BaL 3.03.18 - Mahler: Symphony no. 7

[visualnickmos]

I liked Johnson's recommendation very much, but can one obtain it without all that shouting at the end?

That really does spoil the moment. For me, enough to stop me wanting to own it.... a pity; however, Abbado's Chicago recording is damn spectacular.

[ferneyhoughgeliebte]

curious that Abbados 1984 CSO recording was always thought to be the best , anyone agree?

No.

[ferneyhoughgeliebte]

Did SJ compare the Abbado recordings ? I missed the start and heard him comparing the 1960s and 80s Bernstein recordings.

Not to the extent that he compared the two Bernsteins - there was no illustration from the CSO recording, just a mention that he thought the earlier one was good, but not as good as the BPO. (Similar treatment with the Haitinks - the CO recording mentioned, but the BPO regarded as so much better that it wasn't mentioned again.)

[Eine Alpensinfonie]

I liked Johnson's recommendation very much, but can one obtain it without all that shouting at the end?

All they had to do was to isolate the applause on to a separate track.

[Richard Barrett]

I listened to Celi this morning. It's not often one hears such a beautiful, detailed yet integrated orchestral sound. (I didn't get as far as the Te Deum which fills the second CD. Actually I'm not sure I've ever got round to hearing that work.) I am going to have to alternate between this and Giulini in future, and maybe a quicker one like Venzago.

[underthecountertenor]

I don't know why audiences don't have the patience to wait for maybe, just a few seconds to wait, to digest what's been going on then erupt into applause.

I can certainly see the sense of that with works that end introspectively (e.g. Mahler 9), and even where the acoustic effect of the echo is obviously part of the intended effect (e g Mahler 3, especially in say the RAH - remembering Haitink’s clearly agonised reaction to a yahoo a couple of summers ago). But to expect ‘a few seconds silence’ at the end of Mahler7, especially in an account like Abbado’s, is surely absurdly unrealistic. I imagine that it would have perplexed Mahler, and Abbado. For me the reaction here is appropriate and integral to the live experience captured by the recording.

In amongst all the nit-picking about overlooked recordings, no one seems to have mentioned the overall quality of Johnson’s survey. I’d say it was exemplary, and I regret the loss of his voice as a regular R3 presence.

[underthecountertenor]

I listened to Celi this morning. It's not often one hears such a beautiful, detailed yet integrated orchestral sound. (I didn't get as far as the Te Deum which fills the second CD. Actually I'm not sure I've ever got round to hearing that work.) I am going to have to alternate between this and Giulini in future, and maybe a quicker one like Venzago.

I think you’re talking about a different 7 here, Richard!

[Richard Barrett]

I think you’re talking about a different 7 here, Richard!

Umm yes you're right

[underthecountertenor]

Umm yes you're right

It’s the better 7 though, I’d say!

[Beef Oven!]

It’s the better 7 though, I’d say!

Sew wood eye

[Keraulophone]

Sew wood eye

Do I detect Afferbeck Lauder disorder, first suspected in #64?

[Beef Oven!]

Do I detect Afferbeck Lauder disorder, first suspected in #64?

Not a disorder, just gray chooma!

[Keraulophone]

Not a disorder, just gray chooma!

Egwettergree.

[Beef Oven!]

Egwettergree.

Yes, mirsten choiple

[Bergonzi]

I have the CSO Abbado CD which is pretty good, as well as a Horenstein version from 1969. However, I was very impressed with the Klaus Tennstedt examples he played, and thought them the best.