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Most Helpful Customer Reviews
19 of 19 people found the following review helpful:
5.0 out of 5 stars
Abbado and Berlin in a triumphant performance,
By
This review is from: Mahler: Symphony No.7 ~ Abbado (Audio CD)
This outstanding new Mahler 7th is a testament not only to the piece itself - one of the most difficult of Mahler's symphonies to bring off - but to one of our greatest living conductors. Abbado's earlier version with the Chicago Symphony Orchestra was excellent, but this live recording is really very special. From the opening measures of the sober march, to the riotously exciting pages of the finale, the performance seems to cohere in a way that lesser conductors can only imagine.In between, Abbado directs possibly the spookiest sounding "Scherzo" I have ever heard, sharply articulating the bizarre sound effects, and the two shorter "Nachtmusik" sections are lovely. The final "Rondo," however is the section that I will replay most often. Somehow this movement never quite seems to be the climactic ending that it should be, but not with Abbado. As in the rest of the symphony, he takes it at quite a clip; perhaps for this particular work, faster is better. And "fast" only begins to describe the richness on display. This is utterly thrilling music - as wild and Mahlerian as it gets - and the ending is capped by a long ovation from an obviously enthralled audience. With the Berlin Philharmonic in cracking form, this is a magnificent document and a superb example of live recording at its best.
13 of 13 people found the following review helpful:
5.0 out of 5 stars
Among the finest,
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This review is from: Mahler: Symphony No.7 ~ Abbado (Audio CD)
In my opinion, this is the pick of the lot among the latest series of live Mahler performances (the other two being the 3rd and 9th, both of which I find to be distinctly underwhelming, the 9th more so, compared to the best) by Abbado and the Berlin Phil. Here, Abbado's effectiveness in bringing out voicings and textures, together with his sensitivity to the Wunderhorn qualities of this music, impart both a lyric grace and beauty to the two Nachmusik movements, and a spiky spookiness to the Scherzo, that make both Bernstein-Sony and Solti sound rather plain by comparison. Moreover, Abbado also surpasses both of them in achieving a grandeur in the closing pages of the final movement, which, to me, renders it a truer climax for the whole work. The only criticisms of this recording I would make is that the epic first movement in Abbado's hands just sort of lays there, lacking either Bernstein's emotional intensity or Solti's muscular rhythmic drive, and the recording is somewhat lacking by current standards in both dynamic range and upper octave extension. Nevertheless, this is one of the best performances I have heard on CD.
10 of 10 people found the following review helpful:
5.0 out of 5 stars
Spectacular Mahler/Abbado.....a definite must-have!,
By
This review is from: Mahler: Symphony No.7 ~ Abbado (Audio CD)
Listeners have for some time been told that the 7th is Mahler's toughest nut to crack, that conductors bravely recording their way through their cycle of Mahler symphonies seem to always founder when confronted with this score. And indeed, I can think of a few outings that were less than stellar.
Fortunate for us, then, that the Mahler 7th has evolved into something of an Abbado specialty. His earlier recording with the Chicago Symphony has been a catalog mainstay for years, and still sounds quite well. So, what is there to say anew in this 2001 live performance with the Berlin Philharmonic? As luck would have it, plenty. This is simply one of the most brilliant, incisive, thrusting, and supremely artful performances of a Mahler symphony that I've ever heard. Pacing is a bit on the brisk side. From the opening string figures, tenor horn solo, and wind accents, it's quite evident that Abbado is building momentum. And, it's achieved without any neglect of any of the ur-Mahlerian color and instrumental effects that lend his music the ability to conjure nightmare and ecstasy in the same phrase. The second and fourth movement Nachtmusik interludes are completely magical, with time standing still one minute--trademark cowbells and distant solo voices at their spookiest--and then twirling forward in gossamer fashion. Guitar and mandolin in the fourth movement "andante amoroso" are splendidly caught, enhancing the chamber-like moment. The fifth movement "rondo finale" soon arrives, generously recapitulating all that has gone before. Here, as they have indeed in each preceding movement, Abbado and the Berliners emphasize the classic symphonic structure that lies just below Mahler's rich late-romantic palette. One senses the spectre of Karajan in the Berlin orchestra's commitment to presenting the musical architecture with characteristic vigor, but it is enhanced by a mercurial quality, an ingredient with which Abbado seems to imbue almost every live recording--not only with this orchestra, but others (his recent outings with the reconstituted Lucerne Festival Orchestra come strongly to mind). It truly is a musical magic spell that has been woven here, with Abbado's wand deftly applied to this, Mahler's most magical score. No matter whose Mahler 7th you're personally devoted to, you really need to hear this.
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