I have to wait for mine, still! Grr!
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Don’t cry for me
I go where music was born
J S Bach 1685-1750 -
Has M7 ever been the subject of a BaL?
K."Let me have my own way in exactly everything, and a sunnier and more pleasant creature does not exist." Thomas CarlyleComment
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Yes at least once, but quite a long time ago - late 80s. I know because I was so fascinated that I wrote in and one thing led to another and I received in the post from the reviewer (I'm 95% sure it was Michael Kennedy) the typescript of his analysis. I still have it somewhere. I know that the (then recent) 1984 Abbado/Chicago performance was chosen.Originally posted by Karafan View Post
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Originally posted by Caliban View Post
Market distortion is a wonderful thing........Rumpole and his thirst for commission means the BAL winner is now being given away on Amazon Marketplace .....I have purchased and find it, as promised above, quite wonderful.
I shall now await the vast overproduction of Gielen that is sure to follow this thread to pick it up for a few pence at Christmas.......Comment
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"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Take care, a similar flurry of promotions for the Krivine Beethoven Symphonies box resulted in its selling out fast. Those who missed out on the initial run had to either pay a premium for used copies or wait for the re-issue (no price drop on the original issue).Originally posted by antongould View PostComment
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Wow, what a performance! I can warmly endorse Caliban's enthusiasm for this disc which arrived today and played this evening.
Everything, and I mean everything in this amazing score can be heard and I registered countless fresh detail never before noticed. If this implies some degree of cold calculation in the interpretation then nothing could be further from the truth. There's no lack of romantic passion and excitement here. Percussion is brilliantly caught by the microphones and it was good to catch that side drum entry around 19 minutes into the first movement which so often gets submerged in the general welter of sound but needs to be heard in order to give the right degree of thrilling forward momentum at this point. It's crystal clear in this performance.
It's a complete mystery to me why successive DG and EMI engineers have encountered such difficulty with the Philharmonie acoustic when their radio counterparts can really deliver the goods.
I won't be throwing out my Haitink 1987 Christmas Day concert (as if!) but the Gielen complements it perfectly. Two very fine performances caught on the wing and we're lucky to have both.
Testament have a winner with this CD and should pump it for as much publicity as they can get. Bravo to all concerned and many thanks to Caliban for the alert."The sound is the handwriting of the conductor" - Bernard HaitinkComment
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Oh dear! Having read through all the posts on this thread I can feel a Gielen moment coming on. In fact, to say truth, it's already come and gone and Amazon will be despatching the Testament CD to me. I already have the Gielen cycle on Hänssler and look forward eagerly to appreciating the differences in impact pointed out by Caliban.
My attachment to the Seventh came about largely through the Abbado/Chicago recording, since when I've invested in the Solti, the Chailly, the Gergiev and several others. Don't think too much of the Gergiev, but the Gianandrea Noseda performance with the BBC Philharmonic on the BBC Music Magazine label is quite impressive. Recommendations in the latter organ usually conclude with recordings to be avoided, so here I would suggest that two to be emphatically shunned are Maazel with the VPO and Klemperer with the New Philharmonia. I heard the Klemperer for the first time only the other day, having bought the recently released EMI box set of Klemperer's Mahler, and was astonished by a real "car crash" of a performance, the first movement just falling into incoherence through the most bizarrely erratic and usually ponderous tempi. In fact I found it so irritating that I couldn't even be bothered to listen to the final movement. What was he thinking? Did he not have any sympathy for the work? Was he ill?Comment
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Originally posted by Petrushka View Post
V glad to read that, Pet !
And happy listening, Nachtigall, as and when!
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Rather good, Cali, to having your recording endorsed by other members!Don’t cry for me
I go where music was born
J S Bach 1685-1750Comment
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Yes! Thank you for that, Cali. It would have passed me by otherwise!Originally posted by Brassbandmaestro View PostComment
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The packet arrived and, about to put in the CD drawer, I suddenly noticed that I was clutching a copy of Klemperer's Act 1 of Die Walkure with Helga Dernesch. No doubt the person in Germany for whom it was intended now has my Mahler 7th. Grrr!Comment
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Bloody hellOriginally posted by HighlandDougie View Post
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Baffling review of the Testament Gielen by Peter Quantrill in the September Gramophone. If anybody can explain to me what he's saying and whether he's actually recommending it I should be grateful. But perhaps it's not worth bothering.
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