Customer Reviews

Mahler: Symphony No. 7

5 star:		(10)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

A choice between this 1985 live recording and the "studio" set Bernstein made 20 years earlier, with the same orchestra in the same hall, isn't clear-cut. In both recordings Bernstein is among the leading exponents of this very unwieldy and difficult symphony, and he's got the best orchestra of anyone who has truly grasped the Mahler Seventh (others include Horenstein, Inbal, and the underrated Tennstedt). The older rendition has that thrill of discovery you find throughout Lenny's mid-'60s Mahler series (now available singly or in a boxed set on Sony), and it comes in about four minutes faster, so it can fit onto one mid-priced CD versus the two full-priced and poorly-filled discs here. And the mid-'60s New York Philharmonic had more "soul" than their mid-'80s counterparts.

However, even though I prefer the 1965 Seventh for the reasons cited above (and also for sound quality--nothing special, but far easier on the ear than the harsh, shrill sonics of this early-digital production), this remake, which is the best thing about Bernstein's mid-'80s Mahler series, does hold together a little more cohesively. That's no small detail in this above all of Mahler's other symphonies. At the same time, the sense of mystery has deepened--and that's no small detail in this case, either. Also, the New York Philharmonic, if a little more strident than the folks who played under Lenny's baton 20 years earlier, are technically a more polished ensemble than the New York Phil of 1965.

Put it this way, though: With either of Bernstein's Mahler Sevenths, you're getting one of the finest recordings available, even if each has a few points in its favor compared to the other. I'd give it 5 stars but for the recorded sound, which is a black mark in DG's annals.

I am coming to this Mahler symphony a bit later than the rest, it's so incredibly complex and layered. Motives almost constantly transform, as they pass from one group of players to another group, sometimes almost right in the middle of a rising or descending musical phrase. The CD at hand is the second time around for Bernstein and NYPO. They first did it in the complete CBS-Sony set (still available). I have also heard the likes of Abbado-Chicago and Boulez-Cleveland; and while I find myself admiring those highly polished, cool performances, I don't find that they tell me anything very deep about Mahler.

This recording, in contrast, almost never seems to fail to speak in a recreation of Mahler's characteristic voice. Every second of every phrase is emotionally inflected, and the narration ... although quite complex in many passages .... never seems to completely falter. Of course, some people find themselves allergic to the older Bernstein, who tended to bring a sense of rubato, ebb and flow, to almost everything he re-recorded for the DG catalogue. In this case, he got it completely and irresistibly right. Yes, he speeds up. Yes, he slows down. But he is always shifting and dreaming, exactly with the phrase. Bernstein is on record, saying something like, we were dreaming together when we did this seventh of Mahler's. You might agree with him when you hear the orchestral elan the NYPO mustered on these discs. Every department is captured in fine detail, which as it happens serves this music so well just because there is always so much going on in it's polyphony.

The dark night of the soul that Mahler captured in the two night music movements is never entirely calmed or stilled. And the bounding energies that Mahler unleashes in the two outer movements bring an intense brightness to balance the dark night's mysteries, without ever quite dispelling our awareness that, no matter how high the noon, night will fall. And what night. Mahler's night, in these performers' hands, yields up almost oriental perfumes in some passages, or the rasping sounds of crickets in other places, or the rustle in the forests that will let you know every night predator is hungry and on the prowl for red meat.

Well, with the Mahler 7 you have to pick and choose. If Halloween is one of your favorite holidays, and you stay up late to watch old Dracula movies; you will probably love the Mahler 7 in general, and this performance in particular. You will find yourself smack dab right in the middle of Edgar Allen Poe country, with Austrian and Bohemian Slavic frights to sweeten and spice up your visit to the haunted realms, once the sun has fallen behind the horizon.

A comment on the sound. One poster described it as shrill. I don't find that true as I listen tonight. The sound is quite panoramic and lets the different bands in the orchestra flex all their muscle, this way and that, without every losing depth and tonal warmth. In fact, I hope this recording gets remastered in SuperAudio soon. Multichannel if the master tapes permit. It reveals the whole of Mahler, who said after all, a symphony must contain the whole world. So, take the leap, and you can see what makes the seventh symphony both so alluring, as well as so greatly challenging to so many musicians. I have heard fans say that Bernstein could be the equal of Furtwangler, on a good night. This performance was captured on very good nights, indeed.

Five stars, then, going on however many you think you can count in a dramatic night sky while you listen to this recording.

Some may prefer a less passionate account of Mahler's 7th Symphony, opting for celebrated recordings made by the likes of Solti and Abbado among others. Yet this splendid interpretation is the best Mahler 7th symphony ever recorded. I doubt I have heard the New York Philharmonic play with such enthusiasm and technical brilliance, matching its peers in Amsterdam, Berlin, Vienna and Chicago. Bernstein leads them in an emotionally riveting performance, replete with angst, warmth and love. It's literally a headlong rush into the depths of Mahler's soul. Who else but Bernstein to be our guide, since he was always faithful to Mahler's intentions. Clearly, this is one of the highlights in Bernstein's Deutsche Grammophon Mahler symphony cycle.

...

I have listened and studied nearly every Mahler 7th on record and I have never heard this piece played more masterfully, tenderly or impassioned. The intricacies of Mahler's score are elicited so well here, I can't help but wonder what Bernstein did to inspire this orchestra. The line of one musical idea to the next, the supple to grandiose dynamics, the overall scope and realization of the mingling voices, the only discs I've ever heard with the "Nachtmusik" effect from beginning to end; this recording for me has gone far and beyond my expectations of other efforts.

If this review hasn't captured the fancy of its reader, then just buy the discs, sit back and experience one of the truly great Mahler accounts of all time.

When one hears Bernstein's approach to this symphony, one can hardly believe this is one of Mahler's 'less popular' symphonies. It's equally hard to make a clear choice between this recording and Bernstein's earlier groundbreaking 7th for CBS (Sony). Luckilly we don't have to make that choice and just enjoy both versions.

This performance (rather darker, more expressive and more robust than the 60's version) truly captures every bit of organized chaos and suspense. The NYP-ers play like never before (just listen to those clarinets, those 'misbehaving' trombones and just about every other orchestral section) and find your ears shuddering when those famous final pages come to a close with the immense, overpowering brass choral. This is the real thing!

The only setback in this recording is, perhaps, the sound, which is like almost all NYP live '80-s recordings for DG a bit on the dim side. But don't let this stop you. When you're looking for a Mahler Seventh that represents more than just an interesting musical intermezzo between the emotional hyperbolic 6th and 8th, than this is the one to get. This recording goes deeper whilst making less compromises than ever before. Well, enough of the superlatives, enough of the wordly recommendations, the listening experience is worth a million words. Not to be missed.

After his first Mahler cycle in New York (Sony), Bernstein returned to his home orchestra three times, for the Second, Third, and Seventh Syms., in his second cycle on DG. He more or less owned the Seventh, which he instinctively understood wtihout having to underline and exaggerate. I'd like to compare the 1965 and 1985 versions, keeping in mind that both have been cited as the "best ever."

Sound: The 1965 Seventh has excellent, clear analog sound. It was made in Avery Fisher Hall, like the later version, and the engineers put us midway back in the hall, so there is no spotlighting. Delicate overlapping and ensemble are more important than visceral impact. The DG engineers move us into the heart of the orchestra, which makes the sound brighter, more immediate and intense. The DG sonics are still clear, though, and digital glare is minimal, thank goodness.

Tempos: In both readings Bernstein stays well within normal range, and until the last movement he keeps the same speeds, exactly so in the long first movement. But the finale in 1985 is almost 4 min. slower--Bernstein has abandoned his earlier thrilling rush. However, the sonics are so much more immediate in 1985 that the two come out about equal in exhilaration.

Interpretation: British critics fostered the canard that Bernstein was excessive in Mahler and grew more so with age. In fact, the 1965 reading is quite delicate and full of finesse; it was Bernstein's genius to catch all the nuances without losing the shape and momentum of the symphony--nothing is remotely fussed over. The 1985 reading is equally detailed, but there is more expressive underlining, to be sure. We are clearly hearing the same basic performance, although the orchestra, perhaps because they are playing live in concert, is scrappier at certain points in 1985 (note the sloppy opening to the finale) than their impeccable coutnerparts twenty years earlier.

Overall, I expected a bigger difference than I heard. Of these two great performances, if you want more detail and naturalness in the interpretation, pick the 1965 version, which is much more economical on its single mid-price Sony CD. If you want sonic impact and the added livelines of a concret, pick the 1985 version on two full-price CDs from DG (not even a filler). Mahler has become such a staple that there are quite a few Sevenths of stature, including Rattle's from Birmingham, both of Abbado's from Chicago and Berlin, and Klemperer from London (the latter is slow and sometimes very slow--be advised). I find both versions from Tilson Thomas lightweight and fussy, and the fascinating Scherchen is stuck with raw recording and an equally raw orchestra--but far from the worst he ever had.

I remain happy with both Bernsteins, yet having heard a transcendent Mahler Seventh from Welser-Most and thhe Clevelanders, I will rush out to buy their CD the moment anyone decides to record it.

I hardly thought I would love the 7th as much as I had loved Mahler's other symphonies such as 5th or 9th. Recently, however, it has become my very favorite. I am now fascinated by its exotic micro-cosmos, colorful sonic spectrum and exotic instrumentation. I am enchanted by its dreamy qualities, nightmarishness and all. Most of all, it's an immensely entertaining piece of music that never shoves any sort of purposefulness in your face. As of now this is my most favorite of all Mahler symphonies.

The three recordings I've been enjoying recently are Abbado's with Berlin Phil, Chailly's for Decca, and Bernstein's DG recording.
The most distinct quality of Abbado's is the dark, veiled sonority of the Berlin Phil. It conveys the mysteriousness that is so characteristic of this piece. As far as the interpretation goes, Abbado doesn't linger on very much. But he does conjure up all the nuances in the music through exquisite phrasing and subtle rubati. The details have been illuminated with utmost craftsmanship but Abbado never loses sight of the representative mood of each movement. However, I would say the unique orchestral color is the main attraction here more so than the interpretative decisions.

The one word that might summarize Chailly's version is detachment - and that's not necessarily a bad thing for this music. His rendition sounds as if you are looking at a series of surreal events from a distance. You're not the person who is dreaming all these bizarre moments. Instead you're watching someone who is. A part of it may be due to the fairly far-mic'ed recording. But it's also because of Chailly's choices in phrasing and tempi. You won't find any trace of rhetorical gestures here. Chailly's is the embodiment of coolness. He and his Concertgebouw crew play up the details as much as Abbado and Berlin Phil do but they sound more like careful observations than involvements. Although this is not the most engrossing kind of performance, it contains some fascinating interpretative insights plus truly shattering climaxes with the percussions captured in full range. The ending is particularly impressive.

Predictably, Bernstein offers the most personalized vision. Here every note matters, which can never be said in Chailly's case. Bernstein injects his personal emotion (and sometimes opinion) into every bar. Lyrical moments are bittersweet. Nightmares are terrifying. The last movement is full of rhetoric that you would have a hard time finding in other performances. This is the version that most fullly exploited this enigmatic work. The downside is, well, it doesn't sound like an enigma anymore after being presented in such a specific way. Everything is stated and nothing is implied. There's little room for listener's own interpretations of the music. Still, it's a small price to pay for arguably the most gripping account of the 7th.

Then what's the choice? If you had read my comparison reviews on Beethoven's late piano sonatas (Brendel vs. Rosen) or Haydn's London symphonies (Jochum vs. Davis) you should be able to guess my recommendation. I wouldn't want to live without any of the three. But if I am forced to choose one, I would go with Bernstein's. As shown in many of the Mahler recordings he made, he simply loved this music more than others did.

Thank goodness DGG has released all of Leonard Bernstein's final recordings, including his "re-thinking" of the Mahler symphonies which he'd already recorded for Columbia years before. I've only heard one live performance of this difficult, incredibly moving Symphony #7--I wish I'd heard it under Bernstein. The sound on these CD's is so good: crisp and very alive, although the recording, itself, is now nearly 15 years old. The New York Philharmonic plays superbly for Bernstein...and, of course, Mahler was a specialty for him and "his" orchestra. The entire symphony is glorious, but the final movement is truly shattering.

What makes this interpretation great is that Bernstein reveals Mahler's Seventh as wildly romantic! Bernstein cuts through that jangle of surface notes to reveal the tenderness hidden within. That is what makes Bernstein the best Mahler interpreter of his generation - his understanding of the romanticism that lies beneath the surface of Mahler's compositions. Buy it without reservation!

I cannot explain the vigorous excitment felt when listening to this performance. Say what you will about most of Bernstein's outlandish conductions, but with such a problematic symphonic score such as Mahler's 7th, "the glove fits." NEVER has there been someone who's passion has met the composer's intentions AFTER DEATH as Bernstein's has matched Mahlers. Trust me, buy this before it's out of print. Even if it turns out not to be your "favorite," it's a recording worth purchasing. Chances are, you'll be listening to it more than the others....Thank You Leonard...