Prom 62: Berliner Philharmoniker and Kirill Petrenko – Mahler’s Seventh (3.09.22)

[LHC]

As well as listening on Sounds, for those who can access the BPO Digital Concert Hall, Petrenko and the BPO also opened the season in Berlin with Mahler 7 a few days ago. That performance (which I imagine won’t be that different to their Proms performance) is now available for viewing in the DCH.

[edashtav]

As well as listening on Sounds, for those who can access the BPO Digital Concert Hall, Petrenko and the BPO also opened the season in Berlin with Mahler 7 a few days ago. That performance (which I imagine won’t be that different to their Proms performance) is now available for viewing in the DCH.

And its review reveals :” The opening Langsam – Allegro risoluto, ma non troppo movement began on the double basses and with a shadowy solo from the tenor horn of Christhard Gössling “

[Keraulophone]

With age, one comes to prefer a dry wine to a sweet, an understated decor to a colourful. In the same way, I've come gradually to prefer Mahler's seventh to his more-obviously-attractive Fifth or Eighth. How about you?

Still prefer the Fifth to the Seventh. I like the Eighth, but not more than one helping a year.

Dry white fine with earlier fish course, but who in their right mind would turn down a chilled glass of Ch d'Yquem with their Roquefort?!

[Keraulophone]

A magnificent M7. Every section of the Berlin PO on blistering form. The richness, ensemble and virtuosity of the first violins, and indeed the rest of the strings, were in a different league to Rattle's LSO in M2, which I also attended. Petrenko kept the outer movements moving along inexorably, while the delicacy of the playing shown in between was worthy of the Vienna Philharmonic. The BPO under it's chief conductor - even with broken toe - seems to have it all.

[Bryn]

A magnificent M7. Every section of the Berlin PO on blistering form. The richness, ensemble and virtuosity of the first violins, and indeed the rest of the strings, were in a different league to Rattle's LSO in M2, which I also attended. Petrenko kept the outer movements moving along inexorably, while the delicacy of the playing shown in between was worthy of the Vienna Philharmonic. The BPO under it's chief conductor - even with broken toe - seems to have it all.

And that phantasmagorical Scherzo! I will be looking out for Mahler recordings from this Petrenko.

[Ein Heldenleben]

A magnificent M7. Every section of the Berlin PO on blistering form. The richness, ensemble and virtuosity of the first violins, and indeed the rest of the strings, were in a different league to Rattle's LSO in M2, which I also attended. Petrenko kept the outer movements moving along inexorably, while the delicacy of the playing shown in between was worthy of the Vienna Philharmonic. The BPO under it's chief conductor - even with broken toe - seems to have it all.

Yes you’re right: the silkiness of the strings was indeed beyond anything I’ve heard a British orchestra produce . To me that’s the main difference . The quality of string playing in Germany / Austria is remarkable.

[Maclintick]

Thanks for those tenor horns. Norman del Mar is informative (as always) in his 'anatomy of the orchestra'. It seems that sometimes even the 'tenor tuba' in 'The Planets' is played on a Wagner Tuba.

Yes, Wagner notates what would later become known as "Wagner Tubas" as "Tenortuben" in the Ring (in Eb). His devotee Bruckner follows this nomenclature in the 7th Symphony adagio, although notated in Bb, and it seems that Holst emulated the Austrian master. Bryn's Minnesota demo shows a modern version of a Wagner Tuba with rotary valves as opposed to pistons employed latterly in near-relatives such as the baritone (saxhorn) or euphonium found in brass bands (in Bb). What's even more confusing is that the baritone saxhorn was known as the tenor horn in late 19th cent. Austro-Germanic music, & in Mahler's time would presumably have been a rotary-valve jobbie similar to the Wagner tuba...

Where's BBMmk2 when you need him...

Agreed, it was a scintillating, phantasmagorical performance of GM7 last night. A symphony of many worlds.

[Alison]

This easily outclassed Rattles M7 with the same orchestra just a few seasons back. No over interpretation and the quality of the orchestral playing at the service of the work itself.

[Nick Armstrong]

This easily outclassed Rattles M7 with the same orchestra just a few seasons back. No over interpretation and the quality of the orchestral playing at the service of the work itself.

We’re back on the same wavelength Alison. Totally agreed. Listened earlier, too many fantastic things to mention but overall coherence despite the fabulous detail….

[vibratoforever]

This easily outclassed Rattles M7 with the same orchestra just a few seasons back. No over interpretation and the quality of the orchestral playing at the service of the work itself.

I don't buy your notion of over interpretation, if playing compositions from over 100 years ago is justified then new insights are the reason and there need be no limits.

The quality of the BPO performance however was phenomenal equally serving the composer and delivering Petrenko's conception of the work.

[richardfinegold]

Apparently, following his foot accident, Petrenko has been ordered by his doctors to rest, hence he's only conducting this concert.

Conducting Mahler 7 in Berlin, London, Salzburg and Lucerne - some rest!

They will be playing this in Chicago in 2 months

[smittims]

If playing compositions from over 100 years ago is justified then new insights are the reason and there need be no limits.

Well said. You might like to refer that to the current debate on the 'Rasumovsky' thread (see 'What's New?')

[Bryn]

Well said. You might like to refer that to the current debate on the 'Rasumovsky' thread (see 'What's New?')

Well. quite!

[smittims]

Oh, come back Waldo, all is forgiven (not).