's at stake here in the larger architecture of the piece, particularly in the problematic, ambiguous meanderings of its two gigantic outer movements. He keeps the flow of invention keenly on course from the marvelous cantorial tenor horn opening against dark, plodding chords, so that the expanse of Mahler's imagination has freedom to roam but with purpose. The juxtapositions of richly characterized solos with ensemble work of brilliant choreography from the London Symphony seem to constantly open up new sonic vistas, perhaps most tellingly in the Elysian chimera announced by sweeping harp glissandi at the development's climax. MTT's sense of scale is right on target for the strange rhythms of the spectral scherzo and for the enchanting intimacy (cum mandolin and guitar) of the serenading second "Nachtmusik." In an Amazon.com interview, MTT compares the finale to "having psychotic breaks while conducting a performance of Meistersinger." While several notches below the seismic force that propels Bernstein's exuberant second recording of the Seventh, this account conveys its emotional richness and insight in thrilling recorded sound. The booklet notes are by one of the best in the business, Michael Steinberg. --Thomas May« less
The Seventh remains the least well-known of all Mahler's symphonies. Precisely because its material is so enormously wide-ranging, its colors so thrillingly kaleidoscopic, this work is also perhaps the one from all the composer's canon most reliant on a knowing, strong-willed interpretive presence. This Michael Tilson Thomas provides in spades in one of his finest performances on disc. The Seventh has been given the picturesque epithet "Song of the Night" because of its preoccupation with a nocturnal sound world, by turns creepily unsettling and sweetly charming in the three middle movements. But MTT clearly understands what's at stake here in the larger architecture of the piece, particularly in the problematic, ambiguous meanderings of its two gigantic outer movements. He keeps the flow of invention keenly on course from the marvelous cantorial tenor horn opening against dark, plodding chords, so that the expanse of Mahler's imagination has freedom to roam but with purpose. The juxtapositions of richly characterized solos with ensemble work of brilliant choreography from the London Symphony seem to constantly open up new sonic vistas, perhaps most tellingly in the Elysian chimera announced by sweeping harp glissandi at the development's climax. MTT's sense of scale is right on target for the strange rhythms of the spectral scherzo and for the enchanting intimacy (cum mandolin and guitar) of the serenading second "Nachtmusik." In an Amazon.com interview, MTT compares the finale to "having psychotic breaks while conducting a performance of Meistersinger." While several notches below the seismic force that propels Bernstein's exuberant second recording of the Seventh, this account conveys its emotional richness and insight in thrilling recorded sound. The booklet notes are by one of the best in the business, Michael Steinberg. --Thomas May
"No doubt about it, this is one of the finest Sevenths ever recorded. At no point does it feel like the conductor is simply letting the music go off on its own. Every single phrase has a purpose and is executed with intent. The playing is of course, faboulous. Don't miss out on this one."
The best recording of Mahler 7 after Bernstein
Prescott Cunningham Moore | 03/28/2004
(5 out of 5 stars)
"Who would have thought that Michael Tilson Thomas and the London Symphony orchestra would produce the best digital recording of Gustav Mahler's difficult 7th symphony. But indeed, MTT has given us here a recording that will stand the test of time.
Mahler's 7th symphony is a difficult work to perform, conduct, and understand. Its length of nearly eighty minutes, the huge orchestral forces needed to carry out the work, and the complexity of the writing all have contributed to this symphony being the least performed and understood of all of Mahler's works. But it need not be. The general move from the E-minor introduction to one of Mahler's brightest finale's in C-major is very striking. The two night pieces, one dark, one light, offer beautiful pastoral sketches of the austrian country side. The menacing scherzo, although difficult, acts as a mysterious vision into the future. The symphony is filled with rich themes and Mahler's most brilliant and inspired orchestration. All in all, the 7th need not be the misunderstood work that it is. It has all of Mahler's hallmarks - rich themes, large climaxes, complex, but logical forms - but seems more modern and enigmatic than his other works.
MTT handles this complex work masterfully. He allows the opening motif on tenor horn to unfold naturally, flowing into the main theme of the allegro. The allegro is wonderfully paced, especially the developmental interludes, which unfurl themselves mysteriously in MTT's hands. The two night pieces are wonderfully played; MTT brings out all the nuances in part writing. The scherzo, the only movement that gives MTT some trouble, is still played convincingly. The finale is powerful, grand, and executed with acute articulation and intelligence. The percussion is lively, the winds crisp, the brass well balanced, and the strings richly thick. Overall, Michael Tilson Thomas gives an extremely intellectual, yet extremely dramatic and pleasing reading of this symphony. Highly recommend. This version is preferable to MTT's recent, disappointing rendition with the San Francisco Symphony which pales in comparison."
The best Mahler 7th!
Timothy Mikolay | Pittsburgh, PA | 10/31/2000
(5 out of 5 stars)
"I've heard them all, from Klemperer, Neumann, Abbado and Solti, to Maazel, Inbal, Horenstien, Levine and Boulez. This is excellent. Thomas has brought some real virtuosity and depth to this rendition almost to make one believe that this was recorded at a concert. There is such electricity and passion here but it's conveyed in all the right places, and especially at the right times. The depth of the instrumentation is also very well realized here thanks to the excellent Walthamstow acoustic and the work of BMG engineer Markus Heiland. This is a great, aural opportunity to get to know this symphony and possibly the best recorded 7th in the catalog today!"
A Benchmark Performance
John A. League | Northern Virginia | 05/27/2004
(4 out of 5 stars)
"Perhaps the least loved of Mahler's symphonies, the Seventh gets a fine treatment here from MTT and the London Symphony. While not electrifying or especially dramatic, I find the performace compelling in its simplicity and execution.The first movement is stately in a way I've not often heard, emphasizing the march-like qualities of the opening rather than creepiness of the strings and tenor horn. (By the by, this is the best tenor horn solo on record. Ian Bousfield plays with a crystal-clear sound that brilliantly invokes the unusual timbre that Mahler wanted.)As one would expect from the LSO, the middle movements are achievements of craftsmanship, executed in exquisite detail without the overt melancholy that pervades some recordings--which is not to say that the performance is merely perfunctory.The final movement--almost incongruous with the balance of the symphony in its triumph and cheerfulness--is paced slower than one might expect (especially if you first heard this symphony as I did a la Solti or Levine with Chicago), but I rather like it. The otherwise superb playing is marred somewhat here by poor balance in the brass section toward the end.While the Horenstein recording is more invigorating, I cannot in good conscience recommend that recording--mainly because the trumpet player misses notes in the fanfare-like opening to the final movement. MTT has done a fine job presenting a coherent, high-quality program with the skillful playing of the London Symphony."
Track Listings (2) - Disc #1
