BaL 3.03.18 - Mahler: Symphony no. 7

[HighlandDougie]

Solti captured my imagination because it might be interesting to listen to his 'affected' way in this work as an alternative to the Boulez, or even Abbado's Chicago.

Beefy - PM me your address if you want a gratis copy of the Solti on CD (I have a spare CD - I recently acquired the recording as a hybrid SACD).

[Beef Oven!]

Beefy - PM me your address if you want a gratis copy of the Solti on CD (I have a spare CD - I recently acquired the recording as a hybrid SACD).

Many thanks HD, I will take you up on that kind offer ......

[Petrushka]

I have just listened to this through on iPlayer and for me it was quite a disappointing BaL. Perhaps I set my expectations too high, given the 'status' of this amazing work. I have the recommended choice, but rarely feel compelled to pick it off the shelf; much preferring Boulez, Gergiev, Abbado's Chicago and the earlier Bernstein on Sony. I'm not sure that I even heard Boulez mentioned. Shame, because his performance really sets out the wonderful clarity of Mahler's orchestration in this complex work.

What did catch my ears though was the Rattle and the Solti. Rattle is something of a dark horse for me. He's not figural, but seems to crop up here and there with some rather excellent performances and the snippet of his M7 sounded super. Solti captured my imagination because it might be interesting to listen to his 'affected' way in this work as an alternative to the Boulez, or even Abbado's Chicago.

I was present at Rattle's 1989 CBSO Prom performance and in a brief conversation with him afterwards he told me that they were taking it into the studio the next day. In the event, Rattle wasn't happy with the result and the recording was never issued. Presumably it still sits in the vaults somewhere. The eventual live recording from 1991 given in the Snape Concert Hall isn't quite ideal either but is still pretty damn good.

Solti's is a super-turbo charged virtuoso 'concerto for orchestra' which is undeniably exciting, in thrilling sound too which suits Solti's way with the score. It was my first Mahler 7 and I still like it a lot. Those Chicago horns at the very end, though. Oh yes, that's how it should be!

Haitink's best recordings are his live ones, both with the Concertgebouw first in 1969 and then in 1985. The 1969 performance is in the RCO125 set so an expensive way to get it but it has popped up on TTN in the past and might do again. There are also availability issues with the Christmas Day 1985 performance but worth seeking out. The 1969 Concertgebouw studio recording has never been issued separately but it would make a fine recommendation if it was. Both the 1982 Concertgebouw and 1992 BPO recording are more studio bound. The 1985 performance is also on DVD and there is BPO DVD out there as well but there are availability problems again. Probably on youTube though. The 1985 Christmas Day concert would be my pick of all the Haitink performances.

[Beef Oven!]

I was present at Rattle's 1989 CBSO Prom performance and in a brief conversation with him afterwards he told me that they were taking it into the studio the next day. In the event, Rattle wasn't happy with the result and the recording was never issued. Presumably it still sits in the vaults somewhere. The eventual live recording from 1991 given in the Snape Concert Hall isn't ideal either but is still pretty damn good.

Solti's is a super-turbo charged virtuoso 'concerto for orchestra' which is undeniably exciting, in thrilling sound too which suits Solti's way with the score. It was my first Mahler 7 and I still like it a lot.

Haitink's best recordings are his live ones, both with the Concertgebouw first in 1969 and then in 1985. The 1969 performance is in the RCO125 set so an expensive way to get it but it has popped up on TTN in the past and might do again. There are also availability issues with the Christmas Day 1985 performance but worth seeking out. The 1969 Concertgebouw studio recording has never been issued separately but it would make a fine recommendation if it was. Both the 1982 Concertgebouw and 1992 BPO recording are more studio bound. The 1985 performance is also on DVD and there is BPO DVD out there as well but there are availability problems again. Probably on youTube though. The 1985 Christmas Day concert would be my pick of all the Haitink performances.

Thank you Pertrushka, very ınterestıng. You have been to some pretty good gigs down the years! I look forward to getting my hands on that Solti and will look around on YouTube for some Haitink.

I ought to have mentioned Sinipoli's M7, too.

[richardfinegold]

I was present at Rattle's 1989 CBSO Prom performance and in a brief conversation with him afterwards he told me that they were taking it into the studio the next day. In the event, Rattle wasn't happy with the result and the recording was never issued. Presumably it still sits in the vaults somewhere. The eventual live recording from 1991 given in the Snape Concert Hall isn't quite ideal either but is still pretty damn good.

Solti's is a super-turbo charged virtuoso 'concerto for orchestra' which is undeniably exciting, in thrilling sound too which suits Solti's way with the score. It was my first Mahler 7 and I still like it a lot. Those Chicago horns at the very end, though. Oh yes, that's how it should be!

Haitink's best recordings are his live ones, both with the Concertgebouw first in 1969 and then in 1985. The 1969 performance is in the RCO125 set so an expensive way to get it but it has popped up on TTN in the past and might do again. There are also availability issues with the Christmas Day 1985 performance but worth seeking out. The 1969 Concertgebouw studio recording has never been issued separately but it would make a fine recommendation if it was. Both the 1982 Concertgebouw and 1992 BPO recording are more studio bound. The 1985 performance is also on DVD and there is BPO DVD out there as well but there are availability problems again. Probably on youTube though. The 1985 Christmas Day concert would be my pick of all the Haitink performances.

Hmm. I’ve never heard the Solti/CSO Seventh. Actually, for reasons that I can’t fathom, I always excluded the hometown Orchestra under his baton from my Mahler collecting, except the Fifth, which was my only recording for some time. My local library seems to have most of those Solti/CSO recordings and I have now heard most of them but not 7. I will have to see if it’s downloadable.

[Richard Barrett]

I'm reminded now that the only Mahler recording by Solti I've heard is the 8th, which was also the first Mahler I heard, and which, I guess, was responsible for getting me hooked. Must listen to the others soon. When I was listening to the record, way back then, my father (who wasn't much interested in music of any kind) remarked something along the lines of "this sounds like it's halfway between Beethoven and that avant-garde stuff you listen to". One of those unintentionally profound things parents say that they have no idea will stick in their children's minds forever.

edit: curiosity got the better of me and I sat listening to the first movement instead of going shopping. Wonderful! Although I'm not keen on the way some conductors including Solti play the string tremoli in the opening bars (and the recurrences of this material) as measured and synchronised. I wonder what the justification for this is, I've never managed to find out.

[Barbirollians]

I bought the LSO/Solti 1 and 2 a few months back but have not had the chance to give them proper attention. I am reminded to do so.

[waldo]

Any Jonathan Nott/Bamberger fans out there? I haven't heard his seventh, but I've really enjoyed his 3rd, which I've been listening to for a couple of weeks. I am tempted by the boxset, but that will probably have to wait for the next birthday.......

[richardfinegold]

I listened to a good chunk of Solti’s Seventh while exercising at the gym via Apple on my phone. Not ideal listening conditions, of course but what I heard really grabbed me. I realize that the in-your-face, testosterone laden, primary colors interp May put many off here, and even Bernstein can sound inhibited in comparison, but it worked for me, and links the Seventh more than I had ever thought of before to the Sixth

[HighlandDougie]

Any Jonathan Nott/Bamberger fans out there? I haven't heard his seventh, but I've really enjoyed his 3rd, which I've been listening to for a couple of weeks. I am tempted by the boxset, but that will probably have to wait for the next birthday.......

From memory (my copy is in Scotland when I am in France), Nott's 7th is one of the strong points of his GM cycle - like the 3rd, which I much like, but not the 9th. If one's ideal in Mahler is, say, Solti (as recorded in 1970) , then maybe not for you. But, if you like a thoughtful but never dull approach which lets the music speak for itself rather than feeling the need to point up particular passages, I wouldn't hesitate. SJ did at least mention it in positive terms, if BaL approbation is important. Also from memory, it's really well recorded (unlike Abbado in Berlin), especially in SACD surround mode.

[waldo]

..... if you like a thoughtful but never dull approach which lets the music speak for itself rather than feeling the need to point up particular passages, I wouldn't hesitate. SJ did at least mention it in positive terms, if BaL approbation is important. Also from memory, it's really well recorded (unlike Abbado in Berlin), especially in SACD surround mode.

Yes, I thought the sound was just outstanding, even on my system. On balance, I do seem to prefer Mahler when there isn't too much "pointing" and probably also when the mood-swings etc are reined in a touch. I will look out for more Nott, anyway.

[Barbirollians]

Any Jonathan Nott/Bamberger fans out there? I haven't heard his seventh, but I've really enjoyed his 3rd, which I've been listening to for a couple of weeks. I am tempted by the boxset, but that will probably have to wait for the next birthday.......

Yes see above - I liked the Second too except for the mezzo who has a hint of the wobbles.

[Prommer]

There are three Tennstedt recordings of the 7th (as far as I know). The 'official' EMI recording, a live 1991 RFH performance also on EMI and a live 1980 one issued on BBC Legends. This last is a wonderful, thrilling performance, given in the Usher Hall, Edinburgh and I'd bet that this is the one you recall. Needless to say, I have all three.

EDIT: See Alison got there first, but at least we agree.

Listening to the 1980 Edinburgh performance now: thrilling indeed! Why, I wonder, did his interpretation deteriorate in the space of 10 years when one would expect it to have matured?

[ferneyhoughgeliebte]

Three recordings altogether, PG. Early eighties studio, 1980 Edinburgh Festival (BBCL) and early nineties live. I imagine only the first would have been available on tape. Of these the BBC Legends disc is the pick.

There are three Tennstedt recordings of the 7th (as far as I know). The 'official' EMI recording, a live 1991 RFH performance also on EMI and a live 1980 one issued on BBC Legends. This last is a wonderful, thrilling performance, given in the Usher Hall, Edinburgh and I'd bet that this is the one you recall. Needless to say, I have all three.

Did anyone notice if SJ made clear which "Tennstedt recording" he was using as reference? In addition to the Studio version (which I referred to earlier, and which I presumed was what SJ was using) there's a Live recording from the Edinburgh Festival which I didn't know about. All Tennstedt Live Mahler performances I know sweep his Studio versions into a huddled heap in the corner; if that it what's happened here, no wonder it sounded so good!

I must pay attention in class.
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I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.
I must pay attention in class.

[Prommer]

With such a work like this, surely more time could be devoted to the reviewer?

I am sure he would be delighted to add a few words about himself.